Next Arrivals. Collected Poems by Robin Ouzman Hislop. Introduction by Ian Irvine (Hobson)

Introduction to Next Arrival: The Many Faces of Creative Indeterminacy
by Ian Irvine (Hobson)

Poetic Indeterminacy 1: L=A=N=G=U=A=G=E poetry and Late Modernist Experimental Poetry

When Marjorie Perloff, long-term critical advocate for L=A=N=G=U=A=G=E poetry (indeed for experimental poetries generally), published The Poetics of Indeterminacy: Rimbaud to Cage back in 1981, she wanted to trace a particular kind of poetic ‘indeterminacy’ back to its 19thcentury roots in Rimbaud. Early on she quoted Barthes’ perspective on Rimbaud’s poetics: ‘Rimbaud … destroyed relationships in language and reduced discourse to words as static things … In it, Nature becomes a fragmented space, made of objects solitary and terrible, because the links between them are only potential.’ Perloff then traced the 20th century developments in this emerging poetics via chapters on Gertrude Stein’s ‘word-systems’, Samuel Beckett’s ‘poetics of absence’ and John Ashberry’s ‘open field of narrative possibilities’ (elsewhere termed a ‘field poetics’). Her book concluded with studies of the ‘marginless’ poetics of David Antin and the chance-operations poetics of John Cage , who wrote of his later works: ‘They begin anywhere, last any length of time … They are therefore not preconceived objects … They are occasions for experience.’ Perloff’s book led to further studies in which she announced L=A=N=G=U=A=G=E poetry as a further chapter in this century old poetics of ‘indeterminacy’.

Robin Ouzman Hislop’s poetry is certainly in dialogue with some of the key architects of this well documented ‘poetics of indeterminacy’ – both the Modernist strands represented by the likes of Beckett and Stein, and the postmodernist strands represented, initially, by Ashberry and Antin, and later on by poets like Charles Bernstein, Bruce Andrews, Lyn Hejinian and Ron Silliman. Next Arrivals, however, like Hislop’s second collection Cartoon Molecules, also explores and responds to themes only rarely addressed by 20th century experimental poets.

In both Cartoon Molecules and Next Arrivals we start to catch glimpses of a hulking phantasmagoric something (a transhumant creature perhaps?) as it ‘slouches’, ‘transforms’, ‘self-engineers’, ‘machine learns’ it-self into being under cover of the postmodern twilight. Culturally speaking, something new is being born/engineered/programmed in these early decades of the new millennium and all three of Hislop’s collections, in my opinion, work hard to capture the cultural zeitgeist surrounding aspects of this transhuman nativity drama (one interpretation of the collection’s title, i.e. literally, the Next Arrivals). Hislop senses that new poetic forms – what we might label a new (perhaps quantum influenced?) ‘poetics of indeterminacy’ – may be called for here and, like US poet Amy Catanzano, he is courageous enough to initiate new experiments with poetic form in order to address the urgencies of our time.

Poetic Indeterminacy 2: Eulogies for the Passing of Mechanist Science

All this is to say that Hislop is keenly interested in exploring poetically a range of phenomena loosely related to ‘the New Sciences’. His interest, however, is not that of the wide-eyed, but willfully naïve, classical scientist. He understands humanity’s darker impulses – particularly our darker collective impulses – too well to buy into the idyllic marriage vows these days being exchanged between the New Sciences and extreme capitalism – however loved-up the happy couple appear to be in public. His unease and ambivalence regarding this pairing is evident in many of the poems featuring New Science themes. At times key poems descend into states of existential vertigo brought on by what is unfolding. Such themes are most directly addressed in the poem on (p.59) of the collection:

we invent them to serve us         controlling our existence
to create virtual worlds with hells and heavens
myths domesticate science
fiction and reality blur shaping our reality
an assembly of biochemical algorithms flash fade flash fade
spinning

Similar notes of caution and critique accompany references to genetic programming, Artificial Intelligence (and the much publicised ‘approaching Singularity’), Virtual Reality obsessions (Hislop’s meditations on Bostrom’s ‘Simulation Argument’ are particularly interesting), quantum computers, and, so on, throughout the collection. He asks us to be wary of the way the New Sciences are merging with what he refers to as ‘datism’, and then warns us that ‘algorithms can control empire/ or an upper class ruling the planet’ (p.59). Later in the same poem (p.61) we read: ‘free market big brother/ watches every breath you take’. The New Sciences, of course, were founded on a profoundly ontological understanding of ‘indeterminism’, arising as they did, out of the discoveries of a range of early 20th century physicists – especially Heisenberg (with his so-called ‘uncertainty principle’).

Our need to explore these kinds of ontological uncertainty suggest a second major way to understand contemporary experimental poetries as ‘indeterminate’ – a way that brings Hislop close to the concerns of a growing band of writers creating what some are calling ‘Quantum Literatures’. What kinds of art, philosophy, poetry and poetics should we develop to address fundamental ‘indeterminacies’ of matter and consciousness (rather of consciousness observing matter)? Hislop does not, of course, advance explicit theories on such topics in this collection, but a poetic response to the challenges posed hovers above a number of the best poems in the collection. Such concerns also – whether consciously or unconsciously – seem to affect the formal flow of the collection.

Next Arrival can, in theory, be entered via a range of gates, since the 2nd to last poem in the collection mirrors the collection of lines used to construct the table of contents. Though there are no titles to each discernible segment of poetry – no capitals and headings to interrupt flow – we slowly become aware (via a kind of gentle memory murmur) that the first line of each new segment also appears in the table of contents (and will appear again at the end of the collection). In a sense then, our reading choices – i.e. whether we browse/surf the collection or proceed more conventionally from start to finish – ‘collapse’ a range (or field) of reading (and meaning) possibilities into a particular reading outcome. The experience, however, is always ‘hologrammatical’, since poem fragments from across the collection are embedded in secondary poems – producing the uncanny sense that every poem is linked to every other poem. Another term for this – a term directly related to the New Sciences – is ‘entanglement’. Specifically, we are talking about a poetics of entanglement. It is perhaps an intuitive development –possibly arising naturally out of Hislop’s deeply held ecological vision (as outlined in a number of the collection’s other poems). We note, however, that a poetics of entanglement may run contrary to the kind of language atomizing poetics we sometimes find in the more extreme manifestations of contemporary anti-representational poetry.

Although Hislop uses a range of L=A=N=G=U=A=G=E poetry techniques, the poems in Next Arrivals are never completely ‘anti-representational’. Rather meaning-creating choices, options, possible worlds/selves are offered up to the reader at every turn. The poet invites us to contemplate a new kind of reading freedom—a freedom built upon expansive notions of subjectivity, linked, in turn, to up-dated Existential and New Science perspectives. A subjectivity, in short, subliminally aware of the multiverse. Barthes’ summary of Rimbaud’s poetic (and, retrospectively the poetics of late Modernism and Postmodernism) – i.e. a poetics of ‘objects solitary and terrible’ – is not, in the end, Hislop’s poetic. Rather, we are talking about a poetry slanted toward human vulnerability and the facts of our inter-relational entanglements – a poetry addressing readers staring at the approach of an A.I. and big-data determined – perhaps Simulation programmed – future that may well see ordinary humans made obsolete and irrelevant – in a word ‘surpassed’. Interestingly, however, I suspect that for Hislop the risks associated with the fast approaching A.I. Singularity confront us as contemporary manifestations of what amounts to an age-old curse. Perhaps a classical allusion is in order. As we read Next Arrivals we become aware that we are still negotiating the Minotaur’s death-haunted labyrinth (in many ways the structure of the collection resembles that of a literary labyrinth). The face of the Minotaur, however, continuously shape-shifts into that of Saturn (old Father Time himself, or, put differently, the inevitable human encounter with death/mortality). There are thus a number of moving poems in Next Arrivals exploring mortality, ageing and the general fragility of human life. Two lines, for me, best summarise the collection’s new spin on this very old theme (p.69):

but I brimmed in apocalypse             under the welter of bones
yield to the inevitable

Poetic Indeteminacies to do with Editing, Translating and New media Technologies

Hislop and his wife, Amparo Perez Arrospide, have edited the online literary and visual arts publication Poetry Life and Times (PLT) since 2006. In this age of global communication networks, it becomes increasingly difficult to separate a poet’s poetry from a poet’s elsewhere contributions to literary and online cultures. Everything swims together in a kind of ‘electronic soup’ of interactions and information nodes on the WWW (representing perhaps another kind of ‘field poetics’ or ‘poetics of indeterminacy’). For better or worse, the specialized poets of the 20th century have slowly been replaced by a new breed of transmedia savvy ‘uber-artists’. Some poets are well equipped for the new role. Hislop, certainly, is comfortable communicating in a range of genres, across a variety of conventional and new media platforms (e.g. reviews/nonfiction essays, translations, video-poems, teaching, poetry performances, etc. ), as well as through publishing the works of other poets at the PLT site (and we note that all good literary journals seek to construct ‘an open field of narrative possibilities’).

There is no doubt that PLT, here including work published via its sub-sites Artvilla and Motherbird , expresses a truly internationalist poetics. Its contributors herald from all over the planet and the various sites feature a range of poetic styles—traditional, modernist, postmodernist, experimentalist, etc . The editors are also committed to publishing the poetry of non-English language poets (translated, in many cases, by the editors themselves). We note here that ‘translation’ is itself a notoriously difficult and ‘indeterminate’ activity – there is always a trace of the translator in the finished product, however much he or she strives to eliminate any evidence of input. Overall, PLT augments ,and expands upon, the very same poetics of indeterminacy we encounter in Hislop’s own poetry.

*****

The creative Indeterminacies I have located in Hislop’s overall oeuvre are cause for celebration. Exploring such ‘creative indeterminacies’ will introduce us to zones of hybridity – the interstitial plazas and market-places that exist between the monolithic, but ultimately delusionary and oppressive, certainties fed us daily by governments, media moguls, religious leaders and ideologues. There is something liberating and eminently human about embracing the expanded notions of self we encounter in Hislop’s poetry. We note that John Cage also sought a more expansive definition of creative practice when he labeled his later experiments ‘occasions for experience’. We may apply the same terminology to the poems in Next Arrivals – they are, each and every one of them, ‘occasions for experience’. Hislop’s ‘occasions for experience’, however, highlight the ambivalences and anxieties, as well as the joys and occasional epiphanies, experienced by ordinary people attempting to make sense of our globalised, corporatized, information-saturated post-postmodern world.
 
Ian Irvine (Hobson) Victoria Australia 2018

 

Ian Irvine (Hobson) is an Australian based, British born, poet/lyricist, fiction writer, journal editor, and writing and creative arts academic. His work has been published extensively, including in a number of national anthologies, e.g. Best Australian Poetry and Agenda’s special Contemporary Australian Poets edition. He has published four books and has co-edited over 20 publications including 7 editions of the groundbreaking international literary ezine The Animist (1998-2001), as well as Scintillae 2012 (a print anthology containing work by over 60 Australian poets and writers). Ian has taught in the creative and professional writing programme at Bendigo Kangan Institute since 1999. He also lectures casually in a similar program at Victoria University, Melbourne.
 
 
 

 
 
 
Robin Ouzman Hislop is Editor of Poetry Life and Times his publications include All the Babble of the Souk and Cartoon Molecules collected poems and Key of Mist the recently published Tesserae translations from Spanish poets Guadalupe Grande and Carmen Crespo visit Aquillrelle.com/Author Robin Ouzman Hislop about author. See Robin performing his work Performance (University of Leeds)

Close to Me. BLIKSOM. A Poem by Tatjana Debeljački. Translated from Serbian by Danijela Milosavljević

 

 
SAVRŠENSTVO PERFECTION 完璧さ
New book Tatjana Debeljački タチアナ デベリャスキー
Serbian English and Japanese

Translation by Mariko Sumikura
Artwork: Janoš Mesaroš
 
 
CLOSE TO ME
 
 
Togetherness disappears.
We are lost while leaving ourselves.
It’s too late for finding symbols.
The expression is a form of research
at the entrance of voice ventricles.
We sacrifice slow reasons to the quick words.
Parting is a chronicler with no chronicles.
Interpretations are hinted in the meanings of values ​​.
Let’s not torture the lions with the inner space of the sky.
We have lost the gemstone.
The search is wasted effort.
We nurture the faith of case circumstances.
Cheek shows the traces of palms.
For too long we dream the threats of responsibility.
Ironic solution of doubting we have left for the end.
We demise traces for the orphans.
God was praised, unfortunately.
From the scriptures we take out when needed.
We did not realize that all is prone to cease.
And a deep gap between the kisses,
We did not admit.
 
 
The 25th contest for the best love song, traditionally held by the
Cultural centre in Ivanjica. The contest director is poet Miljan Despotovic
 
 
BLISKOM
 
 
Nestaje zajedništvo.
Gubimo se napuštajući sebe.
Kasno je za otkrivanje simbola.
Izraz je oblik istraživanja.
na ulazu govornih komora.
Razloge spore žrtvujemo brzim rečima.
Rastanak je hroničar bez hronike.
Tumačenja naslućujemo po značenjima vrednosti.
Ne mučimo tigrove unutrašnošću neba.
Dragi kamen smo izgubili.
Potraga je uzaludan trud.
Gajimo veru okolnosti slučaja.
Obraz pokazuje tragove dlanova.
Predugo sanjamo pretnje odgovornosti.
Ironično razrešenje sumnje ostavljamo za kraj.
Tragove zaveštavamo siročićima.
Bog je bio slavljen..
Iz zapisa izvlačimo po potrebi.
Nismo uvideli da sve je prolaznosti sklono.
I duboki jaz između poljubaca,
Nepriznavasmo.
 
 
25. Konkursa za najlepšu ljubavnu pesmu, koji tradicionalno organizuje Dom kulture iz Ivanjice.Selektor konkursa, pesnik Milijan Despotović
 
 
Excerpt from:
Critic/ 講評
LIFE IN CREATION
Tatjana Debeljacki: ‘Perfection’

 
Tatjana Debeljacki: ‘Perfection’, Cultural Centre, Ivanjicа, 2018.With her poem ‘Closeness’, Tatjana won the first prize at the love poem literary contest ‘Ripples of the Moravica’ in Ivanjica, 2017. In the explanation (as a member of the competition jury) I wrote: From the poetic letter “The Close One” in which everything speaks of love without ever mentioning this word directly, we open up thoughts, a series of special lessons and wisdom, with a message that loving others means loving oneself and “losing oneself from leaving oneself”. The poem consists of twenty thoughts, classic aphorisms, each of which could be a motto of a new poem. Love is here in a dilemma over what “is prone to transience”, it is what is needed to overcome the “gap between kisses”. Tatjana Debeljacki (Titovo Uzice, 19..) writes contemporary and haiku poetry and prose. She has published nine books. She lives in Uzice. Pozega, 6th February, 2018
 


 
 
Tatjana Debeljački, born on 23.04.1967 in Užice. Writes poetry, short stories, stories and haiku. Member of Association of Writers of Serbia – UKS since 2004 and Haiku Society of Serbia – HDS Serbia, HUSCG – Montenegro and HDPR, Croatia. A member of Writers’ Association Poeta, Belgrade since 2008, member of Croatian Writers’ Association- HKD Croatia since 2009 and a member of Poetry Society ‘Antun Ivanošić’ Osijek since 2011, and a member of “World Haiku Association“ – 2011, Japan. Union of Yugoslav Writers in Homeland and Immigration – Belgrade, Literary Club Yesenin Belgrade. Member of Writers’ Club “Miroslav – Mika Antić” – Inđija 2013, Writers’ Association “Branko Miljković“ – Niš 2014, and a member of Japan Universal Poets Association (JUNPA). 2013. “Poetic Bridge: AMA-HASHI (天橋) Up to now, she has published four collections of poetry: “A HOUSE MADE OF GLASS “, published by ART – Užice in 1996; collection of poems “YOURS“, published by Narodna knjiga Belgrade in 2003; collection of haiku poetry “VOLCANO”, published by Lotos from Valjevo in 2004. A CD book “A HOUSE MADE OF GLASS” published by ART in 2005, bilingual SR-EN with music, AH-EH-IH-OH-UH, published by Poeta, Belgrade in 2008. ”HIŠA IZ STEKLA” was translated into Slovenian and published by Banatski kulturni centar – Malo Miloševo, in 2013 and also into English, “A House Made of Glass” published by »Hammer & Anvil Books» – American, in2013. Her poetry and haiku have been translated into several languages.
 
 
 
 
 
Robin Ouzman Hislop is Editor of Poetry Life and Times his publications include All the Babble of the Souk and Cartoon Molecules collected poems and Key of Mist the recently published Tesserae translations from Spanish poets Guadalupe Grande and Carmen Crespo visit Aquillrelle.com/Author Robin Ouzman Hislop about author. See Robin performing his work Performance (Leeds University)

Robin Hislop Reads at University of Leeds His Poetry and Translations. Video Performance.

This video recording was made at University of Leeds on October 10th. 2017, it was introduced and presented by  Antonio_Martínez_Arboleda Principal Teaching Fellow in Spanish and poet.

The initial image can be enlarged to full screen size. The texts and accompanying images can be easily toggled to place according to requirements.

Below the video also is a link that gives a report and interpretation of the performance by students who attended.

The report is live at http://www.leeds.ac.uk/arts/news/article/5108/2nd_cts_professionalisation_talk_2017-18_international_writers_at_leeds

International Writers University of Leeds October 10th 2017

 
 
Robin Ouzman Hislop is a poet and translator who edits Poetry Life and Times at Artvilla.com. At this event, he will be interviewed by Antonio Martínez Arboleda focusing on key aspects in his works exploring poetic themes. This will be followed by readings in Spanish and English of works by Guadalupe Grande (Key of Mist) and Carmen Crespo (Tesserae) with Martínez Arboleda and Hislop, translated into English by Hislop and Spanish poet Amparo Arróspide. He will read poems from his recently published collections All the Babble of the Souk & Cartoon Molecules (Amazon, 2016/17) various translated into Spanish by Martínez-Arboleda for (Crátera, Autumn 2017). There will be an opportunity for questions regarding the translations. Languages of the event: English and Spanish.
 
 
http://www.leeds.ac.uk/arts/people/20059/spanish_portuguese_and_latin_american_studies/person/1009/antonio_martinez_arboleda
 
 

 
 
Aquillrelle.com/Author Robin Ouzman Hislop & Amazon.com Author Robin Ouzman Hislop

Press Release Tesserae Collected Poems by Carmen Crespo


 
 
Translators Bios of Tesserae
 
 
Amparo Arróspide (born in Buenos Aires) is an M.Phil. by the University of Salford. As well as poems, short stories and articles on literature and films in anthologiesand international magazines, she has published five poetry collections:Presencia en el Misterio, Mosaicos bajo la hiedra, Alucinación en dos actos yalgunos poemas, Pañuelos de usar y tirar and En el oído del viento. Another two – Jacuzzi and Hormigas en diaspora- are in the course of being published. A coeditor of webzine Poetry Life Times, she has translated authors such as Margaret Atwood, Stevie Smith and James Stephens into Spanish, and others such as Guadalupe Grande, Ángel Minaya, José Antonio Pamies, Francisca Aguirre, Javier Díaz Gil and Luis Fores into English. She takes part in poetry festivals, recently Transforming with Poetry (Leeds) and Centro de Poesía José Hierro (Getafe).
 
 
Robin Ouzman Hislop is on line Editor at Poetry Life & Times, appearances of his works include
Voices without Borders Volume 1 (USA), Cold Mountain Review (Appalachian University, N.Carolina), The Poetic Bond Volumes, Phoenix Rising from the Ashes (an international anthology of sonnets) The Honest Ulsterman and translations into Spanish for CRÁTERA (Autumn 2017). His recent publications are two volumes of collected poems All the Babble of the Souk (2015) Cartoon Molecules (2017) & Key of Mist (2016) a translation from Spanish of poetess Guadalupe Grande all published by
Aquillrelle.com available at main online tributaries. Further information about these publications with reviews and comments see Aquillrelle.com/Author Robin Ouzman Hislop
& Amazon.com Author Robin Ouzman Hislop

Robin Marchesi Reviews Cartoon Molecules Collected Poems

 
 

Robin Ouzman Hislop’s “ Cartoon Molecules ” is a maze of semantic amazement, a true testament to the magic of words. His uniquely poetic perceptions mesmerise us, metaphysically, to the content of his work. He opens doors within us all not available in the mainstream logic of modern logic.
 

 
Hislop’s world goes much deeper, there are no grammatical or structural restrictions to his word flow for he is a literary law breaker. His words resonate with a unique melody that parodies the more surreal, yet equally relevant creations, of the earlier beat generation. It’s a poetry that leaves a haunting trace which may often spring unexpectedly to mind in the oddest moments of time and place. Try them and see for yourself!

 
 
Robin Marchesi, born in 1951, began writing in his teens, much to the consternation of his mother, the sister of Eric Hobsbawm, the historian.
 
In 1992 Cosmic Books published his first book entitled “A B C Quest”.
 
In 1996 March Hare Press published “Kyoto Garden” and in 1999 “My Heart is As…”
 
ClockTowerBooks published his Poetic Novella, “A Small Journal of Heroin Addiction”, digitally, in 2000.
 
Charta Books published his latest work entitled “Poet of the Building Site”, about his time working with Barry Flanagan the Sculptor of Hares, in association with the Irish Museum of Modern Art.
 
He is presently working on an upcoming novel entitled “A Story Made of Stone.”
 
Amazon.com A Small Journal of Heroin Addiction Robin Marchesi

 
 
Amazon.com Author Robin Ouzman Hislop
Aquillrelle.com/Author Robin Ouzman Hislop

Press Release Virtual Living Collected Poems by Gary Beck

 
 

Poet Gary Beck’s new collection Virtual Living is a revealing glimpse of how our relationship with the world around us is an ever-evolving experience. Focusing on how humans relate to the world via artificial means, as well as self-imposed affected mechanisms. Beck looks at the concept of living virtually from all angles and tells his story with just enough abstractness to move readers to choose how to inhabit their own worlds. A peek into our world in ways most of us forget to see, these poems will shift any reader’s perspective of how they relate to others, technology and the world.
 
“Varied, inspiring and insightful – Nous Magazine
 
“We love your poems – Poetry Pacific
 
“Amazingly captivating and incredibly diverse – Kind of a Hurricane Press

 
Virtual Living is a 116 page poetry book. ISBN: 1945247134 Published through Thurston Howl Publications.
Available now through all major retailers
 
Amazon.com Virtual Living Gary Beck
 
Birdsong
 
The closer the highway
the closer to death,
so build your nest
as far as you can
from works of man.
 
Sports Fans
 
High school students cheer
at the top of their lungs
for their football team,
unaware of
the math student
ignored by all
who may build the future,
while former sport’s heroes
dwell in the past,
unable to forget
earlier glory.
 
College students root
for the home team,
eager to belong
to a bigger world,
paint their faces
in school colors,
identifying with
an institution
encouraging sports
more than science,
relegating the brightest
to unrequited dreams
of supple cheerleaders.
 
Many football fans
either yearn for the past,
or never grew up.
Some fear the future,
apprehensive of
the loss of function,
try to belong,
rooting for their team.
Others don’t realize
pros are as distant
as movie stars,
except they hurt each other
for large salaries,
while loyal fans
wear stupid hats,
wave witless signs,
scream for victory
for favorite teams.
 
Mindscape
 
Dreams shatter,
more fragile
than steel, brick, glass
man-made materials,
confining spaces
for the mental container
of hopes, fears, guilt,
unlike other animals
whose sleep exertions
re-enact feeding, flight.

 
 

 
Gary Beck has spent most of his adult life as a theater director, and as an art dealer when he couldn’t make a living in theater. He has 11 published chapbooks and 2 more accepted for publication. His poetry collections include: Days of Destruction (Skive Press), Expectations (Rogue Scholars Press). Dawn in Cities, Assault on Nature, Songs of a Clerk, Civilized Ways, Displays, Perceptions, Fault Lines & Tremors (Winter Goose Publishing). Perturbations, Rude Awakenings and The Remission of Order will be published by Winter Goose Publishing. Conditioned Response (Nazar Look). Resonance (Dreaming Big Publications). Virtual Living (Thurston Howl Publications). His novels include: Extreme Change (Cogwheel Press), Flawed Connections (Black Rose Writing), Call to Valor (Gnome on Pigs Productions) and Sudden Conflicts (Lillicat Publishers). State of Rage will be published by Rainy Day Reads Publishing. His short story collection, A Glimpse of Youth (Sweatshoppe Publications). Now I Accuse and other stories will be published by Winter Goose Publishing. His original plays and translations of Moliere, Aristophanes and Sophocles have been produced Off Broadway. His poetry, fiction and essays have appeared in hundreds of literary magazines. He currently lives in New York City.
 
www.garycbeck.com
www.facebook.com/AuthorGaryBeck

 
 
 
Cartoon-Molecules/paperback/Robin Ouzman Hislop
 
www.facebook.com/PoetryLifeTimes
 
robin@artvilla.com

The Truth about Snails. Collected Poems by JD DeHart.

Editors Note: About the Author
 
In 2014, over the course of some snow days, I put together a collection that would become The Truth About Snails. At the time, most of the writing I was getting to was speculative and science fictional (I guess that’s a word) in nature. So the first collection of poetry I put together reflected this.
 
Poems were inspired by years as a comic book reader and sci-fi fan. They were not fan fiction, really, but reflected larger themes of science fiction and fantasy that I enjoyed.
 
This is the text that appears on the back of the book:
 
“Ordinary objects take on a new form, and myths become real and move next door in the verses contained in this collection. Whether it is a recasting of the myth of Sisyphus, or the titular truth about the origin of our shell-bearing planet dwellers, each poem offers a new view of an old friend. Much of the writing was inspired by the comic books and science fiction, and on concepts beyond the scope of the real world, and cast firmly in the supernatural.”
 
My hope is that this book can be the first of many. I am already at work on a second collection, which is out for review now, as well as a variety of articles, reviews, and prose works. I reprint some of my favorite poems at jddehartfeaturepoems.blogspot., write reviews and post them at http://dehartreadingandlitresources.blogspot.com/, and tweet @jd_dehart.
 
Whether you check out this chapbook collection, a future book, or just read my work around the web, I appreciate the read!
 
The Truth About Snails is now available both on Amazon and Red Dashboard, the publisher’s website at http://cms.reddashboard.com/j-d-dehart/
 
 
Vigilante
 
 
Pardon me for attempting to be
some kind of hero or otherwise
savior figure. My mistake.
Pardon the garish appearance
of the costume I crafted (it was
a last minute low budget choice)
and pardon my lack of sophisticated
intelligence, weaponry, or astounding
martial arts skills. I am just a guy
who used to read comics, wanted to be
somebody’s emblem, and now find
the feeling of this cape rather awkward.
 
 

 
 
Bio:
JD DeHart is a writer and teacher. His poems have recently appeared in Dime Show Review and Cacti Fur.

 
 
Cartoon-Molecules/paperback/Robin Ouzman Hislop
 
www.facebook.com/PoetryLifeTimes
 
robin@artvilla.com