{"id":8882,"date":"2026-08-24T20:33:09","date_gmt":"2026-08-24T20:33:09","guid":{"rendered":"https:\/\/www.artvilla.com\/plt\/?p=8882"},"modified":"2026-08-24T20:42:15","modified_gmt":"2026-08-24T20:42:15","slug":"poetry-life-times-may-2026-a-tribute-to-robin-ouzman-hislop","status":"publish","type":"post","link":"https:\/\/www.artvilla.com\/plt\/poetry-life-times-may-2026-a-tribute-to-robin-ouzman-hislop\/","title":{"rendered":"Poetry Life &#038; Times August 2026: A Tribute to Robin Ouzman Hislop"},"content":{"rendered":"<h2><span style=\"color: #008000;\">by Amparo Arrospide<\/span><\/h2>\n<h4><span style=\"color: #008000;\">Including an interview with Amparo Arrospide by Sara L Russell, plus additional tributes by David Michael Jackson, Loukia Borrell and<\/span><span style=\"color: #008000;\"> Sara L Russell plus a special tribute by Richard Vallance. <\/span><\/h4>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-8809 \" src=\"https:\/\/www.artvilla.com\/plt\/wp-content\/uploads\/2026\/04\/Robin-at-garden-768x1024.jpg\" alt=\"\" width=\"322\" height=\"429\" srcset=\"https:\/\/www.artvilla.com\/plt\/wp-content\/uploads\/2026\/04\/Robin-at-garden-768x1024.jpg 768w, https:\/\/www.artvilla.com\/plt\/wp-content\/uploads\/2026\/04\/Robin-at-garden-225x300.jpg 225w, https:\/\/www.artvilla.com\/plt\/wp-content\/uploads\/2026\/04\/Robin-at-garden.jpg 900w\" sizes=\"(max-width: 322px) 100vw, 322px\" \/><\/p>\n<p><span style=\"color: #008000;\"><strong>Sara:<\/strong> Firstly, Amparo, may I say how sorry I am for your loss, and how we will all miss Robin, whose contributions to both poetry and translation spans decades of dedicated work.<\/span><\/p>\n<p><span style=\"color: #008000;\">How did you and Robin first meet?<\/span><\/p>\n<p><strong>Amparo:<\/strong> I met Robin in 1982 at the University of Manchester, where he was studying Philosophy and Comparative Religions. He had come from Pakistan, where he had lived for eight years in Karachi and Lahore, exploring its valleys and mountain ranges. His close friend at Punjab University was Kazi Javed, a free thinker passionate about philosophy, history and the contemporary world, and a writer in Urdu. In Pakistan, Robin had studied Sufism, the mystical poetry of Jalal-U-Din Rumi and Ibn Arabi, specializing in comparing medieval Islamic philosophy with European scholasticism.<\/p>\n<p>I had arrived to Manchester on a work grant as Spanish language assistant. We met in the postgraduate club and started dating. I was fascinated by his eloquence and his thirst for knowledge\u2014we shared the latter. We became a couple, and he encouraged me to pursue a master&#8217;s degree in Literature. Three years later we traveled to Spain, where we stayed for a long time. Robin worked as an English language teacher in corporations and with individual students.<\/p>\n<p>Our son was born in Madrid in 1988; there were moves, job changes, and lifestyle shifts. At the Ateneo of Salamanca, we participated in literary gatherings, recitals, and publications. And then in Madrid, at the Complutense University, Casa do Brasil, the Ateneo, in bilingual recitals in cafes and pubs with poets like <strong>Andr\u00e9s Fisher<\/strong>, <strong>Mario Merlino<\/strong>, <strong>Yolanda P\u00e9rez Herreras<\/strong>&#8230; The world wide web arrived around that time, opening doors to the unknown.<\/p>\n<p><span style=\"color: #008000;\"><strong>Sara:<\/strong> Had Robin already studied Spanish when you met?<\/span><\/p>\n<p><strong>Amparo:<\/strong> When we met, Robin was already studying Spanish, improving once we moved to Spain. The relationship was even more fun then; we started translating ourselves and other poets. A gift for languages, entailing careful revisions of what had been read and said, due to the inevitable twists and turns of interpretation.<\/p>\n<p>And speaking of translation, <strong>Poetry Life &amp; Times<\/strong> was a later and crucial moment.<\/p>\n<p><span style=\"color: #008000;\"><strong>Sara:<\/strong> What are a couple of your favourites of Robin&#8217;s poems?<\/span><\/p>\n<p><strong>Amparo:\u00a0<\/strong>&#8220;The Fan&#8221; and &#8220;Drumbeat&#8221;; both poems included in <span class=\"s1\">Rhythms of Existence<\/span>, his last published book in India (2025,\u00a0<a href=\"http:\/\/cyberwit.net\/\"><span class=\"s2\">cyberwit.net<\/span><\/a>).<\/p>\n<p><span style=\"color: #008000;\"><strong>Sara:<\/strong> Thank you Amparo. I have featured them below.<\/span><\/p>\n<p><strong>Drumbeat<\/strong><\/p>\n<p>asleep i find i dream your heartbeat in mine<br \/>\n&amp; waking find i hear the pounding tom tom<br \/>\na drumbeat reverberating over continents of time<br \/>\nbefore gods &amp; goddesses came with their acclaim<br \/>\nof sun &amp; moon which they cast to stone &amp; tomb<br \/>\n&amp; after the bomb that had pulverised us to a dust<br \/>\nas a shadow frame from where before we\u00b4d been<br \/>\nacross the plains of existence i hear the pulsation<br \/>\nresonate the rhythm in yours &amp; mine as the same<br \/>\nas asleep i find i dream your heartbeat in mine<br \/>\n&amp; waking find the air upon my skin breathing<\/p>\n<p>&nbsp;<\/p>\n<p><strong>The Fan<\/strong><\/p>\n<p>a few short years<br \/>\na few short days<br \/>\na few short hours<br \/>\na few short moments<\/p>\n<p>you (?)<\/p>\n<p>beyond the exalted reach<br \/>\nwho are you now<br \/>\nbeyond it all<br \/>\nbeyond its silent call<br \/>\nthe all in all<br \/>\nthat totalises the now<br \/>\nyet fragments as a peacocks fan<br \/>\nsailing beyond reach<br \/>\nbeyond touch<br \/>\nlike a rare butterfly in a jar<br \/>\nthe prosaic word burns within a tower<br \/>\nwhilst the rest of the world gives<br \/>\nand who is the world<br \/>\ni ask of the flower<br \/>\nme she sings<br \/>\ni am the daughter<br \/>\ni am the hour<\/p>\n<p><span style=\"color: #008000;\"><strong>Sara:<\/strong> I really like Robin&#8217;s epic poetry recital of your translation of <strong>Carmen Crespo<\/strong>&#8216;s epic poem &#8220;<strong>Tesserae<\/strong>&#8220;, which is on the YouTube link below. How did Robin get into making poetry videos?<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><iframe loading=\"lazy\" title=\"Tesserae by Carmen Crespo Video Poem\" width=\"1200\" height=\"675\" src=\"https:\/\/www.youtube.com\/embed\/R73-2dqCdmo?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p><strong>Amparo: <\/strong>We began recording audio poems while Robin composed <strong>&#8220;Moon, Selected Audio Textual Poems&#8221;<\/strong>, which was finally published in 2020. In &#8220;Moon&#8221;, each poem is preceded by a QR code, enabling simultaneous reading and hearing of his resonant and almost hypnotic voice. He continued composing audiovisual poems with background music, participating in <strong>Transforming with Poetry<\/strong>, the online recitals coordinated by <strong>Antonio Mart\u00ednez Arboleda<\/strong>. With Antonio, Robin presented <strong>Guadalupe Grande<\/strong>&#8216;s &#8220;<strong>La llave de niebla&#8221; \/ Key of Mist<\/strong> at <strong>Casa Colombiana<\/strong> in Leeds, with Antonio reading the original poems in Spanish and Robin our translations. Together we had also translated <strong>Carmen Crespo&#8217;s<\/strong> &#8220;<strong>Teselas<\/strong>&#8221; \/ <strong>Tesserae<\/strong>. I would draft each poem in English, which we would then refine together, with Robin always adding the final touch, until the authors gave their approval.<\/p>\n<div>Both were published as bilingual books, and Robin also created an audiovisual poem for &#8220;<strong>Tesserae<\/strong>&#8221; . Poems specifically composed &#8211; written and recorded for this new format he published on his YouTube channel.\u00a0 At that time we were also translating into English and publishing on Poetry Life &amp; Times texts by <strong>Noni Benegas<\/strong>, <strong>Luz Pichel<\/strong>, <strong>Amalia Iglesias<\/strong>, <strong>Javier Gil<\/strong>, <strong>\u00c1ngel Huerga<\/strong>, <strong>Olga Mu\u00f1oz<\/strong> <strong>Carrasco<\/strong>, <strong>Ana Rossetti<\/strong>, <strong>Eva Chinchilla<\/strong>, <strong>Blanca Andreu<\/strong>&#8230; with their photos and bios. Our common interest in the <strong>L-A-N-G-U-A-G-E<\/strong> poets was also influential. It was a fascinating stage of exploration.<\/div>\n<p>&nbsp;<\/p>\n<p><span style=\"color: #008000;\"><strong>Sara:<\/strong> Thank you for the interview, Amparo.<\/span><\/p>\n<p>&nbsp;<\/p>\n<h2 class=\"p1\"><span style=\"color: #008000;\"><b>Tributes to Robin Ouzman Hislop<\/b><\/span><\/h2>\n<h4 class=\"p1\">\u201cHe was my love with marine eyes. I don\u00b4t have any doubt\u00a0 about the memory he leaves with me; someone as erudite as he was steadfast, as much a companion as he was a unique personality.\u00a0 And not someone who was merely his own, nor merely mine, but \u201ctruly yours\u201d &#8212; because of his generosity with the poetry of others\u201d. <span class=\"Apple-converted-space\"><br \/>\n&#8211;\u00a0 \u00a0<\/span><b>Amparo Arrospide<\/b><\/h4>\n<div dir=\"ltr\" data-setdir=\"false\">&#8220;Robin Hislop&#8217;s passing has left a poetry community in tears. A community that has existed on the internet since 1998. Since 2006 Robin and I have managed to keep three of the oldest poetry sites online going. Poetry Life and Times, Motherbird and Artvilla. I have served as Engineer and Robin has been the poetry editor. It has been Robin who has built our community. These three sites were regional and Robin made our little corner on the internet truly global. Personally, I have lost a brother who was connected with so many poets, a brother who had skills I lack. We&#8217;ve published thousands of poems, many of which exist nowhere else. Well done, Robin my old friend. Well done.<\/div>\n<div dir=\"ltr\" data-setdir=\"false\">I ask, can this community find a way to keep all of this going for Robin and for all of those poets in our charge? I&#8217;m at\u00a0<a title=\"https:\/\/editors@artvilla.com\" href=\"https:\/\/editors@artvilla.com\/\">editors@artvilla.com<\/a>. Robin would want me to ask, where do we go from here?&#8221;<strong><br \/>\n&#8211;\u00a0 David Michael Jackson<\/strong><\/div>\n<h4><\/h4>\n<h4 class=\"p4\">&#8220;Robin really understood a writer&#8217;s calling, this feeling of being born to connect ideas, feelings and experiences through writing. His extensive travels deepened his creativity, and he was generous with his time and talent, paving the way for writers to hone their talent and sharpen their minds. His absence will be felt for years to come.&#8221; <span class=\"Apple-converted-space\"><br \/>\n&#8211;\u00a0 <\/span><b>Loukia Borrell<\/b><\/h4>\n<p>I will always be grateful to Robin Ouzman for his visionary poetry, his great choices of poets when he took over Poetry Life &amp; Times from me as Editor, his sense of humour and his wisdom. He was a very innovative member of The YouTube poets; pushing boundaries and always producing memorable translations with his\u00a0 talented partner, Amparo Arrospide. He will always be sadly missed in the poetry community.<br \/>\n&#8211;\u00a0 <strong>Sara L Russell (pinkyandrexa)<\/strong><\/p>\n<p>&nbsp;<\/p>\n<h3><span style=\"color: #008000;\"><strong>In memory of Robin Ouzman Hislop, British poet <\/strong><strong>on the stellar ascendent of the early third millennium<\/strong><\/span><\/h3>\n<p>We are truly pleased to honour and celebrate lasting legacy of the poetry, life and times of Robin Ouzman Hislop (November 18, 1945 \u2013 January 6, 2026), one of Britain\u2019s pre-eminent poets on the ascendent of the early third millennium, who sadly passed away at the age of 80 in the winter of 2025.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-8867\" src=\"https:\/\/www.artvilla.com\/plt\/wp-content\/uploads\/2026\/07\/Robin-farewell.jpg\" alt=\"\" width=\"480\" height=\"536\" srcset=\"https:\/\/www.artvilla.com\/plt\/wp-content\/uploads\/2026\/07\/Robin-farewell.jpg 480w, https:\/\/www.artvilla.com\/plt\/wp-content\/uploads\/2026\/07\/Robin-farewell-269x300.jpg 269w\" sizes=\"(max-width: 480px) 100vw, 480px\" \/><\/p>\n<p><span style=\"color: #008000;\"><strong>Honorifics accorded to Robin Ouzman Hislop:<\/strong><\/span><\/p>\n<p>&#8220;Robin is a philosopher, poet, published author and more. It has been my privilege to reap the benefits of this man\u2019s knowledge on an array of subjects. He has extensive knowledge on mind\/body philosophy, evolutionary theory &amp; cosmology theory.\u00a0 A man ahead of his time. A true visionary and creative genius.<br \/>\n<strong>~ Janet Caldwell<\/strong>, who was COO at <em>Inner Child Ltd<\/em>, author of the <em>Author Den<\/em>\u2019s award winning <em>5 degrees to separation<\/em>.<\/p>\n<p>&#8220;Robin is a brilliant writer and philosopher as well as a recognized poet. He is an editor and contributor for <a href=\"https:\/\/poetrylifeandtimes.com\/\">Poetry Life and Times \u2013 Poetry from the world<\/a>, and other publications.&#8221;<\/p>\n<p><strong>~ David Michael Jackson<\/strong>, Web Publisher at <em>Artvilla.com, <\/em><a href=\"https:\/\/www.artvilla.com\/\"><em>Artvilla \u2013 Ezine of Poetry Music and Art<\/em><\/a><\/p>\n<p>&#8220;Robin is a highly innovative and gifted poet, who excels in writing sonnets, blank verse and haiku, and in translating poetry from Spanish into English. His work is first-rate.&#8221;<\/p>\n<p><strong> ~ Richard Vallance,<\/strong> Editor-in-Chief, <em>The Phoenix Rising from the Ashes = Le Ph\u00e9nix renaissant de ses cendres<\/em>. Victoria, B.C.: Friesen Press, 251 pp. ISBN 978-1-4602-1701-6 \u00a9 2013 (out-of-print) PDF accessible online at:<\/p>\n<p><a href=\"https:\/\/www.academia.edu\/34578443\/The_Phoenix_Rising_from_the_Ashes_sonnets_in_English_French_Spanish_German_Chinese_and_Farsi\">(99+) The Phoenix Rising from the Ashes sonnets in English, French, Spanish, German, Chinese and Farsi<\/a><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"color: #008000;\"><strong><em>Poetry Life &amp; Times<\/em> and Robin Ouzman Hislop:<\/strong><\/span><\/p>\n<p><a href=\"https:\/\/poetrylifeandtimes.com\/\">Poetry Life and Times \u2013 Poetry from the world<\/a> was established by Sara Russell in 1998, in the form of a monthly bulletin of news of celebrated and rising poets, of their memorable poetry, and of the Vallance Review of famous poems (mostly sonnets) of the late nineteen nineties and the early third millennium. Its editorship was transferred in April 2006 to Robin Ouzman Hislop and his partner, Amparo Perez Arrospide, and they as a team further expanded the magazine to poets whose native language was not English (from Zimbabwe, India, Chile, Spain, and Latvia amongst others). The shift was also marked by a trend towards a more critical and politically minded collective voice. The magazine is currently being hosted by the poet David Michael Jackson.<\/p>\n<p>Robin\u00b4s publications include <em><u>After the cave, the comet<\/u> <u>, <\/u><\/em><a href=\"https:\/\/www.amazon.com\/Babble-Souk-Robin-Ouzman-Hislop\/dp\/1329636953\/ref=sr_1_1?s=books&amp;ie=UTF8&amp;qid=1506012222&amp;sr=1-1&amp;keywords=All+the+Babble+of+the+Souk\"><em>All the Babble of the Souk<\/em> <\/a>, <em><u>Cartoon Molecules<\/u><\/em> and <em><u>Next Arrivals<\/u><\/em>, collected poems, &amp;<em> <u>Moon selected Audio Textual Poems <\/u><\/em>available at amazon.com as well as translation of Guadalupe Grande\u00b4s<em> La llave de niebla<\/em>, as <a href=\"https:\/\/www.amazon.com\/Key-Mist-Guadalupe-Grande\/dp\/1365453006\/ref=sr_1_4?s=books&amp;ie=UTF8&amp;qid=1506012852&amp;sr=1-4&amp;keywords=Key+of+Mist\"><em>Key of Mist<\/em> <\/a>and\u00a0 <a href=\"http:\/\/www.lulu.com\/shop\/carmen-crespo\/tesserae\/paperback\/product-23327341.html\"><em>Tesserae<\/em> <\/a>, a translation of Carmen Crespo\u00b4s<em> Teselas<\/em>. His latest <em><u>Rhythms of Existence<\/u> <\/em>is available at amazon.com<\/p>\n<p>Succinctly put, it is well nigh impossible to do true justice to the vast panoply of poetic oeuvres he has been inspired to pen since the early 2000s, particularly on these two poetry venues, <a href=\"https:\/\/www.artvilla.com\/\">Artvilla \u2013 Ezine of Poetry Music and Art<\/a> and <em>Poetry Life &amp; Times<\/em>. So rather than viewing some of his most memorable poems in their entirety, we are mindful to cite several telling passages to whet your appetite:<\/p>\n<p>Excerpts from noteworthy poems by Robin Ouzman Hislop in Poetry Life &amp; Times <a href=\"https:\/\/poetrylifeandtimes.com\/author\/robin-ouzman-hislop\/\">Robin Hislop \u2013 Poetry Life and Times<\/a>, selected by Richard Vallance and Amparo Arr\u00f3spide.<\/p>\n<p>&nbsp;<\/p>\n<p>time a dimension that<br \/>\nripples with its rhythms<br \/>\ninto a pattern of events<br \/>\ntransformed into entelechy<br \/>\nin eternal metamorphosis<br \/>\na demiurge<br \/>\nwhere fury of fire flood quake drought<br \/>\nor rage of apocalypse<br \/>\nexploding skies\u00a0 creeping pestilence<\/p>\n<p>or us between in a nebulous<br \/>\nsymbiotic moment<br \/>\nwhere devils are angels &amp; angels devils<br \/>\nas nature in its rags &amp; glory roams<br \/>\nits own wilderness lost &amp; found<br \/>\nas life flows on<br \/>\nin eternal metamorphosis<\/p>\n<p>as the surge on the wave<br \/>\nbreaks to spray<br \/>\nturbulence becomes a vortex<br \/>\na twisted relationship<br \/>\nbetween gravity and entropy<br \/>\nsymbiosis<br \/>\ndo the spiral galaxies dream<br \/>\nhere in the helix of my heart<br \/>\non on on the vortex trembles<\/p>\n<p><strong>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 From <em>Metamorphosis<\/em><\/strong><\/p>\n<p><strong>*<\/strong><\/p>\n<p>wild cooing of doves in distant branches<br \/>\nbeyond the curtain drawn window<br \/>\nin the darkened room<br \/>\nwhere he sits on the edge of the bed<br \/>\nfrail &amp; thin gently nodding to &amp; fro<br \/>\nthinking progress be damned<\/p>\n<p>nation states wear hoods<br \/>\nghost riders in the sky stampede<br \/>\nthe plains &amp; piss in the oceans<br \/>\nthe salmon from the rivers have gone<br \/>\nin what seas will they now spawn<br \/>\n&amp; he is down by the riverside<\/p>\n<p>down by the riverside\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0where<br \/>\nhe casts his line into its waters \u2026<\/p>\n<p><strong>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 From <em>Damn you all<\/em><\/strong><\/p>\n<p>*<\/p>\n<p>forest feline fir purring<\/p>\n<p>dusks dawns this wastrel man<br \/>\nhis vagrant days that like tattered<br \/>\nrags clothe his face<br \/>\nas autumn leaves fall<\/p>\n<p><em>we walk together now to listen talk<br \/>\n<\/em><em>where both our persons are now<br \/>\n<\/em><em>diminished<br \/>\n<\/em><em>before the tempest of ice<br \/>\n<\/em><em>&amp; fire consumes us once more<\/em><\/p>\n<p>&amp; yet I say we will regain &amp; you<\/p>\n<p>will come again \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <em>jaguar moon<br \/>\n<\/em>forest feline purring your dawn dusk\u2019s born<br \/>\nhawthorn &amp; the rowan \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 the red berries growing<\/p>\n<p><em>a van flashes by our simulacra<br \/>\n<\/em><em>i have nothing to offer you<br \/>\n<\/em><em>but my blood in your music<\/em><\/p>\n<p><strong>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0From<em> Jaguar Moon<\/em><\/strong><\/p>\n<p><strong>*<\/strong><\/p>\n<p>the first line on the page thought to escape its life sentence<br \/>\nlike an errant angel falling into the breach<br \/>\na heavenly ape descended &amp; disappeared into the waters<br \/>\ntransfixed the statue\u00a0 wears the same mask as the crowd transfixed<br \/>\nheaven &amp; hell are on the spin of a coin<br \/>\nblue whales&#8217; melodies turned to shrieks are the ocean&#8217;s voice<br \/>\n&amp; the iceman cometh to explain the glory of a name by which he would be forgotten<\/p>\n<p><strong>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0From<em> The Triumph of the Left Hemisphere (ii)<\/em><\/strong><\/p>\n<p><strong>*<\/strong><\/p>\n<p>it&#8217;s a play\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 come what may<br \/>\nthe talkie talk\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 it&#8217;s off off<br \/>\nor blackboard chalk\u00a0\u00a0\u00a0\u00a0\u00a0 just as well<br \/>\nstork &amp; baby\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 but can&#8217;t tell<br \/>\ndrive me crazy\u00a0\u00a0 in fucking hell<br \/>\nthat&#8217;s to begin\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 off off off<br \/>\ncan anyone say\u00a0\u00a0 cloud into day<br \/>\na poem&#8217;s\u00a0 itness\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 is its it?<\/p>\n<p><strong>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 From <em>The Hidden Variable<\/em><\/strong><\/p>\n<p><strong>You may listen to this poem as read by Robin himself:<\/strong><\/p>\n<p><a href=\"https:\/\/youtu.be\/_bAK614UsJM?si=1r_AYvfwRo210W_f\">https:\/\/youtu.be\/_bAK614UsJM?si=1r_AYvfwRo210W_f<\/a><\/p>\n<p><strong><br \/>\n*<\/strong><\/p>\n<p>Her face is as if a moon glazed over<br \/>\nwith a less serene ceramic dust that in the end<br \/>\nafter its perplexity contains its surety.<\/p>\n<p>She draws her forefinger laterally across<br \/>\nunder her eye lid in a smear<br \/>\nnor can you change the image of what you are<br \/>\nin the pupil of her eye.<\/p>\n<p>Babble bodies blur<br \/>\nvoices with their echoes down the street<br \/>\nsky high, prices fly<\/p>\n<p>a bird song breaks, a splash charade.<\/p>\n<p><strong>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 From <em>Africa North\u00a0\u00a0\u00a0\u00a0\u00a0 (i)<\/em><\/strong><\/p>\n<p>&nbsp;<\/p>\n<p>By day the olive tree green in the blue sky of the window<br \/>\nseems almost immortal enriched with the blood<br \/>\nit\u2019s enriched, now at its roots.<\/p>\n<p>Costa de la playa, white beehives in the sun, all money, no honey.<\/p>\n<p>In the broken lights of the bazaar<br \/>\nthe dusky eyes of the beggar sunk in their sockets<br \/>\nmaze in crooked cul de sacs embargo amidst<br \/>\nthe furls of silk that foil the flickering lantern niche.<\/p>\n<p>In the gloaming a solitary reaper reaps its shadow.<\/p>\n<p>Streets packs ravage carcasses<br \/>\nat dawn, the city wakes to the city\u2019s obedience<br \/>\nto obey its disappearing shadows.<\/p>\n<p>A ghost city of watchers<br \/>\nwatched as shadows by a memory that has outlived them<br \/>\nnow fragments in an admixture of old, new<\/p>\n<p>amidst a junk yard of rubble<br \/>\nwatcher shadows phased captive to their fading stories.<\/p>\n<p><strong> \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 From<em> Africa North (ii)<\/em><\/strong><\/p>\n<p><strong>*<\/strong><\/p>\n<p>utumnal sludge\u00a0 trudge mush\u00a0\u00a0\u00a0\u00a0 trudge mush<br \/>\ndear ape\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 sweet ape\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 good ape<br \/>\nO homo rapiens\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 beautylovedeath<br \/>\nrhapsody in blue minor\u00a0 the trees<br \/>\nstark &amp; bare\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 don&#8217;t care<br \/>\nmush trudge sludge\u00a0\u00a0\u00a0 mush trudge sludge<br \/>\nswing low sweet\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 swing low sweet<br \/>\ncoming for to\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 coming for to<br \/>\ndepending on where of kith of kin of kinship<br \/>\ndear ape \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0beauty ape\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 love ape<br \/>\ndeath gape\u00a0\u00a0\u00a0\u00a0\u00a0 in the dark void\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 sing<br \/>\nbeautylovedeath beautylovedeath beautylovedeath<br \/>\ndeathbeautylove deathbeautylove deathbeautylove<br \/>\n&amp; so on\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 in a hole\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 to fall in fall in fall in<br \/>\nfalling\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 falling\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 falling<\/p>\n<p><strong>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 From\u00a0 <em>After the cave, the comet<\/em><\/strong><\/p>\n<p>You may listen to this poem as read by Robin himself:<br \/>\n<a href=\"https:\/\/youtu.be\/I2tbaDX8htU?si=9TqOwMFc9wMSSHF2\">https:\/\/youtu.be\/I2tbaDX8htU?si=9TqOwMFc9wMSSHF2<\/a><\/p>\n<p><strong>*<\/strong><\/p>\n<p>&nbsp;<\/p>\n<p>Chuang Tze perched<br \/>\non his usual precipice and reflected<br \/>\non to suicide or not to suicide.<\/p>\n<p>He recalled he had worn a dark suit<br \/>\ndark glasses, returned<br \/>\non a crowded summer\u2019s night to a past<br \/>\nwhose memories<br \/>\nhe could no longer remember<br \/>\nthere he had sown his wild seed<br \/>\nwhat had they come to now<br \/>\nbut the way of all nothingness.<\/p>\n<p>There are those who maintain<br \/>\ncreation is a purposeless drift<br \/>\nthose who maintain its entelechy<br \/>\ncan simulate a deity of divine attributes.<\/p>\n<p>Chuang Tze\u00a0 rocked to, fro<br \/>\nwould not such deities grow perplexed<br \/>\nabout their state of affairs<br \/>\ntraces of white fleece trailed<br \/>\nacross that blue emptiness called the sky<br \/>\nthus in that fall<\/p>\n<p>from that exalted simulation<br \/>\nbelieve they were immortal souls.<\/p>\n<p>Chuang Tze said<\/p>\n<p>Even the wind is flawed<br \/>\nas it speaks through the leaves of trees<br \/>\nthe moment of history.<\/p>\n<p><strong>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 From <em>The Split<\/em><\/strong><\/p>\n<p>You may listen to this poem as read by Robin himself:<br \/>\n<a href=\"https:\/\/youtu.be\/3cnPeizAw-k?si=3UHjLN3Gw9O2jCAO\">https:\/\/youtu.be\/3cnPeizAw-k?si=3UHjLN3Gw9O2jCAO<\/a><\/p>\n<p>&nbsp;<\/p>\n<p><strong>*<\/strong><\/p>\n<p><strong>GOOD NEWS<\/strong><br \/>\n<em>New Study \/ People<br \/>\neat at least 80,000<br \/>\nplastic particles a year<br \/>\nStory of the week<\/em><\/p>\n<p>i rise from my 5 dollar a day<br \/>\nchez longe my 1.50 dollar<br \/>\na day umbrella shade<br \/>\nto float on the see through sea<br \/>\nspitting out those same particles<br \/>\nwashed inshore watching<br \/>\nbrown bits of sewage dirt<br \/>\nthrough the corners of my eyes<\/p>\n<p><em>( University of Victoria Canada<br \/>\nwho led the research<br \/>\nother foods such as bread<br \/>\nprocessed products<br \/>\nmeat dairy &amp; vegetables<br \/>\nmay well contain<br \/>\njust as much plastic)<\/em><\/p>\n<p>cluster into filmy layers<br \/>\nto coagulate with algae<br \/>\n&amp; mollusk on the rocks<br \/>\nthat adorn the bay<br \/>\n&amp; tilting my head<br \/>\ni look outward<br \/>\nto where the sun<br \/>\nwill set on a distant isle.<\/p>\n<p><strong>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 From <em>Nine more for the road<\/em><\/strong><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"color: #008000;\"><strong><em>The Phoenix Rising from the Ashes = Le Ph\u00e9nix renaissant de ses cendres<\/em><\/strong><\/span><\/p>\n<p>Doubtless, one of Robin Ouzman Hislop\u2019s most notable achievements was his active participation as the Associate Editor of chapter 3, pp.173-187 3, (14 pages) in the multilingual anthology of sonnets and rhymed verse, <em>The Phoenix Rising from the Ashes = Le Ph\u00e9nix renaissant de ses cendres, <\/em>published in print in December 2013. Although this anthology is out of print, no longer available for purchase on Amazon, the online PDF version of it is available for free on <em>academia.edu<\/em>, here: <a href=\"https:\/\/www.academia.edu\/34578443\/The_Phoenix_Rising_from_the_Ashes_sonnets_in_English_French_Spanish_German_Chinese_and_Farsi\">(99+) The Phoenix Rising from the Ashes sonnets in English, French, Spanish, German, Chinese and Farsi<\/a>. We encourage you to download this remarkable multilingual anthology of sonnets of the early third millennium, in English (Chapter 1, pp. 1-140), en fran\u00e7ais (chapitre 2, pp. 141-170), <em>sonetos en espa\u00f1ol (pp. 173-179) = sonnets in Spanish <\/em>(translated into English, pp. 180-187), Chapter 4, Sonnets in Chinese (pp. 189-201) and Chapter 5, Sonnets, Formal Verse and Persian Ghazals in Translation (pp. 203-222). Here is Robin Ouzman Hislop\u2019s mini-bio from this anthology (in his lifetime, as of 2013):<\/p>\n<p>Robin Ouzman Hislop (UK), Co-editor of the 12 year running Webzine <em>Poetry Life and Times<\/em>, has made many appearances over the last years in the quarterly journals, <em>Canadian Zen Haiku canadien<\/em>, including In the Spotlight (Winter 2010) and <em>Sonnetto Poesia<\/em>. Recent publications in <em>Voices without Borders <\/em>Volume 1<em>, Cold Mountain Review<\/em>, <em>Post Hoc, Uroborus Journal<\/em>, 2011\u20152012 and <em>The Poetic Bond II<\/em>. He has recently completed a collection titled, <em>The World at Large<\/em>. Currently, he lives in Spain and engaged in poetry translation projects.\u00a0 (pg. 232)<\/p>\n<p>Feel free to browse through this anthology at your leisure, reading any sonnet in passing that catches your eye or which is particularly appealing to you, but above all, we draw your marked attention to Chapter 3, <em>sonetos en espa\u00f1ol (pp. 173-179) = sonnets in Spanish <\/em>(translated into English, pp. 180-187), curated by Robin Ouzman Hislop, which serves as a clarion portal into sonnets in Spanish millennium, lending us remarkable insights into his multi-varied talents as a sonneteer dedicated to the world-wide propagation of sonnets in Spanish of the early third millennium. We are bold to affirm Robin Ouzman Hislop\u2019s introductory synopsis and analysis of Spanish sonnets in this millennium. Notably, he has this to say:<\/p>\n<p><span style=\"color: #000000;\"><strong>Introduction <em>to Spanish Sonnets and their Translations into English<br \/>\n<\/em><\/strong><strong><em>(a warm debate held between Robin and Richard)<\/em><\/strong><\/span><\/p>\n<p><em>\u00a0&#8220;<\/em>Concerning the sonnet and its form, I\u2019m not really a stickler. A poet in my view may wriggle through composing one with all manner of irregularities and the end result might be viciously splendid. But having said that, if you are going to pursue the conventional form to the letter and confine yourself to that tight pattern rigorously, you must be sure the poem makes it, meaning: it is not sufficient to achieve that exact rhyming pattern if by doing so the poem is a complete flop.&#8221;<\/p>\n<p>Comment by Richard: &#8220;With respect to Robin Ouzman Hislop\u2019s assertion \u201cit is not sufficient to achieve that exact rhyming pattern if by doing so the poem is a complete flop\u201d, this is at least one point on which I beg to differ. Why so? Simply because over the centuries from the Renaissance to the present, in English literature alone, and surely as well in French, Spanish, German and Russian literature (amongst other languages), <em>thousands of splendid formal sonnets in strictly standardized rhythm and metre, as well as clearly defined rhyme, have been penned, amongst which we count some of the finest masterpieces of formal poetry of all time<\/em>. So let\u2019s not throw out the baby with the bathwater. Yes, Robin Ouzman Hislop has a perfect right to declaim that \u201cto achieve that exact rhyming pattern if by doing so the poem is a complete flop.\u201d, but it surely goes without saying that such complete flops have never stood the test of time, and for the most part, have thankfully never seen the light of day. But the same goes for blank and free verse sonnets in the vein that poets the likes of Robin Ouzman Hislop and countless others have composed over the centuries, where yet again such complete flops can never have stood the test of time, and likewise have never seen the light of day.&#8221;<\/p>\n<p>Robin Ouzman Hislop goes on to say: \u201cBetter by far is the first recourse.\u201d Again, I beg to differ. Better by far is neither the first course nor the second. Where it comes to splendid poetry, sublime sonnets, either course yields magnificent results. There is no golden nugget here. It is not a matter of strict, rhythmic, rhymed sonnets and verse versus blank or free verse sonnets. Literature, by which I mean, great literature, and indeed, great sonnets, cannot be parsed into two discreet compartments by mathematical, Boolean logic. Poetry is not logic, it never was, and never will be, thank heavens! So let us not quibble over which school wears the crown. Both do.<\/p>\n<p>On the other hand, Robin Ouzman Hislop brings these telling insights into play, and here I dare say he is bang on the mark:<\/p>\n<p>&#8220;As we all know the parable of the Persian carpet, where an error must be woven into its fabric. Again, in my opinion, the Latin languages excel in the sonnet form. \u2026 <em>passim<\/em>\u2026\u00a0 Perhaps it lies in the nature of the lyrical medium, which in the Spanish vowel system is <em>inflective<\/em> and in English <em>emphatic<\/em>. So we count the syllables differently: the norm of a Spanish sonnet is <em>endecasilabo<\/em> metre, 11 syllables, as opposed to English iambic pentameter, 10 syllables. The Spanish sonnets below have either followed an <em>endecasilabo <\/em>rhyming pattern or an Alexandrian, 14 (correction, actually 12) syllable blank verse pattern. So, in my translations of these three experienced poets, whose sonnets are of considerable calibre, I had to decide whether I was going to aim for a loose but hopefully exotic translation, which would entail a line by line construction with perhaps some altered synonyms to give the sense.&#8221;<br \/>\n(pg. 180)<\/p>\n<p>Here he seems to contradict himself, but may I stress, only <em>seems<\/em> to, insofar as the most prevalent form of the Spanish sonnet is in fact in rhymed verse, in <em>endecasilabo<\/em> metre, just as the prevailing form for the vast majority of English sonnets is standardized rhymed iambic pentameter. Here again, he appears to admit that several <em>formalized<\/em> Spanish sonnets he translates \u201care of considerable calibre\u201d. To be sure. He also appears to concede, albeit reluctantly, that \u201cI had to decide whether I was going to aim for a loose but hopefully exotic translation, which would entail a line by line construction with perhaps some altered synonyms to give the sense.\u201d In other words, he is able to have it both ways, celebrating formal, rhymed and metred <em>endecasilabo<\/em> Spanish sonnets, which he presents online in their original, as just he should, while at the same time, carrying off successful translations into English blank and free verse. All the more power to him.<\/p>\n<p>Here are some highlights formal or blank-verse sonnets in Spanish, some by other Spanish poets, characterizing not only sense of style, metre and rhythm, but indeed his remarkable poetic acumen:<\/p>\n<p><strong><em>Princeps Tenebrarum<\/em><\/strong><\/p>\n<p>Lamer\u00e1n sus tobillos las sombras de la noche<br \/>\ncuando termine el baile, e hipn\u00f3tico te mire:<br \/>\nle pides que te rasgue con la carne de un beso<br \/>\ny anhelar\u00e1s su cuerpo, su cuerpo que no est\u00e1.\u2026<\/p>\n<p>&nbsp;<\/p>\n<p><strong><em>Belle de Nuit<\/em><\/strong><\/p>\n<p>All\u00ed estabas, tan alta, mu\u00f1\u00f3n de alg\u00fan ant\u00edlope<br \/>\ncolocado en el cielo, ant\u00edlope de luz,<br \/>\nmientras abajo regode\u00e1bamos, rastreros,<br \/>\nt\u00fa, envuelta en velos, rememorabas la belleza.<\/p>\n<p><strong>(by Amparo Arr\u00f3spide)<\/strong><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Translated into English:<\/strong><\/p>\n<p><strong><em>Princeps Tenebrarum<\/em> * (excerpt)<\/strong><\/p>\n<p>The shadows of the night will be caressing his ankles<br \/>\nwhen the dance ends and he stares at you hypnotically<br \/>\nand you ask him to tear you open with a carnal kiss,<br \/>\nwhilst longing for his body, a body no longer there&#8230;<\/p>\n<p>* Latin for \u201cthe prince of shadows\u201d<\/p>\n<p>&nbsp;<\/p>\n<p><strong><em>Beautiful By Night<\/em> (excerpt)<\/strong><\/p>\n<p>You were there so high, like the hind of some rare antelope,<br \/>\nplaced aloft in a vaulted sky as a creature of light;<br \/>\nwhilst we, down below, delighted in our vulgarities,<br \/>\nyou, wrapped in veils, reminded us of the beautiful night.<\/p>\n<p>&nbsp;<\/p>\n<p>He goes on to say:<\/p>\n<p>&#8220;My own sonnet, <em>It\u2019s Not a Phantom from a Distant Past<\/em>, is an experimental construct in blank verse, not as you would find in the traditional Spanish <em>endecasilabo<\/em>, as in Neruda, but <em>in iambic pentameter<\/em>, though it has been translated into <em>endecasilabo<\/em> by Amparo Arr\u00f3spide and myself. Again, there is always a price in translation: the line \u201cbut only deepen where we\u2019re conceived\u201d, cannot be transferred even in reconstruction, although it is imperative to the sense of the poem. It has to be insinuated into the context in order to achieve the <em>endecasilabo<\/em> form, even in blank verse. Overall, it may be viewed as a sort of ghost poem, though its beginning starts out in apparent denial of that. The penultimate line uses the phrase \u201cholographic horizon\u201d and, although the allusion to surface applies, it is intended as a philosophical allusion as well as the theory of physics as expounded by exponents such as David Bohm and Leonard Susskind. The sense may be better appreciated from a quote used by Dorion Sagan in one of his poems:<\/p>\n<p><em>In what sense \u2018is there\u2019 a star that exploded a thousand years ago, and that we see now?\u2026 it is to be noted that, according to the distinction between phenomenon and noumenon, everything visible\u2014ourselves included\u2014could be nothing but memory <\/em><em>and phenomenalization, no less than stars that have exploded, and appeared precisely when they have ceased to be noumena<\/em>. (Maurizio Ferraris)<\/p>\n<p><strong><em><br \/>\nIt\u2019s Not a Phantom from a Distant Past<\/em> (excerpt)<\/strong><\/p>\n<p>What enters then in this frame\u2019s perception,<br \/>\nalluring because it\u2019s beyond approach,<br \/>\nthat cheats memory and never lets it go,<br \/>\na holographic cosmic horizon<br \/>\nor death always reminding us we die?<\/p>\n<p>&nbsp;<\/p>\n<p><strong><em>Burning on the Stiff Mast of her Bones<\/em> (excerpt)<\/strong><\/p>\n<p>Her body lamed like fiery wings<br \/>\nburning on the stiff mast of her bones,<br \/>\nwhilst the nights were rendered to waltzes<br \/>\nby the sweet tame words of her kisses.<\/p>\n<p>Now her womb luctuates obsessive echoes,<br \/>\nechoes where once a life\u2019s blood was lighten&#8230;<br \/>\nand that in the flesh of her day is frozen<br \/>\nnow in her ruins, as the burden that weighs.<\/p>\n<p>It was a female\u2019s dream of its seed<br \/>\nof torrential moons upon the shores<br \/>\nlovingly healed the wounds of destiny.<\/p>\n<p>She sows the word with its deed,<br \/>\nshe loved with the love of spring waters,<br \/>\ndrowning as thus her light and her way.<\/p>\n<p><strong>Translated by Robin Ouzman Hislop from Luis Fores\u2019 <\/strong><br \/>\n<strong>\u201cQuemando el duro m\u00e1stil de sus huesos\u201d<\/strong><\/p>\n<p><strong>(all original poems\u00a0 in Spanish published at Poetry Life and Times)<\/strong><\/p>\n<p>&nbsp;<\/p>\n<p>Above all else, it is noteworthy that Robin Ouzman Hislop diverges from what we might assume to be the standard or normalized format for the sonnet in Spanish, which we would naturally expect to adhere to the standard tenets in the devolution of the sonnet form in English, namely, (a) <em>the adherence to a strict rhythmic pattern in the deployment of the iambic pentameter <\/em>and (b) <em>equally strict adherence to the standard rhyme scheme of the sonnet genre in English <\/em>= <em>abab, cdcd, efef, gg<\/em>, insofar as he asserts, on the contrary, that sonneteers of his persuasion are not to be bound by such formalized tenets, but who instead envision their primary aim, which is to impress us with the impact of their visceral, frequently kinetic and sometimes even emotionally and psychologically jarring eidetic imagery and tempo.<\/p>\n<p>His approach to the normalization of the sonnet genre along these lines may well prove anathema to die-hard purists of the sonnet form who adhere to the much stricter tenets cited above, namely, strict rhythm and rhyme throughout, but I for one believe we should always keep an open mind, on the understanding that the merits of either school, rhythm and rhyme versus blank and free verse, speak volumes to the reader.<\/p>\n<p>Regardless of whether \u201cthe poet\u201d (in the widest sense of that term) is a formalist, insisting on precise rhythm and standardized rhyme or otherwise espouses the more elastic forms of blank and free verse (as does Robin Ouzman Hislop), we need only recall the immortal words of Percy Bysshe Shelley, in his masterpiece, <em>A Defence of Poetry<\/em> (1821, published posthumously in 1840), which lay out the principle tenets of lyric poetry from time immemorial in the sublime realm it uniquely occupies:<\/p>\n<p>&nbsp;<\/p>\n<p><strong>From Percy Bysshe Shelley, <em>A Defence of Poetry<\/em>:<\/strong><\/p>\n<p>Poetry, in a general sense, may be defined to be \u201cthe expression of the imagination\u201d: and poetry is connate with the origin of man. <em>Man is an instrument over which a series of external and internal impressions are driven, like the alternations of an ever-changing wind over an \u00c6olian lyre, which move it by their motion to ever-changing melody. <\/em>But there is a principle within the human being, and perhaps within all sentient beings, which acts otherwise than in the lyre, <em>and produces not melody alone, but harmony, by an internal adjustment of the sounds or motions thus excited to the impressions which excite them<\/em>.<\/p>\n<p>Poets, according to the circumstances of the age and nation in which they appeared, were called, in the earlier epochs of the world, legislators, or prophets: <em>a poet essentially comprises and unites both these characters. For he not only beholds intensely the present as it is, and discovers those laws according to which present things ought to be ordered, but he beholds the future in the present, and his thoughts are the germs of the flower and the fruit of latest time<\/em>.<\/p>\n<p>An observation of the regular mode of the recurrence of harmony in the language of poetical minds, together with its relation to music, produced metre, or a certain system of traditional forms of harmony and language. <em>Yet it is by no means essential that a poet should accommodate his language to this traditional form, so that the harmony, which is its spirit, be observed<\/em>. The practice is indeed convenient and popular, and to be preferred, especially in such composition as includes much action: <em>but every great poet must inevitably innovate upon the example of his predecessors in the exact structure of his peculiar versification<\/em>. (<em>all italics mine<\/em>)<\/p>\n<p>Does Robin Ouzman Hislop echo Shelley\u2019s sublime tenets? Indeed he does.<\/p>\n<p><strong><br \/>\n\u00a9 by Richard Vallance, 2026, Editor-in-Chief, <em>The Phoenix Rising from the Ashes = Le Ph\u00e9nix renaissant de ses cendres<\/em>. Victoria, B.C.: Friesen Press, 251 pp. ISBN 978-1-4602-1701-6 \u00a9 2013 (out-of-print) PDF accessible free online at:<\/strong><\/p>\n<p><a href=\"https:\/\/www.academia.edu\/34578443\/The_Phoenix_Rising_from_the_Ashes_sonnets_in_English_French_Spanish_German_Chinese_and_Farsi\">(99+) The Phoenix Rising from the Ashes sonnets in English, French, Spanish, German, Chinese and Farsi<\/a><\/p>\n<h4><span style=\"color: #008000;\">This is the final issue of Poetry Life &amp; Times. The Perils of Norris can still be found at:<br \/>\nhttps:\/\/www.artvilla.com\/plt\/poetry-life-times\/the-perils-of-norris-ai-cartoon-by-sara-l-russell\/<\/span><\/h4>\n<p>&nbsp;<\/p>\n<div class=\"wp-socializer wpsr-share-icons\" data-lg-action=\"show\" data-sm-action=\"show\" data-sm-width=\"768\"><h3>Share and Enjoy !<\/h3><div class=\"wpsr-si-inner\"><div class=\"wpsr-counter wpsrc-sz-40px\" style=\"color:#000\"><span class=\"scount\" data-wpsrs=\"\" data-wpsrs-svcs=\"pinterest,print,pdf,twitter\"><i class=\"fa fa-share-alt\" aria-hidden=\"true\"><\/i><\/span><small class=\"stext\">Shares<\/small><\/div><div class=\"socializer sr-popup sr-count-1 sr-40px sr-pad\"><span class=\"sr-pinterest\"><a data-pin-custom=\"true\" data-id=\"pinterest\" style=\"color:#ffffff;\" rel=\"nofollow\" href=\"https:\/\/www.pinterest.com\/pin\/create\/button\/?url=&amp;media=&amp;description=\" target=\"_blank\" title=\"Submit this to Pinterest\"><i class=\"fab fa-pinterest\"><\/i><span class=\"ctext\" data-wpsrs=\"\" data-wpsrs-svcs=\"pinterest\"><\/span><\/a><\/span>\n<span class=\"sr-print\"><a data-id=\"print\" style=\"color:#ffffff;\" rel=\"nofollow\" href=\"https:\/\/www.printfriendly.com\/print?url=\" target=\"_blank\" title=\"Print this article \"><i class=\"fa fa-print\"><\/i><\/a><\/span>\n<span class=\"sr-pdf\"><a data-id=\"pdf\" style=\"color:#ffffff;\" rel=\"nofollow\" href=\"https:\/\/www.printfriendly.com\/print?url=\" target=\"_blank\" title=\"Convert to PDF\"><i class=\"fa fa-file-pdf\"><\/i><\/a><\/span>\n<span class=\"sr-twitter\"><a data-id=\"twitter\" style=\"color:#ffffff;\" rel=\"nofollow\" href=\"https:\/\/twitter.com\/intent\/tweet?text=%20-%20%20\" target=\"_blank\" title=\"Tweet this !\"><i class=\"fab fa-twitter\"><\/i><\/a><\/span>\n<span class=\"sr-share-menu\"><a href=\"#\" target=\"_blank\" title=\"More share links\" style=\"color:#ffffff;\" data-metadata=\"{&quot;url&quot;:&quot;&quot;,&quot;title&quot;:&quot;&quot;,&quot;excerpt&quot;:&quot;&quot;,&quot;image&quot;:&quot;&quot;,&quot;short-url&quot;:&quot;&quot;,&quot;rss-url&quot;:&quot;https:\\\/\\\/www.artvilla.com\\\/plt\\\/feed\\\/&quot;,&quot;comments-section&quot;:&quot;comments&quot;,&quot;raw-url&quot;:null,&quot;twitter-username&quot;:&quot;&quot;,&quot;fb-app-id&quot;:&quot;&quot;,&quot;fb-app-secret&quot;:&quot;&quot;}\"><i class=\"fa fa-plus\"><\/i><\/a><\/span><\/div><\/div><\/div><div class=\"wp-socializer wpsr-share-icons\" data-lg-action=\"show\" data-sm-action=\"show\" data-sm-width=\"768\"><div class=\"wpsr-si-inner\"><div class=\"socializer sr-popup sr-32px sr-pad\"><span class=\"sr-facebook\"><a data-id=\"facebook\" style=\"background-color:#1e73be;color:#8224e3;\" rel=\"nofollow\" href=\"https:\/\/www.facebook.com\/share.php?u=\" target=\"_blank\" title=\"Share this on Facebook\"><i class=\"fab fa-facebook-f\"><\/i><\/a><\/span>\n<span class=\"sr-share-menu\"><a href=\"#\" target=\"_blank\" title=\"More share links\" style=\"background-color:#1e73be;color:#8224e3;\" data-metadata=\"{&quot;url&quot;:&quot;&quot;,&quot;title&quot;:&quot;&quot;,&quot;excerpt&quot;:&quot;&quot;,&quot;image&quot;:&quot;&quot;,&quot;short-url&quot;:&quot;&quot;,&quot;rss-url&quot;:&quot;https:\\\/\\\/www.artvilla.com\\\/plt\\\/feed\\\/&quot;,&quot;comments-section&quot;:&quot;comments&quot;,&quot;raw-url&quot;:null,&quot;twitter-username&quot;:&quot;&quot;,&quot;fb-app-id&quot;:&quot;&quot;,&quot;fb-app-secret&quot;:&quot;&quot;}\"><i class=\"fa fa-plus\"><\/i><\/a><\/span><\/div><\/div><\/div>","protected":false},"excerpt":{"rendered":"<p>by Amparo Arrospide Including an interview with Amparo Arrospide by Sara L Russell, plus additional tributes by David Michael Jackson, Loukia Borrell and Sara L Russell plus a special tribute by Richard Vallance. Sara: Firstly, Amparo, may I say how sorry I am for your loss, and how we will all miss Robin, whose contributions &#8230; <a title=\"Poetry Life &#038; Times August 2026: A Tribute to Robin Ouzman Hislop\" class=\"read-more\" href=\"https:\/\/www.artvilla.com\/plt\/poetry-life-times-may-2026-a-tribute-to-robin-ouzman-hislop\/\" aria-label=\"More on Poetry Life &#038; Times August 2026: A Tribute to Robin Ouzman Hislop\">Read more<\/a><\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"_links":{"self":[{"href":"https:\/\/www.artvilla.com\/plt\/wp-json\/wp\/v2\/posts\/8882"}],"collection":[{"href":"https:\/\/www.artvilla.com\/plt\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artvilla.com\/plt\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artvilla.com\/plt\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artvilla.com\/plt\/wp-json\/wp\/v2\/comments?post=8882"}],"version-history":[{"count":4,"href":"https:\/\/www.artvilla.com\/plt\/wp-json\/wp\/v2\/posts\/8882\/revisions"}],"predecessor-version":[{"id":8886,"href":"https:\/\/www.artvilla.com\/plt\/wp-json\/wp\/v2\/posts\/8882\/revisions\/8886"}],"wp:attachment":[{"href":"https:\/\/www.artvilla.com\/plt\/wp-json\/wp\/v2\/media?parent=8882"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artvilla.com\/plt\/wp-json\/wp\/v2\/categories?post=8882"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artvilla.com\/plt\/wp-json\/wp\/v2\/tags?post=8882"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}