Poet, Painter and Musician T. Byron Kelly has been working as an active performance artist in the South Western Virginia area Appalachia for over two decades and has generations of family from West Virginia, Kentucky and Virginia. Live, spontaneous lyric poetry performances and gallery exhibits have been at the heart of the Poet's work. Byron received private art instruction during that time and was also a member of Tri-M Modern Music Masters honor society.
Byron studied the relationships between poetry, painting and music and soon began to illustrate his own poems with paintings and put them to music as well. Are you an author? Help us improve our Author Pages by updating your bibliography and submitting a new or current image and biography. Learn more at Author Central. The Beginning of The End. The Beginning of the End. Crows in black branches all morning.
Departing Sunlight still shines an old poem amid sullen petals. Damp Snow and the smell of February fields- One tiny birdsong lifts into the thaw. Crows through a sun- ribboned sky. Popularity Popularity Featured Price: Low to High Price: High to Low Avg. Wild with ideas, rich with emotion, her lines focus on paintings and sculpture, then leap from them into her own spirited imagination.
Her words praise what "we see and can never see. The recombinant DNA of Baugher's chosen gallery generates its own idiosyncratic "axial heat. Ekphrastic poems must not simply describe their subjects; they must embody them. Myles Gordon is a writer and teacher living in Newton, Massachusetts. He also co-produced the independent documentary Touching Lives: Portraits of Deafblind People. He has published poetry in several periodicals and is a past honorable mention for the AWP Intro Award in poetry.
Inside the Splintered Wood is tender and deeply human. Myles Gordon is simply an outstanding poet. Myles Gordon's Inside the Splintered Wood is a very funny book. But don't take this poet lightly. He'll be the one telling the "joke of utter humanity" when the place blows up.
Inside the Splintered Wood , the debut collection from Myles Gordon, is at once brave and ravenous; an embodiment of love starved for itself. It's also a pledge, fulfilled poem after poem. There is danger here, but also gratitude and redemption.
Spoken by different voices, real and imagined, famous and infamous, these poems strike at the heart, at its brightest 'wood. A remarkable sonnet sequence lies at the heart of Myles Gordon's brave collection about family and history and the resulting wounds and recovery. The sonnets unfold steadily, inexorably, reaching into the poet's core being time and again.
The depth of Gordon's insight is fully matched by the artistry of his verse; he has written a powerful book. Jean Barrett Holloway 's honest and original poems lead into the obsessions of a world where failure, pain, sweat, blood, injury, and the inevitable ice baths are just a breath away from magic: Jean Barrett Holloway has produced a very insightful memoir of her years of involvement with a hard core weightlifting team.
Her reflections bring back vivid memories to those who were there over the years. For those in the sport, it provides a glimpse of events, personalities, and unique insights to what really happened as part of hard training and stressful competition. A wonderful overview of a tribe of weightlifters that leaves one wishing for more.
It turns out we never leave this world; it leaves us, touch by touch and thing by thing. But there are enchantments in the empty spaces if we would only look for them. We will never be made whole again but, "That's not the point: Linguistically playful, unabashedly romantic, combining wit and irony and unrelenting longing, Larry Colker's poems remind us that it's never too late to lose everything, never too late to risk everything again.
In Amnesia and Wings , the world is seen through the eyes of a speaker who seems to be both a kind of spy in his own house of love and a kind of film noir anti-hero of his own life. He looks back and looks forward and wants, after all, the caterpillar's gift to the butterfly— Amnesia and Wings —and he makes us want that, too.
Larry Colker's Amnesia and Wings speaks insightfully. A master of the apt and unexpected metaphor, Colker spikes emotion with wit to keep readers engaged and on their toes. This book won't give you amnesia; it will refresh your memory.
It will give your imagination wings. Stephen McDonald reveals the sacred that's in everything around us. In the title poem, when the boy steps out of the House of Mirrors, the faces of the people at the carnival "waver and shimmer". This is what these poems do—they show us the shimmering world. House of Mirrors is about people: I'm drawn to the poems of Steve McDonald, the way they move so easily from the sacred to the profane and back again. Their language is both lyrical and specific. Their subject is the human heart. Steve McDonald makes the ordinary extraordinary as he examines nature and ourselves in unflinching detail.
In House of Mirrors , we move from the wonder of a spider and its intricate web to the machinations of the human heart. The beauty of McDonald's imagery opens us to his and our own vulnerability and struggles "mud nests hang. In this book the startling and raw turn into a state of grace. He lives with his wife, Marlyle, in Murrieta, California.
Steve can be contacted through his website at stevemcdonaldpoetry. Fuji , Natal is the author of three previous poetry collections: A multi-year Pushcart Prize nominee, his poetry has appeared in many journals and anthologies, including New Poets of the American West and Beyond Forgetting: He teaches creative writing, leads workshops, and curates literary events. The founder of Conflux Press, he lives in Los Angeles. The Haibun Variations is a record of a year, mostly in Arizona and in an interconnected age, of the struggles of everyday life in the context of family, place, current events, and art.
Interspersed with journal entries are short haiku-like poems that reflect and refract the light of the prose in surprising ways. Reading the pieces in succession, you can feel your mind shifting from prose-mode to poetry-mode. With an informative 'Afterword,' it is a must-read for anyone who wants to understand or write contemporary haibun. In 52 Views , Jim Natal mines daily experience in these observant and insightful, contemporary haibun. These poems celebrate the ghosts of our pasts, the struggles of our present, and the uncertain hopes we recklessly claim for our futures.
The poems in Dixie Salazar 's Altar For Escaped Voices are ambitious invitations to contemplate her deeply observed world. From Jimson weed to television remotes to lost ancestors, Salazar deftly frames a fast-streaming consciousness collected from the fleeting present and concrete past, aware of the challenge of apprehending this mortal life: This is where poetry meets art.
In Dixie Salazar 's groupings of altar items, the unholy pairings are often comical and dreadfully sad. These altars are worth a visit, with our hands not in prayer but touching both cheeks in astonishment. Stanley Kunitz once said, "I dream of an art so transparent that you can look through and see the world. His project has always been one of clarity, of specific and imaginative attention to the world. What always characterizes C. His voice is never severe, despite his insistence on seeing, as Worsdworth would say, "into the life of things. Reading The Lives of Birds is like taking a walk with a clear-eyed and intent companion: Small wonder that birds frequently turn up in these poems: Hanzlicek is drawn to those occasions when the common and familiar give way to what is transcendent or redemptive, which is to say that he is essentially a poet of celebrations.
Dark days or fair, these are poems I return to. Tsvetanka Elenkova is an important figure in Bulgarian poetry. But her importance is much more than merely national. Her poems are still and controlled, yet are at the same time exercises in transcendence. They are both thought-experiments and insights. Elenkova is that rare thing in twenty-first century literature, a poet whose faith makes everything appear afresh.
Tenderly, she offers the reader a world that is both familiar, and lightly transformed. Elenkova is surprising, necessary and unique. The essence of these poems is a prayerful relation to the world, but without being directed to God, or asking for something in return for her belief. All the poet asks is that language, as it makes its way to the page, remain vital and alert, as it embraces human conundrums and paradoxes. Todd Fredson's first collection of poems is a sometimes live run of cradle songs balanced with the falling catkin atmospheres of some of our more terrible vehicles of human salvation.
I think of Rilke's pained-city , and Roethke's Far Field. What I celebrate here is the originality of this work and the simple fact that I cannot easily make it subordinate to other important first books of our period. The poems in The Crucifix-Blocks , Todd Fredson's mysterious and beautiful debut, spring from that most authentic of impulses: But walking, as he does, at the union of cloud and consequence, he's written a book that affects the ear as much as it does the heart. In exploring the rewards of undertaking treacherous travels— both of body through West Africa and the mind romantic and familial love — it wants to center the self on a great continuum of meaning.
It looks back, it looks forward, but most importantly, it looks out. This is a passionate, gorgeous and satisfying book. Again and again, these meditations expose their quiet wisdoms with an admirable sleight-of-hand. Against the meditative flow of any given passage, unexpected and exquisitely honed images appear with the force of lightning strikes. The precise and surprising architectures of these poems help expose the heart's — and the mind's — inevitable emergencies. Todd Fredson brings a delicate, incisive, and lyrical social realism to American poetry, and with this single book has emerged as one of our most powerful younger voices.
He lives with his partner and their two sons in Santa Monica, California. Sam Pereira's poems are built to last. The expertly turned sentences and lines show exquisite craftsmanship.
But Pereira's poems reach way beyond craftsmanship. With a tonal range that includes hilarity and wonder, righteous indignation and whispered affection, Pereira accounts for experience—the poet's own and all of ours—with the fidelity and big-heartedness of a first rate artist. Like the horse who appears in one poem, this book waits generously for you, and then it "takes you on the ride of your life.
In poems that are "Sexy, mysterious, in pain," Pereira allows desire to diminish until it falls, at last, within our grasp: Like a night of sipping single malt Scotch and listening to Chet Baker while recalling ex-lovers, these poems provide those exquisite sensual pleasures that "make [our] lives remarkable again.
Sam Pereira's poetry creates an entire universe in which the possible and impossible seamlessly coexist. God is a great rabbit, the screams of lobsters will never be heard, horses never learn to read, Tupac is rapping to the angels, and Sinatra would be singing the author's songs were it not for the fact that he's dead and shooting craps at the Sands Heaven. Dusting on Sunday is filled with intelligent wit that allows its deeper themes to be heartfelt by the reader. He has appeared in numerous anthologies, including Piecework: Poems from the American Poetry Review W.
Catharine Clark-Sayles writes with a cool critical eye and yet, at the same time, with great grace and conviction. This a delicate balance—one not every poet can manage—but she does it extremely well. Her life experiences are broad and her compassion is unlimited. It's all there in the title poem, Lifeboats, and the poems that make up this collection enact what Catharine Clark-Sayles calls the "rules of lifeboats: Someone always goes mad; someone always dies; and someone will be eaten Clarke-Sayles is a truth-teller, and there's a certain quiet, a serenity to the work, well-observed and welcome in our mad, unsettled times.
Seems, does it not, that we are all, one way and another, ready these days for the cry, "Man the lifeboats! Catharine Clark-Sayles writes poetry between patients in her medical practice. Her family came from West Virginia and traveled over much of the United States with her military father. She completed medical school in Denver and moved to San Francisco. A childhood love of poetry resurfaced in her forties and she has been writing ever since. Anthologies including her work are: Her first book, One Breath , was published by Tebot Bach in A Map of Shadows is an ambitious, enthusiastic sequence of lyrics and meditations that is unique yet has affinities with works as distinguished—and as "difficult," because of far-flung sources and innovative arrangements—as Ezra Pound's Cantos and David Jones's Anathemata.
Everywhere informed by a sensibility strongly inclined to synaestheia, this volume speaks to the collector of curiosities and the connoisseurs of chaos latent in the postmodern soul. By turns effete, surreal, charming, and daring, but continually deft, this map of poetic shadows tells mysterious stories, tickled by the occasional flutter of rhyme over the steady wonder of the unfolding images. Gabriel Meyer has a light touch and a sure hand.
Gabriel Meyer's new collection A Map of Shadows is an ingenious and compelling sequence of meditations and reflections on the Tuileries garden in Paris, as both subject and backdrop. Gracious and elegant at every moment, A Map of Shadows recognizes the constant desire for an Eden—a paradise—that arises in artist, citizen, and lover alike. John Author of The Auroras Through the hard lens of the recent war in Iraq, the poems in David Allen Sullivan's Every Seed of the Pomegranate span the wide landscapes of history, culture, and mythology. More importantly, Sullivan's gaze is steeped in compassion for all connected to the combat zone; these finely crafted poems investigate and interrogate that which is most deeply human.
During a recent trip to Baghdad I was asked by an Iraqi poet, "When will the artists in America create work in conversation with us? David Allen Sullivan paints a visually nuanced and starkly realistic picture of the horrors and futility of war; he has crafted this picture not with brush and paint, but pen and ink. These are poems not so much driven by the war in Iraq, as by a highly artful feel for the craft of poetry, and by the poet's distillation of others' experiences of that war. Like Brian Turner before him, David Allen Sullivan has allowed the war and its already lingering consequences to use him as a vessel to bring the war home.
Still, what is most brilliant here is the depth and breadth of a lovely and never tired diction that the poet finds appropriate to tell— show really—illuminated moments from the war, a sense of the musical line that is eerily appropriate to its often grim contexts, and a luxurious clarity and sure-handedness that makes you feel glad for the power of language to endure even our most horrible human deeds.
Here is a poet to be reckoned with. Through an almost trance-like conjuring of individuals' voices from the U. These are poems which remind us how far back war reaches and how long it will take to recover. Like one of his characters, the porcelain factory worker in Ramadi recycling rejects, David Allen Sullivan takes the sacred dust that's left us and remakes it into poems that "earn back what's lost. These gritty, lyrical poems about the invasion of Iraq, issue not from CNN, but from the voices David Allen Sullivan has listened to, and from his own empathetic and far-ranging research and study.
It is the deep, real, considered response of a citizen who is paying for the war in more ways than one—as we all are. It is a moving and important book. Listening to poetry is one of those imaginary vehicles we can ride in until we hit an honest IED of traumatic memory. The poems in this book contain many such explosions.
The often praiseful, sometimes wrenching poems in Toni Hanner's The Ravelling Braid are stories of the well-worn earth, lost ancestors, of lovers and seekers, of 'bones and blood black with rain. This bighearted poet calls us to a world where we are braided with loss and redemption. The narrator remembers the forced assimilation of her father, aches with the pleasure of dance—"bones and blood black with rain"—and conjures up a world of tomatoes, cottonwoods, red clay, Lutheran potluck dishes, diner waitresses and old Fords.
This is a necessary book for our times: As is common in first books, with The Ravelling Braid Toni Hanner erects a creation myth to introduce her voice to the contemporary poetry landscape. What is wonderfully uncommon here is the singularity, maturity and assuredness of that voice. These are musical, expertly wrought lyric narratives that remind us that storytelling and craft are alive and, more importantly, relevant, to readers in the 21st century.
A very fine collection — brimming and sparkling. When readers reach the bottoms of these poems, the air will be different. She is married to the poet Michael Hanner and lives in Eugene, Oregon. If Carroll Kearly relied on mere reminiscence to propel the reader from poem to poem in The Plain Above the River , the collection might devolve to "fragments of memory keep[ing] family together".
Instead, he evokes a sensuality and sensibility rapidly disappearing from the American cultural landscape. No matter how or where your personal history has been constructed, these simultaneously simple and complex poems will remind you of sensations you may have forgotten: Read this book slowly. Kearley explores the currents of his life—and ours—in these place-infused lines. We are rooted and uprooted by the "snow-born, spring-born" memories of family, burnt umber fields, jitterbug rapids and graveled roads that he evokes with love and attention. Rest awhile in the clapboard house of these thoughtful poems.
This collection of poems is memoir and celebration. The work is both plain as oatmeal and subtle as the flight of birds. Somewhere Wallace Stegner says that Europeans had to learn a whole new pallet to appreciate the American West. Kearley has his colors right Look at them. In Carroll Kearley was born in a farmhouse his maternal grandfather built one mile from Buhl, Idaho, a town twenty-four years older than he. Carroll grew up on two small farms, one on each side of the river.
He earned a Ph. After retirement at age sixty-five, he started the serious venture of writing poetry. Tebot Bach has published two books of his poems: Deity-Alphabets and The Armenian Watchmaker. This album of dreams is also a book of mirrors, and in each refl ection we see ourselves reckoning both the desires and experiences of our lives. Opaque Traveler is a dreamscape painted in poetry.
They have meaning beyond the fragmentary, coalescing into a palpable, vivid, and compelling whole. Ancient traditions around the world respect the dreamer and the dream life as an important source of wisdom and vitality. Big dreams contain our essence and the longings of the soul, expressed in the metaphors of myth. Catherine Svehla, mythologist and storyteller. Willie James King is a truthseeker, a trustseeker. In this book he pursues his double quest first by examining the injustices to all humanity through the execution of Troy Davis, the murder of Martin Luther King and the forced uprooting of thousands of ancestor-souls from Africa.
How a poet comes to his voice remains a mystery and so it should remain, for poetic lyricism and passion rise up in the darkest of times, as well as in the most beautiful. It sings those moments when the words in one's mouth taste of blood, as well as those when they taste of ripe plum, sweet, sweet, sweet , as Willie James King reminds us, closing out his powerful new book of poems.
His poems sing, mourn, rage, celebrate, their language always remaining true to its source. There is much to be learned here, and I am grateful to be one of King's students. The poet is a teacher and a traveler: Along the way, many have told her their stories and secrets, and she shares these stories and her own with an engaging blend of deep reverence, compassionate vision, and quirky humor. These poems are ambitious yet humble, intimate yet outward-looking, spiritual yet irreverent, and always, always sure-handed.
What Rosaly does in this poem is write about people by writing about suitcases, so to speak, so to speak. Robin Chapman is both a poet and a scientist and in her new collection, The Eelgrass Meadow, science and poetry meet and find shared meaning. In these beautiful and moving poems, Chapman's tone glides between elegy and rallying cry, between delight at discovery and sorrow at what is to come. This book will inform and transform your vision of our shared world. Robin Chapman brings to her poetry an acute attentiveness to the lives and features of the world around her. Her words are accurate, informative, imaginatively arranged, and often filled with passion as they focus on our human conflicts, concerns, and responsibilities toward the earth and our world.
Chapman's tones of respect and gratitude for life are present in each and every poem of The Eelgrass Meadow. Another unforgettable collection of poems from Robin Chapman with an eye for the riveting detail and an ear for the world's resonant music. Robin Chapman is author of six previous books, including the award-winning Images of a Complex World: As the speaker in the poem "Equinox" says: Shawn Pittard is a master of details.
He describes the natural world with the precision of a scientist: A scientist who is all Eye. But he is just as precise about himself, his feelings, desires and regrets—and fully honest. That honesty, combined with that close eye, adds up to compassion, perhaps the worthiest virtue. Selected Poems and Day Moon. I love these poems—their wild heart and meditative grace, how they grapple with God and mystery.
And as the fog begins to lift, swing for steelhead in a luminous blizzard of refracted light. Shawn Pittard is the author of a previous chapbook collection, These Rivers , from Rattlesnake Press. Aby Kaupang's poetry demonstrates the effects of passion and will as they collide with the brutalities of the world. In writing that is often startling and idiosyncratic, Kaupang surges to the core of the painful paradoxes that beset all of us; this poet doesn't so much work to resolve contradictions as to force new and courageous energy from their irresolvability.
Speaking of loss, Simone Weil states that the presence of an absent or deceased person is "imaginary, but his presence is very real: Brave, uncanny, and deeply felt, this book balances the delicacies of attention with the fortitude of continuing exploration. Absence is insatiable, its boundless appetite preys upon the imagination in ways that language can only hint at. Which is perhaps why poetry is a so apt a vessel for responding to absence: Aby Kaupang's poems are inhabited by spirits; they literally speak in tongues; they are "a tender haunting in the glass beneath the waves.
Anyone who has borne grief will recognize its teethmarks here: This poetry is of spirit, sound, and naming. Its efforts are worthy, visible; inscribed with lit-up delicacy on the surface tension holding the subject and her subjects. Love, vision, god, death, surrender.
She lives with the poet Matthew Cooperman and their two children in Fort Collins. With each poem in Robert Wynne's new collection, details set us down somewhere both new and and recognizable. Details are only tools, though. What transforms them here, what surrounds us in the textures, the dimensions, of a world we want to inhabit—what makes Self-Portrait As Odysseus so engaging is Wynne's inimitable imagination.
Another jetlagged poet might have the nerve to steal a scene or two from Homer. But Tobert Wynne has the courage, the audacity the vision for this stunning synthesis of the epic and the mundane. Public restroom grafitti, water spots on a hotel mirror, Graceland, the Alamo—Wynne's eye alights on all with curiosity and wonder. Let the journey begin. A former co-editor of Cider Press Review. He has published 6 chapbooks, and 3 full-length books of poetry. He's won numerous prizes, and his poetry has appeared in magazines and anthologies throughout North America.
He lives in Burleson, TX, with his wife, daughter and 4 rambunctious dogs—but he travels quite a bit. This number, give or take, is on the Earth's odometer after completing ten revolutions around the sun. These hosts, Ben Trigg and Steve Ramirez, have gathered poems from a selection of poets who have, at some point in the past decade, made the trek from coordinates across the country to The Ugly Mug.
Have you ever experienced free fall and the full affect of gravity? This is what it must feel like to host a series. There are moments, as with any death-defying action, when time slows to nothing and certain images or ideas are stamped on the memory in a definition higher than any television in existence. These poems are those moments, those mementos.
Your travel guide could be a pilot, maybe an angel. There are cavemen and gravediggers. Examine everything from crayons to planets—this anniversary anthology covers great distances. Open to any page, surrender and let the earth spin. Let the words pass you at the incredible speed of life. All the Birds Awake joyfully demonstrates how, like the salmon, all our lives "are swirling forward. She takes us out far and in deep, striving for that state of mind where all "conclusions are gone" in favor of open-ended wonder. Kaune has accomplished something with All the Birds Awake rarely seen in contemporary poetry—she has amplified, without altering, the voice of those events, objects, and creatures that are so quiet they're often overlooked.
And in the process enriched us with the lessons they so modestly bear. These poems read like stories shared between friends around a common table—at other times like prayer whispered by soldiers under fire. This is an unbearably wise book filled with a holy reverence for the beauty and terrors of everyday life.
I am reminded, reading these poems, of the moments when Nature out of everything known produces something brand new. All the Birds Awake is a book every pilgrim on the road to a better understanding of their humanity should carry in their pack. This mindful poet notices, as war begins, a bowl of white roses beside a bed. Another friend lives deliberately and well, knowing cancer is taking over her bones. Thirty years of marriage—surprises, sorrows, delights. These vivid poems show us ways to live and ways to face the end of living.
Gayle Kaune's poems are wise, sad, funny, exuberant, and compassionate. Their quick leaps and changes of camera angle tug at the mind, while her language—colloquial yet rich with metaphor— often moves us. She writes of children who are "hallelujah fruit pies," a father who "sank into the silky fathoms of his death. These poems, balancing light and dark, offer us abundance. Kaune's faith is that life is "like that headed fountain. Drink from all the faucets, the world brings you luck.
Kaune has done something special, writing a book that appeals both to poetry lovers and to a wider audience. Gayle Kaune is published widely in literary magazines. She has worked as a teacher and psychotherapist and lives with her husband in Port Townsend. Paul Lieber's poems travel the urgent streets of Manhattan with a charged immediacy even as they look back with tenderness along the city's avenues of memory. These are poems of compelling intensity and clarity. Paul Lieber's poems about his son Sam form a magnificent and glorious sequence of poems in and of themselves, just as his elegiac cycle about the death of his sister brings the reader through the raw passages of grief.
From first to last, this is a superb, deeply human, and heart-breaking collection of poems. Paul Lieber's poems are streetwise yet deeply sensitive. Eminently readable, delivered with cut-to-the-chase frankness and humor born of suffering, Chemical Tendencies' telling anecdotes combine elements of autobiography, novel and poem. Life on New York's lower east side where "the noodle pudding still bounces" , fatherhood, aging, the "off Broadway" acting life, family, and mortality are grappled with in this collection by a protagonist whose winning voice never shies away from self implication and always comes straight from the heart.
Paul Lieber's hot, hip, exhilarating poems whirl like small tornadic stories or conversations with people from the poet's life—his son, father, friends—all torqued up with the tough-love of gentle tough-talk, as well as lucid observation. Witty, colloquial, taciturn, and deeply human, I found the poems in Chemical Tendencies endlessly entertaining, and constantly surprising, even slightly shocking.
In the end this is one of the best collections of love poems I've sat down with in a long time, poems that carry us toward acceptance and grace like a sock to the jaw. With the precision of a well-shot cue ball angling across a table, setting into motion a sequence of equally precise reactions, these devoutly un-flowery, yet intricately crafted revelations evoke intimacies completely un-idealized, un-romanticized—and therefore trustworthy.
Paul Lieber employs an urban imagery based in what could be called a behind-the-scenes realism, given not to harshness, but rather to a kind of mercy. It is as though, the poet is saying, this world is flawed and therefore beautiful. These plainspoken poems work like unfolding equations of compassion, sometimes funny, or aching with pain or desire or both at once: Anastassis Vistonitis occupies a unique position in Greek letters: Both streams feed the sea of his imagination—he calls his prose a continuation of poetry by other means—and his Greek readers are fortunate to have his work available to them in so many forms…Indeed his work is a testament to the ancient Greek idea of the intimate connection between the body and the soul.
What good luck to have a selection of his poems in English, in the splendid translation of David Connolly. Anastassis Vistonitis was born in Komotini, northern Greece, in He studied Political Sciences and Economics in Athens. From to he lived in the U. From to he was a member of the board of the E. The Federation of European Writers and from to he was its vice-president. In addition to poems, essays, book reviews and articles contributed to many leading quarterlies and news papers in Greece and abroad, Anastassis Vistonitis has published eleven books of poetry, three volumes of essays, four travelogues, a book of short stories and a book of translations of the Chinese poet Li Ho.
He writes for the leading Greek newspaper To Vima and lives in Athens. Translator David Connolly has lived and worked in Greece since He has written extensively on the theory and practice of literary translation and has translated over thirty books by leading Greek authors. What Shankar Roy knows in Moon Country is that we are all aliens but for our poetry.
This brilliant book takes the "world weary" and exchanges gravity for science, science fiction, and imagination in poems that are clear, strong and sweet. After all, poetry is an organic alteration in itself; and, it is only poetic intelligence that makes a book vibrate with originality. The landscapes, terrains and vistas in Moon Country are spiritual dimensions.
The topics are man-made poet-made articulate accounts of imagined experience. But then why is there so much truth found here? Because poetry finds what is most human in the most highly wrought of fictive journeys. Perhaps poets with their spiritual inquiries are the brightest stars in our galaxies after all.
Dark days or fair, these are poems I return to. He describes the natural world with the precision of a scientist: Scenes From a Good Life These big-hearted, all-embracing poems are a celebration of life—of Paul Tayyar's deeply felt connection to the world around him and his sense of kinship with all humanity—from family and friends to the homeless and downtrodden. With a scientist's knowledge and a poet's eye for beauty and correspondences, she tracks the stars and considers the fate of the earth; hers is an acute, observant gaze that moves with ease from paleontology to the private lives of rabbits in poems that join the work of intellect and love. Byron studied the relationships between poetry, painting and music and soon began to illustrate his own poems with paintings and put them to music as well. They are terse and musical, like songs, and carefully constructed to explode with maximum impact.
Excellent craft makes for excellent poetry. These vivid poems are worlds in which poetry enters ethereal and enchanted places in the universe, and lands safely at home for the reader. The only constant feature of this landscape is the moon. No fixed landmass—no big trees—only a blackish sea…The inhabitants, always awake, stand on their front lawns and greet anyone who might be passing their way.
Moon Country is part science fiction allegory, part social commentary, part loving evocation of American loneliness and alienation. Among the inhabitants of the suburbs the narrator is himself an alien, a vulnerable and acutely aware observer of his own otherness: How exactly right that seems.
If we are not bothered by ourselves before reading Moon Country, after reading this wise book, we certainly will be. The poems of Moon Country occupy a larger future, the territory mapped out by the poetic prose of Ray Bradbury and Arthur C. We, the reader, feel both exhilaration and uneasiness. Sankar Roy is a lyric poet not bound by the earth, a poet of cosmic imagination. If the poet presents directly feelings which overwhelm him, and keeps nothing back to linger as an aftertaste, he stirs us superficially; he cannot start the hands and feet involuntarily waving and tapping in time, far less strengthen morality and refine culture, set heaven and earth in motion and call up spirits!
How do you maintain thoughts and ideas? I like to notice the ordinary-extraordinary things. My poetry, music and art have always been a place for me of supernatural communion between the divine and earthly realms. The liberation of the ordinary is finding the eternal in the moment now-there is a sacred space of connection which transcends time itself and is born through spontaneity and my work has been to attempt to bring forth this language of light. We are curious bystanders at the crossroads of conscious and unconscious thought.
Imagination, then, is the child of the dream and the mind. Poetry is a state of Grace. I have to say the Holy Spirit in my work as a Poet and Artist. Do you have a favorite poem from your own collection? From the Va West Va. Collection of poems I think this is an interesting selection http: Who is your favorite poet and how have they influenced your writing? It is very difficult for me to choose one favorite Poet. I was also amazed by the poems and relief etchings of William Blake and began to consider the idea of combining my own poems with paintings after studying his work.
What are you currently writing? I am working on a new book of poems titled Wait until the Morning Star , a kind of poetic memoir. List 10 things that your fans probably do not know about you I live in the eastern most part of Appalachia in Virginia. I try to keep pen and paper on hand at all times suggested also by the Poet Rilke.
I still like the idea of being in a band after all of these years. I think Art is still endless. I think it may be possible to have art, literacy and tutoring stations in unused Appalachian community buildings http: Byron Kelly has been working as an active performance artist in the South Western Virginia area Appalachia for over two decades and has generations of family from West Virginia, Kentucky and Virginia.
Live, spontaneous lyric poetry performances and gallery exhibits have been at the heart of the Poet's work. Byron received private art instruction during that time and was also a member of Tri-M Modern Music Masters honor society. Byron studied the relationships between poetry, painting and music and soon began to illustrate his own poems with paintings and put them to music as well.