#Poetry: A Magazine of Verse

[nitetime]

a poem i wrote for title magazine

#poem #poetry #writing #my writing #thoughts #words #spilled ink #poems #writers on tumblr #photography #design #title #magazine #free verse

[these-summer-nights-in-december]

My Poem "Sugar in the Gourd and the Gourd Upon the Ground" in Mid-American Review!

I'm thrilled to receive my contributor copy of Mid-American Review, with my poem "Sugar in the Gourd and the Gourd Upon the Ground," along with a host of awesome fiction, poetry, and creative nonfiction. Huge thanks to Megan Borocki, Abigail Cloud, and everyone at MAR! A wild turkey was gobbling at me from the woods while I took these photos. I think it could sense my excitement. 😀

#christopher citro #poets on tumblr #writers on tumblr #poetry #poem #poets #citro #i love you i want us both to eat well #poems #poet #Sugar in the Gourd and the Gourd Upon the Ground #verse #mid-american review #MAR #writing #reading #literary journal #literary magazine #lit mag

[comradeacerbus]

HEY KIDS GUESS WHAT

MY POEM IS GETTING INTO A LITERARY MAGAZINE LETS GOOOO Continue reading Untitled

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#author #cosmic horror #free verse poetry #literary journal #literary magazine #lovecraft #lovecraftian #nyalathotep

[hiromisuzukimicrojournal]

No One Knows

✽

An old woman says to me: 'You are unhappy'. She then precariously holds the handle of a cup of tea between her thumb and forefinger, sticks out her chin. A young woman smoking beside her turns around and says over my shoulder: 'You are unhappy'. Her unbrushed hair is bunched on top of her head and some bits of biscuit are spilled from the edges of her mouth onto the breast of her T-shirt.

Under a wonderfully sunny sun. Wonderfully cheerful accordion band playing. At a pavement café in the early morning, a street sweeper is relaxing in a daze with a cup of coffee. An ant is swimming peacefully in a drop of spilt milk on the table. The street sweeper in overalls brushes off an olive that has fallen on his lap, takes a book out of the bag at his feet and begins to read it intently. The book has a familiar title on its cover.

It was a book I had written. For a long time I was alone at the bottom of the deep sea. The dim moonlight passed through the water and illuminated tenderly my writing pad. Every morning, a swarm of sardines formed a dense cylindrical formation and became a pneumatic tube system, express delivering postcards of ports from straits all over the world. Every afternoon, my small fantasies with compressed air were delivered to the publishers through the tube. Before long, I ran out of paper and pen ink, but the story I wrote became a bestseller.

People walk down the street with books in their arms, no one knows it is my story. No one knows that the old woman comes to the café with her meagre pension hidden in her hat, no one knows that the accordion band is missing one of its members, much less that the smoking woman has changed her brand of cigarettes. I have no way of knowing whether the book that the road sweeper shoved into his overalls pocket will be taken home and become his dream under his pillow or incinerated in a waste disposal plant. It is no use crying for a tale of the ant drowned over spilt milk.

✽

No One Knows

© poetry by hiromi suzuki

Published in Visual Verse Vol. 10- Chapter 04 (February 2023)

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via Visual Verse

#hiromi suzuki #poem #poetry #prose #prose poem #prose poetry #poetry magazine #poetry journal #literary magazine #Visual Verse

[allison-dedecker]

First published in Sledgehammer Lit:

https://www.sledgehammerlit.com/post/setting-myself-on-fire-to-give-you-sun-by-allison-dedecker

#writeblr #poetry #spilled ink #writing #poems #absurdism #absurdist poetry #toxic love #toxic relationship #free verse #contemporary poetry #literary magazine #lit mag #sledgehammer lit #published works #allison dedecker

[mftulin]

Crow Winter | Mark Tulin – Whispers and Echoes

Many thanks to Whispers and Echoes for first publishing Crow Winter. Featured photo copyrighted by Mark Tulin.   Crow Winter | Mark TulinLike crows, we forage in the winter,pick through cans and dumpstersthat freeze in December,and weed through paper bagsin the sleety rainLike lepers, we cover our faces,hover around a trashcan of fireto keep us warmin the snowy vacant lotof cold hands and icy…

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#Free Verse #homelessness #Poetry #whispers and echoes magazine.

[batgovernor]

Calls for Submission: formal verse

Calls for Submission: formal verse

Of the various publication opportunities specifically for formal/traditional poets, three are taking submissions until July 15, and four other formal-friendly publications have submission deadlines of July 31. There is no submission fee for any of them. Here they are – the links are to the submission requirements: Able Muse (magazine) Deadline, July 15.Submit one to five metrical poems (or one…

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#Able Muse #Allegro Poetry Magazine #Amsterdam Quarterly #Call for Submissions #Extreme Formalism #formal verse #Helen Schiable #Rat&039;s Ass Review #Rhizome Press #Snakeskin #sonnet

[bazm-e-ishq]

(ash.ār mire yuuñ to zamāne ke liye haiñ, kuchh sher faqat un ko sunāne ke liye haiñ)

My poetry is, however, for the world/But some verses are just for someone's ears.

(ye ilm kā saudā ye risāle ye kitābeñ, ik shaḳhs kī yādoñ ko bhulāne ke liye haiñ)

This trade of knowledge, these books, these magazines/are actually to forget the memories of someone.

—Jaan Nisar Akhtar

#urdu #urdu literature #urdu poetry #urdu shayari #urdu language #urdu stuff

[hymnsofheresy]

Truly He taught us to love one another His law is love and His gospel is peace Chains he shall break, for the slave is our brother And in his name all oppression shall cease Sweet hymns of joy in grateful chorus raise we With all our hearts we praise His holy name Christ is the Lord! Then ever, ever praise we His power and glory ever more proclaim!

“Since that first rendition at a small Christmas mass in 1847, "O Holy Night" has been sung millions of times in churches in every corner of the world. And since the moment a handful of people first heard it played over the radio, the carol has gone on to become one of the entertainment industry's most recorded and played spiritual songs. This incredible work--requested by a forgotten parish priest, written by a poet who would later split from the church, given soaring music by a Jewish composer, and brought to Americans to serve as much as a tool to spotlight the sinful nature of slavery as tell the story of the birth of a Savior--has become one of the most beautiful, inspired pieces of music ever created.” (x)

Learn about the abolitionist history of O Holy Night:

“Things start in 1843 or 1847—there’s some discrepancy about the year—in Roquemaure, a small town in the Rhône valley region. Placide Cappeau, who had followed his father into the wine business, was also known for the poetry he composed. Though a critic of the Catholic church, Cappeau was asked by the local priest to write a few stanzas in celebration of the town cathedral’s newly refurbished organ. He is said to have written the song’s words while in transit to Paris on business, with the biblical Gospel of Luke as inspiration. On the advice of the same clergyman who had commissioned him, Cappeau took his completed work—then titled “Minuit, Chrétiens,” or “Midnight, Christians”—to Adolphe Adams, a composer of some renown. Adams, who was of French-Jewish descent, arranged the music, and the song was newly christened as "Cantique de Noel.” The carol would make its world debut, with opera singer Emily Laurey belting lyrics, during Christmas eve midnight mass at the Roquemaure church...

Though "Cantique de Noel” would quickly become a French Christmas favorite, it was later denounced by the French Catholic church—a reported consequence of Cappeau being an avowed atheist and socialist, along with the discovery that Adams was Jewish, not Christian. One bishop reportedly dismissed the song as having a "lack of musical taste and total absence of the spirit of religion.” There was also some resistance to Cappeau’s overtly anti-slavery lyrics in the third verse, which were perhaps made more glaring by his emergent political outspokenness. In any case, the ban reveals where the French Catholic church stood on matters of abolition...

In any case, "Cantique de Noel” would make its way across the Atlantic to John Sullivan Dwight, a white American abolitionist, Unitarian minister, musician and classical music aficionado who published a magazine called Dwight's Journal of Music...

Dwight gave his translated verse the title “O Holy Night” when he published it in his music periodical in 1855. It apparently became a hit in the U.S., gaining popularity among the abolitionist crowd during the Civil War. Even as the song was being banned in its home country, it was becoming a staple of Christmas, and a song of protest, thousands of miles away, in the U.S. It’s long since become part of the broader American Christmas songbook.”

(x)

#hymns #carols #o holy night

[have-you-read-this-short-fiction]

SUBMISSIONS ARE OPENING AGAN!

Hello everybody, it's that time once again! Send in short stories, novellas, and short story collections and we will see whether tumblr has read them!

Going over some general rules again first:

Submissions will stay open until Tuesday. Once it's Tuesday, I will close it. I may close early if I get an influx of submissions. I also might extend submissions if I want more.

Make sure to go through the list of all stories that have already been submitted and posted. I know it's long, but feel free to use the "Find" tool to see if what you want to submit is already on there.

Limit yourself to only submitting about five pieces in each category. If I extend submissions to be longer than originally intended, feel free to submit a few more, but otherwise try not to do more. Be courteous to others who want to submit things.

Feel free to submit things that are well known classics + lesser known pieces!

Do not submit full-length novels, even if they're shorter. This is for short stories, novellas (under 40K words), or short story collections. Please consider going to @haveyoureadthisbook-poll @haveyoureadthismgyabook or @haveyoureadthisfantasybook or @haveyoureadthisqueerbook, among other poll blogs (those are just the ones I follow so I know about them)

Do not submit plays or poems. We have had some problems with people submitting plays before, and like, I love plays! But that's not the focus of this blog. We're focusing on prose here. Even if it's a book of poetry or a verse poetry book, do not submit them. Please consider going to @haveyoureadthispoem-poll and @do-you-know-this-play

Consider submitting with a link to the piece you are submitting. Of course, if you don't have one/can't find one, that's perfectly alright. But if it's an older piece that is in the public domain/easily Googlable OR is a piece originally published online/in a publicly accessible literary magazine, others would love to read it as well :)

If you have any questions, the ask box is always open <3 Even if you just want to share some thoughts about your pieces, feel free to drop by in the ask box !!!

SUBMISSIONS LINK!

Thank you everyone :) Consider reblogging this post if you submit something, boosting its visibility, and helping more people see and submit things!

#have you read this short fiction? #book polls #short stories #short story #short story collection #short story collections #novella #novellas

[llzrabin]

A recent interview of Alison Mosshart from The Kills for music magazine Dans Ta Face B. Full interview under the cut and French version on their website.

La Face B : You’ve just released your sixth album, God Games, twenty years after your first record. Which means you’ve been making music together for two decades now. You’ve mentioned a few times in recent interviews being ‘terrified’ of the process of recording this album. Obviously, danger is inherent to creativity and passion. What were you scared of in particular, regarding your own history as a band? Can one as a musician actually ever get rid of this fear? Alison Mosshart : I think as an artist, fear is good. Fear keeps one alert and desirous to discover something new in oneself, in one’s work, and about the world. Fear is a simple word to describe “facing the unknown.” At the start of every album, you are facing the unknown. There is nothing, a blank page... and you have to muster up the courage to turn this nothingness in somethingness. And not just any old thing. But something truly great. Even though we’ve been writing music together for 20 years, nothing is a given. Nothing is taken for granted. We constantly must prove to ourselves and to one another that we’ve got the goods. Every record is as important as the first, at least to the artist.

La Face B : When I first heard the album, I was under the impression that I was listening to a movie sequence or a journey, with some kind of movements. You kept the traditional verse-chorus structure in most songs, but they also sound like something else. What do you think evolved the most in your music over the years? And on the other hand, is there something that definitely stayed true to your first sound?

Alison Mosshart : A couple of things. We both think the traditional verse chorus structure is a little at odds with the mind. Whereas novels and poetry and film... can veer around elegantly, it’s a little hard with rock n’ roll structure sometimes. It’s nice not following the traditional rules and allow some abstraction.

Thoughts by nature...zig zag, skip, don’t really work in liner or predictable order. Thoughts lead to thoughts lead to other thoughts say “california can’t be trusted” to “I love rollercoasters” to “Thursday’s good for me,” to “I wonder what happened to Bob?” “Green car,” “dog bit my face,” “phone’s dead again” “papercut!” And on and on and on.

Having said all that, I do think our music is very visual. It seems to contain its own colours and shapes and tactility. I know when a song is done by listening to it and seeing it from start to end. When it feels like I’m watching a play or a short film and I’m satisfied with what I’ve seen, I’m happy with the song. If I’m listening and the scene freezes, there is still work to do.

La Face B : Did having another person involved in the studio give you a different perspective on your music?

Alison Mosshart : Having another person in the room always gives you a different perspective. You know right away if a song is working by feeling the energy of that person hearing it for the first time. They don’t have to say a word. The truth is just there.

La Face B : Your lyrics almost always address another person, like a dialogue between two people. Love and hate, hope and failure, tenderness and violence blend into each other in the stories you tell. They also almost always convey a sense of urgency. Alison, do you still record and write your lyrics in your car while driving at fast speed, CARMA-style?

Alison Mosshart : Sure. We’re all contending with one another and ourselves. There is surely a lot of back and forth and push and pull going on in the lyrics. The war is never won, right? About cars, I love to drive. It’s very meditative for me. A lot of ideas come when I’m behind the wheel. I do still have a little Dictaphone in the car that I keep handy. It’s a safer option then a pen and pad.

La Face B : When I first saw you in 2011 at Rock en Seine during the Blood Pressures tour, there were two other musicians with you onstage. Lately, it looks like you’ve gone back as a two piece again. Is it important to you not to depend on anyone? Is it a way of not having to compromise?

Alison Mosshart : Different times call for different measures. We love playing with other musicians and we love playing as a two piece. During certain records, it made a lot of sense to have the back up. But it was a different time in the music industry too. We’re in a different world now 6 years later. Streaming has made it unaffordable to hire extra musicians. Which I think is ultimately a very bad thing. I hope one day things change.

La Face B : The Kills have always been a very visual band. Alison, you’re also a painter, and Jamie, I’ve heard in a recent interview that you would have loved to collaborate with Lucian Freud… Do you feel the need to explore other art forms to maintain this global approach to music?

Alison Mosshart : We’ve always painted, drawn, taken photos, filmed things. I love every art form. I don’t think it’s important to do all these things to maintain a global approach to music. I’m not sure what a global approach to music even is. I just love making art. It all comes from the same place I think.

La Face B : A friend of mine who doesn’t like rock music was telling me the other day how he thought he witnessed the best rock concert he’s ever been to after seeing you live in Paris, precisely because your music didn’t sound like rock to him. I found that very interesting because you do have that kind of bluesy-guitar signature style, while also playing with noisy textures that could come from a cut-up approach, like hip hop music does. Do this kind of approach inspire you? Do you pay any attention at all to genre while writing?

Alison Mosshart : We see ourselves as an electric guitar band before a rock n’ roll band. With an electric guitar and a vocal, you can do anything, any genre, any style, fuck around with any rhythm you want. Being a two piece is the only limit we have, everything else, every idea that we can conceive of starting from that point, is fair game.

La Face B : Lastly- I recently came across these images and immediately thought of The Kills. A series of photographs by John Divola titled ‘Dogs Chasing My Car in the Desert’, which he took in 96-98 while driving in the Southern California desert, conjuring existential themes like isolation and desire, man versus wild, joy versus fear. It made me think of God Games’ cover, with the bull and the matador, but it also reminded me of Don Van Vliet’s painting retreat in California after Captain Beefheart’s ending, and of Vanishing Point’s iconic car chase. Basically a lot of the things you’ve often mentioned as an inspiration. I wanted to point it out to you, see if you knew this photographer. What does it evoke for you?

Alison Mosshart : I love this photo series. Meditative again, like driving a car. It’s cool to see stills of animals running, their shape, their sleekness, the body transformed into a bullet. I don’t know why but it makes me think of Benton Harbor, Michigan in the snow and the dogs at Key Club (a recording studio we worked at a lot)  running down the desolate main street in a town that time forgot. These photos look like love and loyalty to me. 

#alison mosshart #the kills #interview #music interview #music writing #god games #jamie hince

[these-summer-nights-in-december]

My poem "Threads Braided and Those Braids Twisted" published in the new Tampa Review!

A ray of sunlight arrived today with my contributor copy of the new Tampa Review, which has my poem "Threads Braided and Those Braids Twisted." Such a beautiful volume filled with awesome poetry, fiction, and nonfiction! Thanks so much again Jodi Johnson, Paul Corrigan, Yuly Restrepo Garcés & the whole TR crew!

#christopher citro #poets on tumblr #writers on tumblr #poetry #poem #poet #citro #tampa review #threads braided and those braids twisted #verse #poems #poets #literary journal #literary magazine #writers

[beautymyeyes-see]

Evelyn Graham Frost, Poetry: A Magazine of Verse, 1932

#evelyn graham frost #poetry fragment #dream #poem #fragments #literature

[hiromisuzukimicrojournal]

Mythology of Degree Zero

✽

The Eiffel Tower withstood five lightning strikes a year, but the one-eyed knight in his armour was killed by just one discharge. A melted diamond prosthetic eye was not covered by fire insurance.

The Eiffel Tower remained forever on Paris postcards, but the one-eyed knight was swept away by the Seine. The armour drifted into the sea and sank to the bottom of Tokyo Bay as iron sand.

By the traditional Japanese furnace for iron called Tatara, the knight in armour was revived in mythology. The footprints of the one-eyed giant became a fountain, bringing forth an abundance of spring water.

Far from the Eiffel Tower, a café at the foot of Mt. Fuji. Daidarabotchi the giant who enjoys a cup of coffee with his eternal cold ice prosthetic eye shining in the souvenir postcards.

✽  

Mythology of Degree Zero

© poetry by hiromi suzuki

Published in Visual Verse Vol. 10- Chapter 02 (January 2023)

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via Visual Verse

#hiromi suzuki #poem #poetry #prose #prose poem #prose poetry #poetry magazine #poetry journal #literary magazine #Visual Verse

[allison-dedecker]

First published (with two other pieces) in Issue 12 of Goats Milk Magazine (currently on hiatus)

#poetry #poems #writeblr #free verse #spilled ink #resurrection #renewal #abandoned house #literary magazine #lit mag #goats milk magazine #literary journal #published works #my poems #my writing #2021 #allison dedecker

[batgovernor]

Resources: Light poetry magazine

Resources: Light poetry magazine

‘Light‘ has just published its winter/spring 2022 issue… perhaps a little late, but it still has snow on the cover. Originally founded in 1992 by John Mella as the print magazine Light Quarterly with the mission to “restore humor, clarity, and pleasure to the reading of poems”, it is now biannual. It moved online in 2013, and all issues since then can be read for free on its website, along with…

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#book reviews #Call for Submissions #Light Magazine #light verse #Melissa Balmain #Poems of the Week #Poetry by the Sea #poetry community #POTW #submissions