Volume II: Number III ISSN: 1833-4822
_____________________________________________________________________ Articles Interviews Poems Asenath and Leucothea: Female figures from the sea in modern literary fiction Pino Blasone Georgina, from Green Serene Lilies and Lamia Change of Address The Imperfections of Infinity The Interstellar Dancer Beyond Ultima Thule On the North Sea Zerstörer Boneman The Beginning of the End Karin Peagram Phillip A. Ellis J. J. Steinfeld J. J. Steinfeld J. J. Steinfeld Pino Blasone Christopher Hivner Christopher Hivner Christopher Hivner Christopher Hivner Phillip A. Ellis Don't Run The Tiger of Darkness Nimue Enigmatics Reviews Approaching the Speculative Kenneth Brown William C. Burns, Jr. William C. Burns, Jr. C. D. Whateley Phillip A. Ellis

May 2007

This Fabulous Shadow only the Sea Keeps

Asenath and Leucothea: Female figures from the sea in modern literary fiction "The oldest and strongest emotion of mankind is fear. And the oldest and strongest kind of fear is fear of the unknown" is a popular saying of Howard Phillips Lovecraft. If we listen to Ezra Pound, "'All is within us', purgatory and hell." These two premises drive us to presume the most ravishing and worrying dimension of the unknown is our unconscious. Usually, it likes to speak by dint of symbols. Similar to a wide mirror reflecting the unconscious, the sea--to a greater extent the ocean--has not seldom been regarded as a receptacle of supernatural forces and weird beings. They may be godlike or devilish, sometimes friendly, more often hostile. In the fiction written in English last century, that is the case with some tales by Howard Phillips Lovecraft, especially The Thing on the Doorstep and The Shadow Over Innsmouth. Innsmouth is a fictional seaport on American North Atlantic coast. Monstrous aliens coming from oceanic depths try to invade and colonize it, by assuming the shape of its inhabitants or setting odd relations with some of them and taking the place of others, thanks to their magic powers: "There had been traffick with things from the sea--it was horrible." (Lovecraft Doorstep). Such horrible "things", that they can be scarcely described or even named. Nevertheless, in The Shadow Over Innsmouth the author gives us a diffuse description of them, full with repulsion for their hybrid or "amphibious" nature. In The Thing on the Doorstep there is one of them, which assumes human look and name. Moreover, she becomes the most remarkable of the few female characters in Lovecraft's narrative production. Her name is Asenath Waite: "She professed to be able to raise thunderstorms, though her seeming success was generally laid to some uncanny knack at prediction. All animals markedly disliked her, and she could make any dog howl by certain motions of her right hand. There were times when she displayed snatches of knowledge and language very singular--and very shocking--for a young girl; when she would frighten her schoolmates with leers and winks of an inexplicable kind, and would seem to extract an obscene zestful irony from her present situation. Most unusual, though, were the well-attested cases of her influence over other persons. She was, beyond question, a genuine hypnotist.… Her crowning rage, however, was that she was not a man; since she believed a male brain had certain unique and far-reaching cosmic powers". *** Probably, the name Asenath was suggested by a biblical antecedent (Genesis 41:45, 41:50, 46:20). Anyhow, this modern sorceress shows striking marine peculiarities. From a psychological point of view we may dare to notice that she is a sort of inverted character, if compared with the better known and realistic Ellida, main part in the drama The Lady From The Sea by Henrik Ibsen. She is drawn to dry land, as a base from where to reach "cosmic powers" in a masculine stable way.

with its terrible storms and fatal accidents.' in wrath quote he 'Thy damage quick repair!' . the ancient sorceress: He now remains in fair domains. We are even informed about a loathing of our author. wrath of Neptune--the old sea god--represents that of sea itself. In Circe's palace grand His men do change in fashion strange To beasts at her command. This is its exordium: The night was darke! O readers. He drew his sword and spake harsh word To Circe standing there. that denote both attraction and aversion to such fluid element. much appreciated by Lovecraft himself. But Mercury did set him free From witcheries like this. Long hath he fought. titled "The New Odyssey or Ulyssiad for the Young". 'My men set free. where the future story-writer focuses on the figure of Circe.Which feeling of the sea are we dealing with? Lovecraft's poetry production is not lacking in poems as Unda or Oceanus (1915 and 1918). here emphasized. he issued a short paraphrase of Odyssey. hark! And see Ulysses' fleet! From trumpets sound back homeward bound He hopes his spouse to greet. After a storme that did much harme He comes upon an isle The. Yet let us turn back to a very young Lovecraft. for all seafood. Oceanic horror expressed in some of the narrative works by the English writer William Hope Hodgson was a near literary precedent. But let us read forward. Unhappy he his men to see Engaged in swinish bliss. But Neptune's wrath obstructs his path And into snares he falls. When he was just a boy. put Troy to naught And levelled down its wall.

She is the bastard daughter of an occultist lived in Innsmouth. by Ezra Pound. though the context of the latter is not very original and obviously naïve (Odyssey's paraphrase would have been issued in 1897.Then all the herd at her brief word Became like men once more. The words woven in wind-wrack. It was. such as they can be also imagined of a Homeric Circe: "She was dark. firstly included in the Canto VIII as issued in 1922. The long course of the seas. Mourns the days of long song. Heaving breath of the oarsmen. in order to change and use them for their ends. however. then replaced with other ones in the edition of 1923: The weeping Muse Mourns Homer. smallish. if we go on reading physical description that Lovecraft makes of Asenath Waite Derby. Winds stretching out. Tendency to seize humans. triremes under Cyprus. she gives all treat Within her palace door There is some resemblance in attitudes and behaviours between Asenath and Circe. Asenath is depicted with conventional Mediterranean features. Mourns for the breath of the singers. is alike as to both characters. She was one of the Innsmouth Waites. whose biblical name is Ephraim. but something in her expression alienated extremely sensitive people. than that of the episode. Such an enthusiasm is transparent through the here following verses. *** A different sense and outlook of the sea can be found in The Cantos. salt spray over voices . Her magic boat. largely her origin and conversation which caused average folk to avoid her. and dark legends have clustered for generations about crumbling. and very good-looking except for overprotuberant eyes. supposed immigrant from the unfathomed deep. issued in 1937!). and of a mysterious woman. seas pulling to eastward. Yet the impression of an affinity gets confirmed. halfdeserted Innsmouth and its people". abstract from Odyssey. The Thing on the Doorstep was written in 1933. The conclusion of the tale is far more pessimistic.

anyway). it happens some a confrontation and reconcilement between Leucothea and Circe. A nice detail is that the "diva" of Pound. but foreboding a positive value. XCIII. pro-fascist Pound and anti-fascist Pavese. Ariadne. Gods had so profound pity on the young woman. Men and women are at the mercy of a consequent destiny. Such a colour is suitable for her benign task. Perception of the sea emerging in the dialogue Sea Foam is Mediterranean. Cassandra. In the Odyssey. Helle. XCVIII). at last throwing herself down amid breakers from a high cliff. Io. In Pavese's dialogue The Witches. Italian poet and novelist. In Greek. She is the chief interlocutrix. rarely resting on the surface. book V. as to promote her marine nymph or even sea goddess. Scylla. out of full control beyond any illusion. she incurred a tragic lot. that is an universal ticklish equilibrium. were drenched in sperm and tears". Those waters. could meet). Phaedra. presumably under her transparent veil.If Lovecraft's Asenath may be considered as a Dark Lady from the sea (fated to come to a bad end. Leucothea. It concerns the life as fruit of a perennial strife between love and death. Then we may discover they are like two faces of one coin. On the contrary. Leucò is none but Leucothea. it enabled him to swim harmless to Scheria. by giving him her magic veil as a girdle. free to fly through air or diving into water. XCV. Eros and Thanatos: "This sea is full of islands and it was on the most easterly of them. and Propertius'-Leucothea adopted by Pound was able to transform herself into a seagull. isle of the Phaeacians. In part at least. XCVI. Lovecraft's Asenath/Circe originated from an alien race. as to gain a symbolic weight in Pound's unfinished work. Cyprus. Medea--who does not remember their names? They all passed that way and some of them stayed there. Andromache. intermediate between those of Lovecraft and Pound (this is a field where conservative Lovecraft and progressive Pavese. Instead this Homeric--and Ovid's. otherwise named Leucothoe or Ino. the White Goddess and the "Dark Lady" of the sea. although she differs from the traditional image of a mermaid. that Aphrodite the wave-born came to land. Rather than with "a clumsy Gothic fashion" (Lovecraft). to succour seamen in danger and to rescue shipwrecked sailors. we have to do with the Greek idea of "phantastikon" (Pound). in The Cantos we bump into another female character rising from the waves. Asenath's look has something fishy or "amphibious". in these speculative and updated dialogues. It was a sea that knew many tragic stories. where the poet identifies himself with Odysseus. Daughter of Cadmus and Harmonia. a perplexed question is asked by the Greek suicidal poetess . according to a Grecian myth Leucothea had been a human being once. means "White Goddess". wears a modern bikini! Yet what in the masterpiece of the American poet was recurrent became central in the prose-poems by Cesare Pavese. rooted in a Mediterranean imagery and collected with the title Dialoghi con Leucò in 1947. This episode is recalled and transfigured so often in The Cantos (XCI. one might say. In the same dialogue. aiming at transcendental intuition. Leucothea rescued Ulysses in peril to be wrecked with his raft.

P. to the Cretan nymph Britomart: "It's boring here. Ulysses or the Odyssey in plain old English verse (or else. New Directions. London and New York 1999.kobek. the sea is boring. Boston 1989. Lovecraft. Dialogues with Leucò. L. Milan (IT) 2002. Lovecraft: A Biography.pdf> Pavese. The Call of Cthulhu and Other Weird Stories. Sprague. introduced by Ken Ichigawa <http://www. Canti postumi.. A. aren't you sick of it?". The Cantos. New York 1995. Britomart. H. Joshi. Penguin Books. ----. ----. T. edited by S. Doubleday. The New Odyssey or Ulyssiad for the Young). Essential references de Camp. Cesare. Eridanos Press. Pino Blasone . S. translated by William Arrowsmith and D. Garden City (NY) 1975. Carne-Ross. Pound. Mondadori.Sappho. edited by Massimo Bacigalupo. You've been here for ages.

and so on. there was no online showcase for Australia's emerging writers. which I think was unique to AustralianReader. might not particularly enjoy.while the ink's still damp on the page! Calenture: How did you come to decide upon the online format that it would take? Georgina: It was actually a group effort -. quality comes and. which was a mixed-genre site that allowed authors to have their writing "workshopped" with other contributing authors before it appeared on the site.I was working at a web development company at the time. I. We have. we really do try to present the works as they're created -.development. our decision to run a continual publishing schedule. rather than being a focus. for Georgina: Many of them are no longer online. personally. of worth. We all had a hand in defining how the site would work for Calenture: Not every one of my readers will be familiar with AustralianReader. How important is it to demonstrate the range of Australian literatures is a web site that constantly publishes new works by emerging authors and independent presses in Australia. Calenture: As you say. was a product of my researching other sites and formats online. which focused on publishing serialised fiction. which I feel publishes great. Calenture: If I may was developed to try to promote new Australian among the independent Australian writing publications at the time. I also really enjoyed Opium Magazine <http://www. override the geopolitical basis of selection? Georgina: Well. The Australian aspect really provides a background or couch for the the piece well-written? does it "work"? is it self-contained and complete? -. At the time it was launched. design. the site was developed to try to promote new Australian writing. To what extent was this one of the reasons to focus on work produced in the year just prior to publication? Georgina: That was one of the key reasons why we restricted the scope of publication to works produced within the last year.can be answered whether I like the submission or not! I'd have to say that avoiding a sense of parochialism in the writing we publish doesn't really weigh heavily on my mind as I consider submissions. and After Dinner.opiummagazine. In short. for instance. But the ultimate question of quality -. and as the idea is to promote great Australian writing both in Australia and overseas. The works are the focus. That said. what are some of these sites that have helped influence the development of AustralianReader. to avoid a sense of parochialism in the material accepted? To what degree do considerations of excellence. The variety of submissions I receive is just .com/. it's important for us to publish across as many genres as we can. but among the key influences were sites like Serial Text. Of course. and a few friends of mine were helping with the practical aspects of the site -. at the same time. on a couple of occasions. Calenture: The emphasis upon Australian literature is not unique to you alone. published older works without realising. what is it. entertaining writing. I had in mind a number of other sites I liked and visited regularly at the time. but as the slogan or tagline for the site is "wet ink for hungry minds". and we remain committed to the idea that there should be such a site. the quality of the works we publish is our most important consideration. and often that leads us to publish works that. AustralianReader. Basically.An interview with Georgina from AustralianReader. and what does it hope to achieve? Georgina: AustralianReader.

Where those readers originate from is really a secondary issue for us. and so unavoidable. the criteria for selection are as objective as they can possibly be. how important are these "nuts and bolts" aspects of the site to you? To what degree do the statistics become important in validating your work? . and sensitive Some are basic -. and that they require statistics of readership and the like.can be less easily definable. Calenture: Non-Australians may be unfamiliar with the term "cultural cringe. I usually find myself amazed at the different voices and styles of writing. to read non-Australian. But they've all been established as the result of research and experience. and popular authors.enormous. But obviously it's the editor's job to set criteria that they believe identify "good" or "worthy" works. like AustralianReader. Calenture: Given that the Australia Council helps provide funding for artistic ventures. it's tricky -." How do you avoid this. Calenture: And to what extent is the diversity of voices and styles symptomatic of the vitality and health of the Australian writing scene? Georgina: I'd say it's symptomatic to a large extent! I think that our contributors are representative of Australia's emerging authors as a group. we won't accept content that contains typos. But I wouldn't say this defines our purpose for publication. on some level. and to assess submissions on that basis -. established. rather than being faced with the same styles. Calenture: Approximately. in presenting Australian literature to the world via the world wide web? To what extent does your success with non-Australian audiences help define and delineate your purposes for publication? Georgina: I think that the way to avoid cultural cringe is to present the best of your culture! To be confident that you're presenting the At AustralianReader. over and over again. as a sort of movement. if you like. "competing" and "non-competing" projects. how many submissions do you receive in a given period? Georgina: On average.not their own personal preferences. or the same and their work certainly indicates that the scene is in great health! Calenture: This leads me to ask how far there is a dialectic between personal likes and dislikes. because we don't have the resources (or the inclination!) to edit works.particularly with a thing like reading for pleasure. You have to research similar operations in other places.for instance. and to get the readers to continue to come back. because your preferences are so personal. what's going on in other whether or not a story "succeeds" -. and as the writers all have varied histories. I'd estimate that we'd receive 5 to 7 submissions a week. and more impersonal judgements of a work's worth? To what degree are the criteria for selection personal. We have two goals for publication: to get the writing into the public space.. because we're trying to get emerging Australian writers out there both as individuals. and to what degree impersonal? Georgina: Well. and of course. You have to be confident to stand up and say "this project stacks up". and personalities. you have to be aware of. Any hints of success with non-Australian audiences are rewarding. writing styles. so they need to be polished and print-ready when we get them. they're continually being refined. Others -. but also. as well as those writers who are just getting their names out there .. and I think we can say that about AustralianReader. and to think that that movement has appeal to people in other locations is great.

web site. But the statistics are hugely validating for me. authors have been fine with the way their works are displayed on the site. the more fantastic the works -. or even on film. particularly to readers who don't know much about it.the more enjoyable these readers find them. and provided the little reader . and we're happy to look into these if the layout becomes critical. Not "reach" as in "be seen by" but "reach" as in "reach out to" -. like other genres of poetry. Imagination lives! (and not just in the minds of writers) Calenture: There is an anthology of Australian speculative poetry in the to speculative verse? Georgina: Phillip.any writing at all -that we felt was interesting and successful as a piece of writing. if that's their thing. Calenture: Now. so we integrated a space for each author to promote their own works. In many cases. And we have an experimental fiction section. and I've found them a great way to access new poets and get an idea of what's out there. I knew that the site had to have feedback is amenable to anything! The site was developed in a way that allows us to add new categories or genres as we please. We can justify or center words on the page.hopefully a minor one -. Calenture: And you also empower the reader too. Knowing this. and provide contact details. unfortunately I'm no authority on speculative verse. How did you develop this feature. not restricted to only accepting certain types of writing. so the nuts and bolts aren't important from that point of view. Calenture: What do you see as the place of the fantastic in contemporary Australian verse? Georgina: Well. There are ways around this issue. and what are the chances of anthologies of material from AustralianReader. I think the Web is a great way to promote poetry. to make them stop and think about or feel something that they wouldn't have experienced if they hadn't read the author's work. In the promotion of speculative verse -. The reason for this was that we wanted to be flexible -. it's just multiple spaces.the more extraordinary and unexpected -.and an audience that appreciates -. Calenture is particularly focussed upon speculative verse. the author's greatest desire is to reach readers. AustralianReader.Georgina: Well. So far. and how popular has it been? Georgina: Well. so I feel that they have a very strong role in promoting verse. I love writing anthologies. we've never applied for funding.which. I provide authors with a periodic report on the key points of the statistics so that they also hopefully have a chance to share that sense of validation.something unexpected -. and for our authors.the fantastic.authors want to touch people. could do with expanded Georgina: As a reader. I also believe that many of the readers who come to a site like ours are looking for an escape -.our system won't tolerate work that's irregularly spaced on the page. and readers to the range and diversity of speculative verse. it is being compiled as we speak: what is the role of anthologies in promoting verse. How interested are you in this? How amenable is AustralianReader. particularly speculative verse.they're on their lunch breaks or they have a few minutes before their next appointment. Speaking purely from the point of view of a reader. and they want to "check out" for a while. though.for the site to be shaped by the submissions we received. Line breaks are no problem. so I see no reason why we'd not be amenable to a speculative verse section! At the moment the only snag -. be it in verse or prose. but it seems that this. but we can have problems were layout is concerned that the system that holds and presents the works on the site ignores multiple spaces. by its very nature (and name!) strives to ignore the perceived "boundaries" and present something completely new -. enabling them to vote on works' quality. I certainly feel there's room for -. as editor.I feel that anthologies must have a critical role in terms of exposing poets to readers. We wanted to be able to accept any work -.

com? Georgina: I'd like to expand our offering to take in more genres of writing -. fortunately. we'd like to be able to expand our range in the less common genres. because budding authors can be set back if they take criticisms to that. . others receive few -. essays. and we'd like also to support authors who have articles. to leave comments on their works. and with good reason sometimes. We've been working to develop the strategies we use to promote books. while limited. and I hope that you do well. Again. for the simple reason that many poems are shorter than stories and other works we publish.some works receive many "votes".feedback section that appears at the bottom of each published work. This year. pleased to contribute regularly.but after a few weeks on the site most works accumulate a number of votes that provide some indication of the readers' feelings about the work.more emerging genres. Our feedback form tries to take personalities and egos out of the equation. collections. how popular has this feature been? Georgina: It's probably more popular with poetry than with any other format. What are your plans for the future? Georgina: At the moment we're closely focused on building our promotion of new publications by emerging writers away from AustralianReader. so readers are more likely to notice the feedback form and have time to think about what kind of rating they'll give. I'd like us to expand our coverage take in more of the "fringe" or non-mainstream writing. Calenture: What would you like to see more of in AustralianReader.and authors receive -. The feedback feature is of varying popularity -. They're the areas we're really focussed on this year. I suppose the options in that feedback mechanism are slightly unorthodox. you have the ability to allow readers to contact poets. and provide a sort of level playing field on which readers can give -. and so on published in periodicals. and so on. Calenture: Further. Calenture: Finally. I wish you every success with the site. serves to give the author an overall idea of how the readers enjoyed his or her work. but I knew that readers can be hesitant to be critical if they feel their criticisms are too We have an established stable of writers who write in the more mainstream genres and are.

Yet black in its ultimate grimace of a culminating whirling dervish. transcendent. as high as the sky. turning until tummies were quietly churning. Concealing screams of survival. As if heaven sent. This way and that. serenity fell in depths of shimmering grass. a liquid blue centre. our maze of seeming tranquility gained another sweet victory. Karin Peagram . My friends were entranced as we danced within its towering walls. A sunny day. Glimmering hues around the pool. as calm as a fine sheet of glass. called for our impending arrival.Green Serene I gazed at the amazing labryinth.

Ellis .Lilies and Lamia Lilies and lamia alone move my heart sated by ennui and no dream save the thought death will arrive-dissolution-fated decay's resolution. Phillip A.

Steinfeld . are you ever returning or have you staked your claim adjusted at long last? J. Tell me. do they have poetry and esoteric dreams and long. leisurely nights where you now dwell? Tell me. Not quite fitting the textbook definition of acrophobia but close enough collector of prisons lover of confinement now you’re dwelling far away in spaces immense as desperation sending cryptic messages to government agencies and complete strangers who have little time for space travellers. J.Change of Address How’d you get on that other planet? You have leaden feet and a nervousness about flight.

The Imperfections of Infinity lunatics like scientists running full speed past and present imagining legendary weapons only scientists can conceive scientists coming up with cures scientists coming up with sweeteners for the tongue for the mind for posterity who will write poems to mushroom clouds cloudy perfection lunatics in lab coats decontamination chambers for the soul isolation wards for the spirit surely. and this is an unscientific thought. J. eschatological precision is imprecise writing beautiful poems about mushroom clouds and the imperfections of infinity J. Steinfeld . a handful of scientists are sitting in the afterlife no need to say Heaven or Hell.

incomparable. connotations and denotations and you were a whiz at accents and oratory four years to master diligence and industriousness so perfectly that you got two promotions at your first job women liked you the way you spoke. subtleties. J. J.The Interstellar Dancer After you came to this planet it took you a mere three years to learn a dozen of its languages fluent as deception and camouflage nuances. Steinfeld . you married well twenty-five times at last count missing husbands all over the country a decade of experimentation and matrimony not once did anyone speculate that you were from farther away than most imaginations could measure then one of your wives saw you and a co-worker you had humiliated which one fired a gun first is unclear but the iridescent puddle that replaced you won’t make the history or science books such is the disillusionment of our senses and dreams that could not prepare us for your fancy dancing. could flex your thoughts and muscles and a dancer. dressed.

with a dark building on its top. sailed up and down the stream of rivers and met many kinds of people. "I studied in a good college". Its den was hidden by woody ruins. "Where is this place?". "So I may speak your language. sure a wreckage of pagan worship. tomorrow". But please call me George only. she said. Black crows flew all around it. as many as I deem not spoken even round the tower of Babel. ferried with my horse by a boat on the waves of a sea's sound.. flights of swans begin to land. I put hand to my sword. She smiled. I told about my quest. I asked. "My name is Morgana. what is yours?" "Some called me Saint. It was sleeping inside its cave. the venture of a life. looking innocent like a big cat. in search of the last dragon on earth. such that I did hasten to reach it. "Beyond Thule. with the Holy Grail in its claws. Near the coast there was a hill. Each of them had own their custom. A gentle fair lady was the castellan of the manor. "I will leave early. Entering the castle. I crossed the sea. it is a long way".. as far as the Hyperborean land. civilized or barbarian. each one trusted their beliefs. showing me a mirror where I saw the dragon at last. Each swan gleams like a sword. you know. Then that cold shore to which snow-white swans fly in summer was looming up before me. it is far better". Frosted meadows start blooming.Beyond Ultima Thule When I got nearly old-aged I left my mild town Trebisonda and travelled northward. the flowers sparkle like fires . They speak strange languages. just a bit".

"We might call it Middle Age!" Pino Blasone . Maybe she is right. So many morrows have glided on. today. she has told me: "Together. since I left no more. Morgana says the Grail is well watched by the beast. "Why not" I have replied. Yet.and I feel too tired to go further. with some improvised play on words. we might give rise to a golden age: my ancient art. your new faith". for now at least.

On the North Sea On gray-eyed eve when spines of icy moonlight pierce my side the angels lose their halos to the voice of last rites. Sailing to lost lands divining a map for a myth navigating a man for a petty secret. Riding steeds of Nokkvi over deep and angry seas fierce and angry gods spare no one. Christopher Hivner . Cast the bones angel of death a lick of marrow for a shiver of good fortune.

Zerstörer Katydid's cries pierce the night. Harvest hands thrash for purchase staining the horizon with disease. Although blind to see our suffering. The mouth opens releasing the wasps. Christopher Hivner . animals are dying. his hearing is perfect and our howls of agony play like a symphony. Eyes filled with blood. a gnarled fist thrust in the air challenging the moon and cursing the stars. as the wasps cover the earth. People are dying. the belly trembles with a roar that shatters the night silence with a creak of a broken jaw bone. They continue to fly from his throat feeding off of his venom. The hum devours everything as they swarm. blind to the honeysuckle air. What did they see rising from the dirt.

calling out. walking with a limp to evoke sympathy from the neighborhood mothers. the screams of the children still hanging in the air. in my avuncular voice. I gather the precious gifts in my arms. I stroll down the road with a glint in my eye.Boneman Dressed as darkness. They run to my side bringing the skulls for my collection. Christopher Hivner .

light sears my eyes. Christopher Hivner . Rivers run through my veins. and death preys in my bowels. finding only the soul that drives the gloom. I am creation and destruction. Seeing the deep abyss that burns my eyes and eviscerates all hope. I am the Demon's messenger. feasting on mortal blood. the beginning of the end. Dwelling in the air you breathe. profundity and absurdity. flesh and blood. hear my lustful cry.The Beginning of the End Seeing the skeleton of everything. mountains form beneath my skin. You will be mine before the end of light so the Demon can walk alone.

and thus shall I voyage a hundred thousand miles away. astrolabe. And. over the skin of my fragile craft. and into a limitless ocean of stars. repairing the many strikes of dust. Ellis . Phillip A. And I shall be the shadow of all those before. I shall emerge from my iron-white capsule. sextant. I shall work. rock and iron alike. pore over my vessel as it sails the winds of a fading sun onwards.This Fabulous Shadow only the Sea Keeps A hundred thousand miles away from oceans my forebears had sailed. And I shall. alike the mariners of those ancient days. quadrant ready for use.

. how much more I could take. ate Jim down to his sneakers. flesh tearing. The beast gobbled and slurped.don't go for me first.we knew it was him.. a predator like no other we were locked in his sight. My stomach turning.I heard his bones break I wasn't sure... Us two. Jim started to gun it He thought he could outrun it. Grim was on his neck quick..Jim's blood running thick. I was hearing.. his quarry. ominous fright. Its eyes close together.... I watched Jim lose his soul.made a sickening burp Grim ate him whole..lose his soul to the Reaper. Terror stricken. Kenneth Brown . but the beast won instead.. I was praying. To see it in person.... I thought I would be sick.Don't Run!!! Though it wore no cloak nor carried a scythe Me and Jim both. awaiting his heart quickened My feet were like lead.

Jr . . . And so I tell the tale The missing parts of me have become the albatross around my neck I sail the space ways singing the sad song of The Tiger of Darkness hidden in the death glow of Angels William C. Burns.The Tiger of Darkness In the Sojourn of this wayward traveler I have known seven Black Holes Known seven hearts that live beyond horizons of the infinite darkness in black holes of Absolute Despair though living is perhaps not the proper phrase And while I may wonder freely the silence between the stars Still I bear the marks of approaching one too closely Perhaps my impaired judgment can be forgiven Because this particular dark star was cloaked in the purest Light And who could have known that all that brightness was the death cry of billions of stars being ripped apart Their starfire hearts bursting dumping their stellar essence in microseconds There she was the Tiger of Darkness hidden in the death glow of Angels I can only marvel at the forces that must have created this creature What kind of past must have collapsed upon her creating this naked singularity of shattered simplicity All the bright spaces of childhood crushed by the compressive forces of gravity I dream of her reaching but never quite touching screaming in the silence of space As she slipped below the still dark waters of her event horizon Perhaps my impaired judgment can be forgiven Because I am often deemed curious Too easily drawn to dark energy sources in uncharted spaces A star gazer too eagerly charmed by siren song Perhaps .

Jr . Burns.Nimue Myrddin sleeps in his love for you Somewhere deep somewhere beneath consciousness Twined in the root of this ancient oak and you well know you made it so But hold a moment That sound what is that sound He stirs lady he stirs And is there a rock in this world or any other Big enough to hide you William C.

. D.? And the basalt Pillars of the West Tremble and shudder with that strange zest. elder spumes! C.Enigmatics Spinning in their spinnakers of velvet dusts And gases spilled with all color-shades of rusts. Whateley . resistless. The vortice voids like radish roses whirl Out to the perimeters of their curl. That like an earthquake resoundingly comes From the restless. To crash somewhere at the foamy bottom Misty question-marks rising to ask But where from .. Out to the steppes where the black waterfalls Cascade endlessly adown tall black walls.

They are unified not only by their take on classic fairy tales. and they work quite well. It is another to demand that they be good speculative poems. We must read more than just speculative poetry. that is derived solidly from folk literature. such as the shy writer in. The poems work in part by an appeal to our own experiences of the writing community. But. be good poems.Approaching the Speculative Lawrence Schimel. The only real reason why it has achieved one is that it reminds us that readers of speculative poetry must read more than purely the speculative. in this example. the "mundane" world in this way. Schimel uses metaphors to encompass the more fantastic elements. in his doctoral thesis (that. In doing so. Fairy Tales for Writers makes clear this dual focus: these are about and for writers. so to speak. Take. the impulse towards fantasy that helps dominate our current literature. The poems do work well. the opening quatrain of "Snow White": Perhaps you've met her: the woman who craves so desperately to be the smartest. And we can apply them to our speculative writing communities. in this chapbook. We can recognise. plausible. no matter how far the poem uses the fantastic basics of fairy tales. The equivalent in fiction may be Beauty. the poems of Fairy Tales for Writers work. "Cinderella". richest. say. but something that approaches speculative poetry. an applicability to the writing life of the speculative poet. A friend of mine reminds me of this fact. a fantasy with some science fiction elements. 2007) ISBN: 978-0-9794208-0-1 $6. All this is a circuitous way of saying that Fairy Tales for Writers is almost ideal for a Calenture review. but also by an emphasis on the writing life. in Fairy Tales for Writers. Schimel writes. for example. Like any other effective chapbook. the dwarves of the industry.50 US One of the origins of the contemporary genres that make up speculative literature is the fairy tale. say. In doing so he eschews the trappings of speculative fiction. among other examples. It is possible to use themes and motifs of speculative fiction in a way so as to encompass the mundane world outside of the fantastic. there is a strong subcurrent of work based upon fairy tales and other folk literature. and he lacks elements of the fantastic that characterise the field of speculative poetry. but not quite. just as we recognise others. by the way. such as. the vain sort. and fairest of them all. yet does not quite arrive. From it we gain the fantastic impulse. We can see this in almost any passage that we may abstract. his riff on the theme of Snow White: If she must publish with small presses. in talking about the real. Fairy Tales for Writers (New York : A Midsummer Night's Press. wittiest. is about fantastic motifs in the work of Strindberg) that he is working on. the poems fail to achieve a speculative resonance. is Lawrence Schimel's Fairy Tales for Writers. and we must be capable of creating a dialogue between the speculative and the . poems that are simultaneously fairy tales for and of writers. In contemporary speculative poetry. and so we can imagine. that will be fine. And these metaphors lead to the over-riding theme of this collection. But it is one thing to demand that these work well. What he writes is possible. by extension. the poems here are unified.

the mantle of speculative poetry. Ellis . It is a challenge to us.mundane. but does not quite reach. Phillip A. Fairy Tales for Writers helps us see that. even as it approaches. made both by postmodernity and the demands to eschew formal generic boundaries.

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