Visual Poetry: A Dynamic Interplay

by Bacopa Literary Review Poetry Co-Editor Oliver Keyhani

Fig. 1. Typescract 63
Dom Sylvester Houedard,
1963, 20x12.5 cm

Visual poetry bends the script, the letter, the consonants, the vowels. It allows for a transition from oral tradition to written text to imagery of the written text. Modern visual poetry is as dynamic and diverse as any art form. It can, but does not have to push a dialogue (dialect?) between visual arts and literature, between representation and abstraction, between constructions and deconstructions. 

Visual poetry spans lettering, typography, handwriting, and collage. From the typestracts of Houedard and other typography (Figs. 1 & 2) to concrete poems and calligrams (Fig. 3) that recapitulate the shapes of objects and things, visual poetry allows for a dynamic interplay that connects the eyes and ears in the experience of poetry (click on images to enlarge).

Visual poetry also has a rich history of rebelliousness, whimsy, social commentary, and even scathing political exposure. As stated by Derek Beaulieu, "The libidinal excess typified in concrete poetry is not tied to a biological author, but rather to the excess and waste caused in the production by business machines of 'correct' and legible documents." (Beaulieu, The Last VISPO Anthology: Visual Poetry 1998-2008, pg. 75).

Fig. 2. Calligram, Guillaume Appolinaire

Many visual poets chafe at "accepted conventions of Poetry," and seek to challenge and push boundaries of subject and object, form and function. The "distortion" of text into a visual aspect that cannot be separated from the text itself can be seen as an echo of the "conceptual structure of reality" espoused by Hegel. 

Fig. 3, Amanda Earl

If things exist for actualizing "a priori pure concepts," vis-ual poetry can provide poten-tially unantici-pated sources of "sense impressions" that seem to hint at but can unnervingly obscure underlying concepts of our social reality.

For additional information concerning visual poetry and examples see "Visual poetry: what it is and examples," "Visual Poetry Today," "The Vispo Bible: John," and "Guillaume Apollinaire." 

 

Metamorphic

by 2021 Prose Poetry contributor Claire Bateman

My writing tends to arise from several sources, all filtered and transformed through the chaotic creative process known as “combinatory play.”

First, there are my own obsessions. I’ve always been fascinated with the phenomenon of sleep, that altered state we enter collectively on a regular basis though each of us experiences it alone—how mystical, how paradoxical, how completely ordinary! And I’ve always loved gems and jewels; in an archetypal sense, they’re like dreams or dream—messages since they speak to us of the hidden world of caves, the underground, and the sea. Though such stones can be cut and shaped, bought and sold, there’s an irreducible otherness about them, an ineradicable feral quality I find compelling, so it made sense to me to link them with sleep. 

Another writing source is direct input from daily life, like the news item I saw last year about eco-wear featuring fashion boots made from mushrooms instead of leather; I suspect that this story lodged in my brain where it underwent the transformation that sparked the idea of clothing created from geological materials. And would I have written this piece if we weren’t in a pandemic, seeking a treatment/cure? I’m not sure. Certainly, though, from our own unfolding ecological disaster comes the subtly ominous undertone as the narrative touches on the ethically ambiguous extraction process that makes the insomnia treatment possible. 

Though I granted my suffering characters relief, something in me didn’t want to let them off too easily, so their previously innocent, unreflective relationship with sleep has been transformed into something new and indeterminate: “Nor do they talk about their sleep, commenting on its quality or recounting dreams; a new diffidence prevails, like the shyness of lovers reunited after an epic absence, as the one who stayed behind, noticing subtle changes in the other, wonders if this is indeed the longed-for union, or perhaps something else entirely.”  While I did mean the narrative to stand on its own as a speculative piece, I may also have been referencing the fact that we’re being changed by the pandemic in ways we can’t yet even identify. I think it’s good to guess but not be too certain about all the layers of thought in the work of writing.

*    *    *

Claire Bateman is the author of nine poetry/prose poetry collections. She is also a visual artist. Learn more about her here.
 

The Landscape Listens

by Bacopa Literary Review 2021 Poetry contributor Holly M. Hofer

The title, “The Landscape Listens,” comes from “There’s a certain Slant of Light” by Emily Dickinson. 

In a “found words” exercise in my creative writing class in college several years ago I picked a few interesting words out of some journals my professor passed around. I began writing and the piece took shape as a reflection on discontentment, intrusive thoughts, religious ideas, personal history, and included some much-needed reassurance from talking flowers. Years and many edits later, I reflect on some of why I might have written what I wrote . . .

Connections between our feelings and thoughts and how we perceive the natural and human-arranged world are not just the stuff of metaphors and similes. There’s a balance, a mystery -- how much we are projecting our internal thoughts and feelings on to the world around us, and how much the external world around us is influencing our bodies and minds.

If we only listen hard enough or observe more carefully, will we hear or see the answers to console us or lead us to more meaningful lives? Is our external “landscape” attuned to us enough to give us these answers we seek, or to surprise us when we’re not seeking at all? Are we only hearing our own voice, in the end, whether it is condemning or consoling?

We’re not always in proximity to beautiful surroundings to soothe our spirits. And even the lovely things of life can seem sad, or insulting, if we’re in a difficult season.  In my poem, the descriptions of a “sore colored bug with round black bruises” or an arrogant cardinal seem to be distortions of the speaker’s discontent mind more than an accurate depiction of the state of the bug and bird in her garden. The extent to which we do this is perhaps not quantifiable, but I’m pretty sure it happens all the time at different levels.

If the negative perceptions of the speaker are of her own making, how does she get out of it?

The turn of the negative thinking at the end of the poem, with the flowers reminding the speaker that they and she never have flown like the birds or ladybugs, seems to have come from disruptive new source -- so was it the flowers captivating beauty speaking to her? Or was it the speaker’s own mind reacting to some sweets she just ate? Some new will power? Was it deus ex machina or the holy spirit? Does the landscape really listen, and can it respond?

 *    *    *

Holly M. Hofer, a native Floridian, currently works in the building engineering field. She's been published in Welter, The Avenue, and The Flagler College Review.

The House: An Essay on Labor and Loneliness

by Bacopa Literary Review 2021 Poetry contributor Atreyee Gupta

On certain quiet after-midnight hours I hear the place where I live express itself audibly: wooden joints creak, old pipes groan, wind sifts through cracks. My home comes alive for me during these times. And I become not only an inhabitant and a caretaker of the space, but also a fellow living organism in conversation with the dwelling. In my poem, "The House," I explore the tension of this relationship and the impact labor and loneliness have upon that connection. My abode is "belligerent upon disruption," waiting "to be--cajoled into being." The building itself has expectations of its dweller and the narrator must navigate those burdens.

I was especially inspired by works such as "Pensive Hours" by Bamewawagezhikaquay (also known as Jane Johnston Schoolcraft), "Those Winter Sundays" by Robert Hayden (born Asa Bundy Sheffey), and "My Grandmother's House" by Kamala Surayya (popularly writing under the name Madhavikutty). These poems deal with the interiority of human lives as they experience kinship, employment, and gender structures.

Joys and griefs are measured through the lens of home. Meditation and the natural world are juxtaposed with isolation and broken bonds within the domicile. For instance, the poet Surayya imbues her grandmother's house with personality. "There is a house now far away where /  once I received love / ... How often I think of going... / [to] pick an armful of / Darkness to bring it here to lie / Behind my bedroom door like a brooding dog." The building becomes more than an enclosure. The love and care experienced within provide character to the four walls.

However, for the person accomplishing the family chores, "Hours stretch --- / ... Days tumble-- / Halls become tunnels through which my life / walks without me." As Schoolcraft writes in "Pensive Hours," a life lived indoors can feel isolating: "The sun had sunk in a glowing ball / As lonely I sat in my father's hall." So often those performing domestic labor go unnoticed, something Hayden expresses beautifully in "Those Winter Sundays," "Sundays too my father got up early / ... then with cracked hands that ached from labor in the weekday ... made / banked fires blaze. No one ever thanked him." 

In my poem "The House" I wanted to hold these contradictions of love and loneliness, labor and leisure within tight proximity.

*   *   *

Atreyee Gupta explores the liminal spaces in which humans interact with society, geography, and identity. Atreyee's work has been published by Arc Poetry, Blue Cubicle Press, Rigorous, Jaggery Lit, and Shanghai Literary Review among others. For a fictional treatise on isolation and belonging, you can read Atreyee's short story, "Cocoon," published by Apparition Lit in their Wonder Issue. For other works, check out Bespoke Traveler, a digital alcove for curious travelers.

The Healing Wave

by Bacopa Literary Review 2021 Fiction contributor David Partington

My story "The Healing WAVE" is a coming together of two separate threads. I'd been reading a lot of Saki, the Edwardian short story writer, since the start of the pandemic, and found more than ten instances where he had built a plot around someone telling elaborate lies--often a teen lying to an adult. I wanted to try something similar, but fact checking has become so easy in the internet age that such a plot would hardly be tenable. For this reason I decided to make my protagonist a Luddite around 1999.

The other thread arose from my interest in relics of Catholic saints. Relics taken from the body of a saint (usually hair or a bone) are considered first-degree relics. Something that had belonged to, or was worn by a saint is a second-degree relic, whereas third-degree relics are objects that have been in contact with first- or second-degree relics. 

I love the idea of trickle-down holiness, and thought it would be funny to transfer it to a secular context. Britney Spears was one of the biggest celebrities in 1999, so she became my saint, and a boy who touched her pants thereby became a third-degree relic with healing powers.

The line, "I've seen people wearing the letter 't' on a chain around their necks, but those were never authorized," was problematic for the Bacopa editors, because normally one would have written "the letter T," capitalized without quotation marks. I'm grateful that they retained the lower-case because the letter T needs to look like a crucifix for the joke to work.

*     *     *

David Partington is a newly retired zookeeper who has taken up short story writing as a pandemic pastime.

Emissary on the Wall

by Bacopa Literary Review 2021 Prose Poetry contributor Danae Younge

I remember sitting on my living room couch at around 1:00 AM, looking at the ceiling and pockets of space where I might find an idea to craft a poem. That part is always the most painful--the waiting, knowing for certain I am going to create something before being able to sleep but not having any clue what it is. Even after the idea comes to me and I'm in the process of putting it into words, this intense itching feeling persists. I don't think I've ever related more to a sentiment about writing than Dorothy Parker's epiphany, "I hate writing, I love having written."

I had zoned out visually at that point, lost in my own 1:00 AM jumbled mind, when my eyes came back in focus, and I realized I had been staring at the painting of a girl hanging above the mantel for over 5 minutes. Maybe I wasn't completely zoning out. Maybe my subconscious was waiting for my thoughts to catch up. Either way, I identified that silent painting as the cause of my itch and began the process of giving it words.

I was inspired by the idea of contrasting motion with stasis--how things we believe to be crystallized in memory are actually constantly adjusting and evolving to accommodate present day. Many people comment on how the past affects the future, but I wanted to illuminate how this relationship is bidirectional, the moments we admire and observe like paintings are constantly looking back at us, affected by our current realities, emotions, and psyches.

. . . Now I notice how her ears perk up to eavesdrop, the spy, like poison weeping from the vial, like an antidote; every word we giggle into handfuls of midnight, hieroglyphic salt stains that whisper on the couch cushions, the shivers annexed from our minds during sleep.

 

As an undergraduate writer, I am beyond honored to be able to share this piece through such a highly regarded literary journal. As of December 2021, I am published/forthcoming in more than thirty literary magazines around the world. Some recent publications include PINK N♀ISE, published in Rust + Moth Magazine and "Nautilus," published in Perhappened Magazine. To read more of my work, head over to my website and subscribe for free updates.

 

After the Harvest

by Bacopa Literary Review 2021 Fiction contributor Scott Ragland

I was inspired to write "After the Harvest" after hearing an NPR segment about smoke from rice-stubble fires in northern India causing hazardous air-quality conditions in New Delhi. 

That dynamic touched on several interesting themes for me, particularly around the idea of the rural/urban divide and how technology can both save and threaten us. (And frankly, it was fun and stimu-lating to depart from the usual "write what you know" mantra!)

Then, in doing research for the story, I learned more about the history of famines in India, which gave me the idea of weaving some of that history into the story. It also got me thinking about generational family dynamics. 

Kuldeep learned from his father and, for the most part, continues farming the way he did. But his wife's death and his concern for his daughter's future make him realize he needs to break with the past. Baljit carries that further by embracing renewable-energy technologies. 

The story's closing scene of her scattering her father's ashes over the fields is intended to symbolize this evolution, both honoring his legacy (and, ironically, echoing his practice of leaving rice-stubble ashes in these same fields) as well as showing how his willingness to change planted the seed for her to move beyond it.

*    *    *

Scott Ragland has an MFA in Creative Writing (fiction) from UNC Greensboro. His flashes have appeared in Ambit, The Common (online), Fiction International, the minnesota review, and Brilliant Flash Fiction, among others. He lives in Carrboro, N.C., with his wife Ann, two dogs, and a cat.

 

Hunger for a More Fruitful World

 by Bacopa Literary Review 2021 Poetry contributor Frederick Livingston

Over the course of several weeks in late winter, I noticed the apples, plums and pears come alive in my new home on the Northern California coast. I struggled to understand the phenomenon at first. It didn't feel like spring yet and I was concerned that an unexpected frost might shatter this frail unfurling. Slowly, I noticed other plants revealing flowers, until eventually the landscape was covered in color. Suddenly spring felt definitive.

I wondered what would have happened if the fruit trees, with their long sense of time and deep roots, never took the first steps from winter to spring. Would the other flowers find that courage themselves or would they stay waiting for a more fruitful earth? It struck me how flowers, not leaves, were the first to emerge from buds, proving dreams precede the means.

Maybe there is a signal the trees feel that I do not, but I could not avoid the parallels between the bravery of this beauty and the question of how societal change occurs in an environment of cold uncertainty. Studying ecology and peacebuilding has shown me many paths to despair, but witnessing this unguarded faith in the future gave me a powerful example of how hope shapes our world.

            Pear Blossom
       Mendocino, California

this tree could be dead
or dreaming
...
what would the Earth look like
if all of us had such courage
to offer our most tender selves
not only when spring is certain
but when we can no longer bear
our hunger for a more fruitful world?

*     *    *

Frederick Livingston plants seeds in the liminal space between food justice, ecology, and peace. His work has appeared in literary magazines, academic journals, public parks, and bathroom stalls. Compelled by the power of metaphor to shape our world, he hopes to share in telling new stories.

Our Connection to Ancestors

by Bacopa Literary Review 2021 Poetry contributor M. Cynthia Cheung

The Eyrbyggja Saga survives in fragmentary manuscripts written in Old Norse, the oldest part of which is thought to date from the thirteenth century. The Saga mentions the two berserkers that appear in my poem "Sightseeing," and anyone who travels to Iceland today can see the Berserkjahraun lava field, including the path the men were said to have made. 

Icelanders today can still read the Sagas directly in the original language. Just imagine the equivalent for modern English speakers like ourselves--being able to understand and savor Beowulf, or even Chaucer, without any translation! How do we, as individuals, cope with the inevitable changes that time brings to memory, myth, and language? Should we strive to maintain a connection to our ancestors--whether linguistic, cultural, spiritual, or biological--and if so how do we go about it?

I have no answers, of course. What I do know is that the time my husband and I spent walking along that path is now one of my most treasured memories!

 *     *     *

M. Cynthia Cheung is a physician whose writing has appeared or is forthcoming in RHINO, Sugar House Review, Zócalo Public Square, NOON: the journal of the short poem, The Journal of the American Medical Association, and others. Find her on Instagram @zoologicapoetry.

Writing "Dream Catcher"

by Bacopa Literary Review 2021 Fiction contributor Elizabeth Christopher

I started writing "Dream Catcher" a couple of months into the pandemic. We had been nestled at home together for weeks--my three kids, my husband, and I. My husband soon returned to work outside the house, but I never did. Rather, my office became a refinished room in the attic, where I wrote copy for a technology company during the day and worked at my fiction before sunrise and late at night.

When we had a COVID scare, I also slept in that attic room. Though I was self-sequestered, I became aware that I wasn't alone. I heard "wings beating behind plaster and lath" in the wee hours of the morning. One time, I got out of bed, crept across the dark room, tapped on the wall, and waited for a response. None came. But eventually a story did.

The story was about a woman older than I am. Her house was an empty nest, unlike mine. Her children no longer "fluttered around these rooms" like mine still do. Yet, alone in my attic space, I could feel her loss, her grief for her grown children who had flown off to faraway places, and I imagined the regret she might feel for those times she resented them, when they were small and "their presence felt heavy."

They were always climbing into my lap pulling at my arms. The air in these rooms was thick with their wanting. It was like gravity.

The guilt from her belief that she drove them away weighed on this woman, as did the guilt of killing the mice whose feces she found in her muffin tins, "like some miniature game of Mancala." But she would not make that mistake again. She'd protect those "small downy bodies huddled in a thatch of leaves and insulation" within her walls, those mice whose teeth made "sunbursts" in her cereal bag, and that bird that crashed into her window like "a tennis ball's thwack."

It's no wonder that birds flew into many of the pieces published in the 2021 edition of Bacopa Literary Review as the editors noted in their foreword. The pandemic sent us indoors, leaving us to look out at a smaller, more intimate world from our windows. What I saw, and I guess what many others did too, were birds--birds persisting in their nest building, in their singing, in their fluttering--day after day, season after season. How their small, nearly weightless forms unsteadied me and filled me with hope, just like stories do.

*     *     *

Elizabeth Christopher is a freelance writer living in Melrose, MA. Her stories and essays have been published in HuffPost, The Writer, Obelus Journal, and elsewhere. See more at Elizabeth Christopher's website.

 

"Virtual Season: 2020"

by Bacopa Literary Review 2022 Poetry contributor Helen Bournas-Ney

In the first year of the pandemic, before there were vaccines and therapies, or anything we thought could help—we were careful and in retreat from the world most of the time in our apartment in New York City. During this period, my husband and I would sometimes venture forth to the open spaces behind our apartment building to get some sun and to see our masked friends and neighbors walk by. We would take our retro folding chairs with us and try to enjoy what we could during those stressful days.

As the afternoons wore on and this grassy area was thrown into shade, we would pick up our folding chairs and follow the sun, moving to our parking lot, which was unshaded by trees and so much warmer.

In that parking lot, the sun would warm us and we would feel the joy of the day, an extended day. This felt like a short-lived but lovely escape from the chaos and fear surrounding us in the early months of lockdown. Here you could forget about it all and just lift your face to the sun.

Small pleasures. And looking where to find them—to figure out just where to put my chair. / I think it must be anywhere that sun allows.

*     *     *

Helen Bournas-Ney was born in Ikaria, Greece, and grew up in New York City. She received the Anais Nin Award for her work on Rimbaud and George Seferis. Most recently, her work has appeared in Plume Online, The Ekphrastic Review, Ekphrastic Writing Responses: Edward Hopper (18th poem down on the page), One Sentence Poems, Mom Egg Review, and the anthology "Plume Poetry, 7."

Read Bournas-Ney's "Virtual Season: 2020" and other fine Poetry, Prose Poetry,
Fiction, and Creative Nonfiction in Bacopa Literary Review 2021

 

Not Naming, Not Knowing

by Bacopa Literary Review 2021 Fiction contributor Shuly Xóchitl Cawood

I never know where a story will go when I sit down to write. All I ever have is a situation. I don't know the backstories of the characters--I learn as I write, figuring out their secrets, their fears, their losses, and what brought them to the situation in the first place.

When I started to write “Not Naming It” (which was of course untitled at the start since I didn’t know what the story was about), all I knew was there was this young couple, Marisol and Elton, and they were buying a farm in the middle of nowhere after being city dwellers, and there was a cat involved—a cat that one member of the couple didn’t want. Even in the first draft I wrote, this was the first line I set down on the page: “The cat came with the farm. A stipulation.”

Why was this cat important? And what would make two people give up the life they had and move to the middle of nowhere?

I found out as I wrote. Now this story is part of my second short story collection, and the stories are all linked. In some cases it took me a while to figure out how some of these characters knew each other.

Not knowing is the fun of writing to me. In all other areas of my life, I want to know as far in advance as possible about everything. I can’t stand not knowing. When I was in the dating world, I would try and guess what would be the reason for the breakup that was likely to come eventually. I can’t remember a time when I didn’t guess correctly. When I met my husband, I couldn’t figure out what would break us up—though I did try.

Sometimes it’s best not to know in advance. In writing, that is definitely the case for me.

  *   *   *

To learn more about Shuly Xóchitl Cawood, go to www.shulycawood.com.

Read Shuly Xóchitl Cawood's "Not Naming It" (pp. 80-85) and other fine Fiction, Creative Nonfiction, Poetry, and Prose Poetry in Bacopa Literary Review 2021

Our 2022 Editorial Team

 We're excited at Bacopa Literary Review to introduce a talented and varied team

Editor-in-Chief J.N. Fishhawk is a poet and freelance writer. He is the author of two poetry chapbooks and Postcards from the Darklands--ekphrastic poems accompanying artwork by artist Jose Ibanez. Fishhawk and illustrator Johnny Rocket Ibanez published their first-in-a-series children's book Billy & Tugboat SallyForth in 2020. Information at fishhawkandrocket.com. 

Associate Editor Mary Bast's creative nonfiction, poetry, and flash memoir have appeared in a number of print and online journals, and she's author, co-author, or contributor to eight professional books from her career as a psychologist, leadership consultant, and Enneagram coach. Bast is also a visual artist.

Managing Editor Tessa Walters is a poet, writer, and songwriter living amongst the orange trees. They enjoy writing anything from poetry to fiction to plays. Their favorite work is Shadow, a play they wrote at fifteen and produced at eighteen which explores how depression can feel like purgatory. Whether they're recording original songs in the voice notes on their phone, hosting a Poetry Jam at the CMC, cuddling up with a library book, baking a bundt cake or pulling needle through thread, Tessa is presently enjoying life as a rebel without a clue.

Fiction Editor Alec Kissoondyal is a student at the University of Florida currently pursuing an undergraduate degree in English. He is also a writer for Narrow Magazine and an ambassador for the Florida Hemingway Society. His short story, "Smudge," was published in the 2021 issue of Bacopa Literary Review. He has forthcoming publications to be released in Drunk Monkeys Magazine, The Bookends Review, and The Underground.

Creative Nonfiction/Humor Editor Stephanie Seguin studied English Literature and French at the University of Florida. She has published humor, short fiction, and personal memoir and spent over 15 years as a freelance editor and teacher of languages.

Poetry Co-Editor Oliver Keyhani is a visual and performance artist, poet and writer. He spends his time wondering about the spirits that put objects around us that cause us to stub our toes and funny bones, or those ghosts that pull out the chairs from under us just as we are about to sit. He can be found studying things and drinking hot chocolate. 

Poetry Co-Editor Reinfred Addo is a Ghanaian-American writer. He is the author of the poetry collections Washed Over and The Dedicadas (shortlisted for the GAW Literary Awards and finalist in North Street Book Prize). His work, including his health humanities creative writing, has been published in various publications and by various organizations such as Tampered Press and Signs of Life: An Anthology. Addo's favorite poetry communities in Gainesville are Thursday Night Poetry Jam (at the Civic Media Center), ARTSPEAKS, and Dopen Mic.

Hero's Eyes

by Bacopa Literary Review Fiction contributor William Nuessle

Jessie tipped her gauntleted hand carefully so the peregrine falcon would step off onto the fence post and grip the wood with all six razor-sharp talons. Heronimus settled on her perch, scissoring her blue-gray wings behind her back, studying her master with eyes of yellow-rimmed obsidian.

"You can do this," the falconer-in-training whispered to both of them.

Jessie is the main character in a (so far) unpublished novel written in 2020; by the time that story is taking place she is nineteen and a fully trained falconer. At some point after the manuscript was finished and resting, I realized that I wanted to know about this moment--when she and Hero had their first flight.

Pulling a gobbet of raw meat out of the pocket, she placed it in her gloved fingers where Hero could see and whistled down-up-down like they'd practiced over and over.

Without hesitation Hero leaned off the post, her talons scratching the wood. A rapid whumpwhumpwhump of powerful wings, a lifting of taloned feet later and Hero was feeding, the comforting two pounds returned to Jessie's wrist.

"Well done, my love," she whispered, elated.

The moment in and of itself was worth a close look, but the chance to also further explore the tempestuous relationship between Jessie and her mother offers (one hopes) a layer of depth to an already interesting story.

*    *    *

Will Nuessle holds a third-degree brown belt in ninjitsu, rides a Harley, primary caregives three little boys, and claims he can recite the alphabet backwards in less than thirty seconds. More of his writing may be found at Will's Worldwide Writing -- The Story So Far.

Read William Nuessle's "Hero's Eyes" (pp. 136-138)
and other fine Fiction, Creative Nonfiction, Poetry, and Prose Poetry
in Bacopa Literary Review 2021

 

Warning

 by 2021 Poetry contributor Carolyn Martin

Stories from National Geographic have often inspired my poems including the one published in the 2021 edition.

"Warning" was prompted by a statement in Jodi Cobb's article, "Strange Reflections" (March 2019), which I used as the poem's epigraph:

When confronted with the limits of the known world,
a 16th-century European cartographer inscribed the warning
"Here Be Dragons" on a small copper globe. Beware: What lies
beyond is unexplored--and perilous.

"Warning" begins with the challenge to find a vantage point high enough to see the horizon where we can ". . . wait   for flames   four legs/ a scaly frame. . ."

It ends, however, with the realization that the perils in this century are not unexplored dragons, but they lie in realities ". . . like love/and loss   grief and regret   prejudice and hate . . ." These are "lurking nearby" in the "world-at-hand" and need to be explored.

Here's another poem prompted by the National Geographic and links to poems recently published in The Phare, One Art, and The Headline Review.

*    *    *

Carolyn Martin is a lover of gardening and snorkeling, feral cats and backyard birds, writing and photography. Her poems have appeared in more than 130 journals throughout North America, Australia, and the UK. She is the poetry editor of Kosmos Quarterly: journal for global transformation. Find out more at Carolyn's website.

Enjoy Carolyn Martin's "Warning" and other fine Poetry,
Prose Poetry, Fiction, and Creative Nonfiction
in Bacopa Literary Review 2021

 

In Front of the Full-Length Mirror

 by Bacopa Literary Review 2021 Creative Nonfiction contributor Jennifer Lang

"In Front of the Full-Length Mirror" was many versions before this one. I started it during my MFA as a rough guide to my body, each scar with its own story, twisting and turning through time. 

Only years later did I understand how un-unique my story is after reading Dana Jennings' "Our Scars Tell the Stories of Our Lives" in The New York Times and David Owen's "Scars: A Life in Injuries" in The New Yorker. 

Still, I stuck with it. Compelled to write about my marks. Despite numerous iterations, the structure stayed intact: from foot to head, nonlinear, that ended where I intended.

But between the time I started this essay in 2015 and finished it in 2020, I had a wake-up moment that altered the focus and changed the tone: the phone call from my dermatologist about the melanoma, followed by nine stitches and cancer screening. I went back into the story to add the first scar, the hardest one to live with, the one of morbidity and impermanence, adding lines like:

"Death is like looking in the mirror, seeing our deeper selves, the bare-bones truths. I am dying, my wounds evidence of this promise. They remind me of my fragility, my inability to stop nature."

After loads of rejections, I am thrilled my essay found its home in Bacopa Literary Review.

*     *     *

Jennifer Lang's essays have appeared in Under the Sun, Ascent, and Consequence, among other publications. Read more of her work at Israel Writers Studio and reach out to Jennifer on her Facebook and Twitter pages. 

Read Jennifer Lang's "In Front of the Full-Length Mirror" and other
compelling Creative Nonfiction, Fiction, Poetry, and Prose Poetry
in Bacopa Literary Review 2021.

Oh. There Is No Going Back

 by Bacopa Literary Review 2021 poetry contributor Megan Wildhood

"Oh. There Is No Going Back" came to me in an instant, nearly whole, on the day in April 2021 when I realized that we as a society are never going back to normal. I had long since stopped wiping down every screen and surface with hydrogen peroxide and I wasn't washing my hands raw every 12 hours anymore like I had the previous year, but I had truly thought that the end of this would at least be in view by the second Easter after the dawn of COVID.

It was starting to happen anyway, but the pandemic turbo-charged the demolition of my self-concept politically, which has ended up rewriting everything else about who I thought I was up until the advent of the pandemic era. 

On that unusually clear day, Oh. There Is No Going Back came to me in almost the exact way it was published. I felt my relationship to the future change. It was bigger than no longer being able to walk people up to the gate at the airport. So much was being disfigured about current life and the future.

Too much.

And I hadn't seen it. Until the day Oh. There Is No Going Back came to me. I had still been trusting that there was.

*     *     *

Megan Wildhood is an erinacious, neurodiverse lady writer in Seattle who helps her readers feel genuinely seen as they interact with her dispatches from the junction of extractive economics, mental and emotional distress, disability, and reparative justice. She hopes you will find yourself in her words as well as The Atlantic, Yes! Magazine, Mad in America, The Sun, and elsewhere.

Read Megan Wildhood's "Oh. There Is No Going Back" (p. 1) and other compelling

Poetry, Fiction, Creative Nonfiction, and Prose Poetry
in Bacopa Literary Review 2021