Category Archives: Poetry

Using form: Nonce form: RHL, ‘Camelot at Dusk’

From under low clouds spreading from the south
The red sun drops slow to night’s waiting mouth.
Rush lamps are lit; the guards changed on the walls;
Supper will not be served in the Great Halls
With Arthur still away. Each in their room,
The members of the Court leave books or loom
To say their Vespers in the encroaching gloom.

Lancelot, up in his tower,
Sees the sunset storm clouds glower,
Feels his blood’s full tidal power,
Knows he has to go.
In her bower, Gwenivere
Puts a ruby to her ear,
Brushes firelight through her hair,
Feels her heartbeat grow.

Guard, guard, watch well:
For the daylight thickens
And the low cloud blackens
And the hot heart quickens
To rebel.

From his tower, caring not
For consequences, Lancelot
Crosses courts of Camelot,
Pitying his King.
In her bower, Gwenivere
Feels his presence coming near,
Waits for footfalls on the stair,
Lets her will take wing.

Guard, guard, watch well:
If attention slackens
When the deep bond beckons,
Evil knows Pendragon’s
In its spell.

And as the storm clouds, rubbing out the stars,
Deafened the castle and carved lightning scars,
Drenched Arthur rode for flash-lit Camelot
Where he, by Queen and Knight, was all forgot.

*****

‘Camelot at Dusk’ was originally published by Candelabrum, a now-defunct poetry magazine in the UK which appeared twice-yearly from April 1970 to October 2010. Candelabrum provided what was, in the 1970s, a very rare platform for British poets working in metrical and rhymed verse.

Technically, the poem uses a variety of forms. The opening and closing passages use iambic pentameter with simple sequential rhyme for a level of detachment (and the only times Arthur is mentioned by name). The passages with Lancelot and Gwenivere use shorter trochaic lines with denser rhymes for more intensity. The passages of warnings to the guards… well, they have a shifting but repeating structure all their own.

Because of the bracketing of the more emotional passages by the more detached opening and closing, the piece feels very complete. As a whole, it is a nonce form. Whether I can ever repeat it successfully, I don’t know. I have tried, but not been satisfied with the result.

‘Camelot at Dusk’ can also now be found in The Hypertexts, which gives it a very respectable Seal of Approval. And it features in the Potcake Chapbook ‘Lost Love’.

Photo: “Eilean Donan Castle at Dusk” by Bruce MacRae is licensed under CC BY-NC-SA 2.0.

Weekend read: Essay: Victoria Moul, ‘On rugby and metre’ (excerpt)

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Victoria Moul writes: When I hear or read people — often though not only American “formalists” — discussing “correct” metre in English, and the supposed dominance of accentual-syllabic forms in general and the iambic pentameter in particular, I often think rather impatiently of poets like Arnold and Yeats. Arnold’s verse is musical, highly memorable and — to my ears at least — mostly very straightforward to speak correctly. But it’s often not very iambic at all and he typically uses lines of very varying syllable length. ‘Rugby Chapel’ is a good example of this — its pattern is, technically speaking, more trochaic (rugby) than iambic (endured), the trochaic pattern is established very clearly at the outset (‘Coldly, sadly descends’) and the lines have between six and nine syllables each. If you (inexplicably) wanted to spend an hour “scanning” it you’d find a complex variety of combinations of stressed and unstressed syllables. But its music is easy to hear and read, and very easy to remember, because regardless of the number of the syllables all the lines have three stresses.

Repeated three-stress lines are relatively unusual in English, especially in longer poems, but the four-stress line is very common, perhaps in fact the most natural English line of all, and indeed a lot of so-called iambic pentameter has a tendency to drift towards four rather than five stresses. ‘The Wild Swans at Coole’ establishes an iambic pattern at the outset (‘The trees are in their autumn beauty / The woodland paths are dry’) but is in stanzas of 4/3/4/3/5/3 stresses, with quite varied syllable length and relatively few perfectly iambic lines. Day-Lewis’ poem, by contrast, looks to the eye like it might be iambic pentameter, since the line-length hovers around 10 syllables (ranging from 9 to 12). But most of the lines are spoken naturally with four stresses, not five (‘A sunny day, with leaves just turning’; ‘Wrenched from its orbit, go drifting away’), and only a handful of lines certainly have five.

As far as I know — do comment if you can think of any counter-examples — there are no really good poems about rugby itself, so the poems I discussed today were just those which came into my mind as I watched the practices. None of these English poems are obscure — all are by poets who were considered major in their own lifetime, and all three have been very well-known at some point even if they are not now — and not one of them is in iambic pentameter. In fact, not one of them is obviously in a ‘syllabic’ metre, strictly speaking, at all (as in the familiar statement that traditional English verse is ‘accentual-syllabic’, i.e. where both the number of stresses and the number of syllables are set by the metrical pattern). These poems, like a great deal of English poetry, establish and follow an accentual pattern — of a certain number of stresses in a line, though this too is open to variation — but not, or only very loosely, a syllabic one. Verse of this kind is very common in the English tradition, and the hundred years of poetry between the mid-19th and mid-20th century, even if you set aside the full-blown “modernists” completely, is particularly rich in metrical variety. It is puzzling that this is not better reflected in most discussions of English metre and form. But the best way to get a feel for the actual — rather than imagined — conventions of a literary tradition is, of course, by reading it.

*****

Editor: The passage above is excerpted with permission from a recent Substack post by Victoria Moul in her ‘Horace & friends’ – the full thing is at https://vamoul.substack.com/p/on-rugby-and-metre. In it, with thoughts inspired by watching her nine-year-old son playing rugby, she discusses Cecil Day-Lewis’ ‘Walking Away’, Yeats’ ‘The Wild Swans at Coole’ and Arnold’s ‘Rugby Chapel’. The piece is engaging in several ways, but the point that stands out the most for me is this:
“These poems, like a great deal of English poetry, establish and follow an accentual pattern — of a certain number of stresses in a line, though this too is open to variation — but not, or only very loosely, a syllabic one.”

This is much on my mind when I consider the forms that create formal verse. From my school days on, I have felt that analysing English grammar with Latin rules was wrong, just as straightjacketing English verse into syllabic requirements was not always useful, beautiful or appropriate. English is a Germanic language, and plays effectively by looser accentual rules: perhaps harder to define and analyse, but truer to the work of poetry which is to be word-for-word memorisable. Rhythm is one of the essential tricks of memorisation, along with rhyme, alliteration, assonance and a host of rhetorical tricks; and rhythm plays a variety of casual games. Also, accentual pattern corresponds to the continuum that I see at the root of poetry: from womb heartbeat, to dance, to music, to song, to formal verse. Formal verse is at its best when it is rhythmic and rich in musicality as well as in ideas and images and wordplay. Without the music, without the rhythm, it is prose… no matter how well expressed.

So rap and spoken word are inherently more poetic because more memorisable than 99% of what has been published as ‘poetry’ in the past 50 or 60 years. All songwriters are of course genuine poets – not all are good ones, but Bob Dylan certainly deserves his Nobel Prize (and I wish it could have been shared with Leonard Cohen).

Another point is that French too, and other Romance languages, are more accentual than professors often claim. When Françoise Hardy sang
Tous les garçons et les filles de mon âge
Se promènent dans la rue deux par deux
she was following the accentual beat, not giving every syllable equal weight, and completely skipping a couple of unstressed syllables. (Are French professors still teaching that all syllables have equal weight in French verse? Surely not! I hope that died out some time last century…)

Not all poetry is singable – but at its best it has a musicality that both creates enjoyment and enhances its ease of memorisation.

Photo: Matthew Arnold

Donald Trump’s favourite poem: ‘The Snake’ by Oscar Brown Jr.

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On her way to work one morning
Down the path ‘longside the lake
A tender-hearted woman saw a poor half-frozen snake
His pretty colored skin had been all frosted with the dew
“Oh well,” she cried, “I’ll take you in and I’ll take care of you”
“Take me in, tender woman
Take me in, for heaven’s sake
Take me in, tender woman,” sighed the snake

She wrapped him up all cozy in a comforter of silk
And laid him by thе fireside with some honеy and some milk
She hurried home from work that night, and soon as she arrived
She found that pretty snake she’d taken in had been revived
“Take me in, tender woman
Take me in, for heaven’s sake
Take me in, tender woman,” sighed the snake

She clutched him to her bosom, “You’re so beautiful,” she cried
“But if I hadn’t brought you in, by now you might have died”
She stroked his pretty skin again and kissed and held him tight
Instead of saying thanks, that snake gave her a vicious bite
“Take me in, tender woman
Take me in, for heaven’s sake
Take me in, tender woman,” sighed the snake

“I saved you,” cried the woman
“And you’ve bitten me, but why?
And you know your bite is poisonous and now I’m gonna die”
“Oh shut up, silly woman,” said the reptile with a grin
“You knew damn well I was a snake before you took me in”
“Take me in, tender woman
Take me in, for heaven’s sake
Take me in, tender woman,” sighed the snake
“Take me in, tender woman,” sighed the snake
“Take me in, tender woman,” sighed the snake

*****

Donald Trump has repeatedly read this poem in his political rallies as a way of attacking immigrants and the US Government’s immigration policies. The ironies are endless:
– that two of Trump’s wives are themselves immigrants (the current one having a very sketchy background as a “model”);
– that Trump always fails to credit Oscar Brown Jr as the song’s author, consistently naming Al Wilson instead;
– that Oscar Brown was a civil rights activist and for ten years a member of the Communist Party (he left when he decided he was “too black to be red”);
– that the song’s message, a variant on one of Aesop’s Fables, is that kindness can be betrayed;
– that Oscar Brown’s daughters have sent Trump cease-and-desist letters because Trump’s message is antithetical to all their father stood for;
– and as one of the daughters said on CNN, “the elephant in the room is that Trump is the living embodiment of the snake that my father wrote about in that song.“

Photo: “JAZZ: Portrait of Oscar Brown, Jr.” by Professor Bop is licensed under CC BY-NC-ND 2.0. (Note: the portrait is by Edwin German.)

Weekend read: Marcus Bales, ‘Ambush’

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You’re smiling, nodding, entering some room
Where what weight you once swung you swung for years,
Acknowledging this or that one, most of whom
Are people you politely call your peers.

And like the step you miss that wasn’t there
Kaboom: the rush returns. Awareness bursts
Enormously inside and out, the where
And when, the who and why, the lasts, the firsts.

Then no one listens as you start to speak,
And there’s another, higher, step you miss.
You squint, and almost hear the leather creak,
But readiness is all there is of this.

Your saddlebags and holsters do not rate.
There’s nothing to fight out of if you can.
The ambush turns, indifferently, to wait
For something more than you. Move on, old man.

*****

Editor: I like this poem as it is. However there appears to be more backstory, and Marcus Bales assembles the following: an excerpt from ‘Lonesome Dove’, and Daniel Keys Moran’s comments, and Marcus Bales’ own comments:

After a few minutes the empty feeling passed, but Call didn’t get to his feet. The sense that he needed to hurry, which had been with him most of his life, had disappeared for a space.
“We might as well go on to Montana,” he said. “The fun’s over around here.”

Augustus snorted, amused by the way his friend’s mind worked.

“Call, there never was no fun around here,” he said. “And besides, you never had no fun in your life. You wasn’t made for fun. That’s my department.”

“I used the wrong word, I guess,” Call said.

“Yes, but why did you?” Augustus said. “That’s the interesting part.”

Call didn’t feel like getting drawn into an argument, so he kept quiet.

“First you run out of Indians, now you’ve run out of bandits, that’s the pint,” Augustus said. “You’ve got to have somebody to outwit, don’t you?”

“I don’t know why I’d need anybody when I’ve got you,” Call said.

Even though he still came to the river every night, it was obvious to Call that Lonesome Dove had long since ceased to need guarding. The talk about Bolivar calling up bandits was just another of Augustus’s overworked jokes. He came to the river because he liked to be alone for an hour, and not always be crowded. It seemed to him he was pressed from dawn till dark, but for no good reason. As a Ranger captain he was naturally pressed to make decisions—and decisions that might mean life or death to the men under him. That had been a natural pressure—one that went with the job. Men looked to him, and kept looking, wanting to know he was still there, able to bring them through whatever scrape they might be in. Augustus was just as capable, beneath all his rant, and would have got them through the same scrapes if it had been necessary, but Augustus wouldn’t bother rising to an occasion until it became absolutely necessary. He left the worrying to Call—so the men looked to Call for orders, and got drunk with Augustus. It never ceased to gripe him that Augustus could not be made to act like a Ranger except in emergencies. His refusal was so consistent that at times both Call and the men would almost hope for an emergency so that Gus would let up talking and arguing and treat the situation with a little respect.

But somehow, despite the dangers, Call had never felt pressed in quite the way he had lately, bound in by the small but constant needs of others. The physical work didn’t matter: Call was not one to sit on a porch all day, playing cards or gossiping. He intended to work; he had just grown tired of always providing the example. He was still the captain, but no one had seemed to notice that there was no troop and no war. He had been in charge so long that everyone assumed all thoughts, questions, needs and wants had to be referred to him, however simple these might be. The men couldn’t stop expecting him to captain, and he couldn’t stop thinking he had to. It was ingrained in him, he had done it so long, but he was aware that it wasn’t appropriate anymore. They weren’t even peace officers: they just ran a livery stable, trading horses and cattle when they could find a buyer. The work they did was mostly work he could do in his sleep, and yet, though his day-to-day responsibilities had constantly shrunk over the last ten years, life did not seem easier. It just seemed smaller and a good deal more dull.
Call was not a man to daydream—that was Gus’s department—but then it wasn’t really daydreaming he did, alone on the little bluff at night. It was just thinking back to the years when a man who presumed to stake out a Comanche trail would do well to keep his rifle cocked. Yet the fact that he had taken to thinking back annoyed him, too: he didn’t want to start working over his memories, like an old man. Sometimes he would force himself to get up and walk two or three more miles up the river and back, just to get the memories out of his head. Not until he felt alert again—felt that he could still captain if the need arose—would he return to Lonesome Dove.

“Ambush” developed out of following Daniel Keys Moran on F*c*book. For some time now he has been posting about coming changes in his life, one of which is retirement from the work-force. My poem actually has no connection to his situation at all, apart from my also having retired. He was a much bigger deal, in charge of a lot more than I ever was, in any of my endeavors, but within my limits I was usually in charge of whatever small enterprises I participated in. I imagine the experience of going from being in charge to being supernumary is about the same, internally, for everyone.

Moran posted the excerpt from McMurtry’s “Lonesome Dove” just recently, as, I inferred, a comment and possibly a reflection on his situation. It certainly resonated with me. Of course Call, the Captain in “Lonesome Dove”, and Moran, and the narrator of “Ambush” all have different situations and different reactions. But there is, I think a family resemblance.

*****

Not much is known about Marcus Bales except that he lives and works in Cleveland, Ohio, and that his work has not been published in Poetry or The New Yorker. However his ‘51 Poems‘ is available from Amazon. He has been published in several of the Potcake Chapbooks (‘Form in Formless Times’).

Photo: “Real Photo Hard Drinking Handsome Cowboys at the Deadwood Dick Saloon Studio Photograph RPPC AZO Stamp Box Hennesy Canadian Club Holland Gin Old Crow 2” by UpNorth Memories – Don Harrison is licensed under CC BY-NC-ND 2.0.

Poems on poets: ‘Maz’ Griffiths, ‘Lies’

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Perhaps it’s true, as Twain implies,
statistics are the greatest lies
but point for point and size for size,
I think they tie for major prize
with poets’ modest little ‘i’s.

*****

Margaret Ann Griffiths, aka Maz, aka Grasshopper, was a British poet known almost exclusively for her online work. In his Preface and Personal Recollection, editor Alan Wickes speaks of her “belligerent modesty” and her lack of interest in the preservation of her verse. In 2008, after winning Eratosphere‘s annual Sonnet Bake-off with “Opening a Jar of Dead Sea Mud” and being praised by Richard Wilbur, she was a Guest Poet on the Academy of American Poets website, where she was hailed as “one of the up-and-coming poets of our time”.

Her poem ‘Lies’ speaks volumes (in a brief space) about the different types of modesty available to creative figures. Her reputation for wit, intelligence, astute criticism and kind-heartedness goes well with her wide-ranging subjects and diverse styles of verse. She was the preeminent English-language online poet of the early 21st century.

Her work was posthumously collected by fans and fellow poets in the 2011 ‘Grasshopper‘ from Arrowhead Press and Able Muse Press.

Photo: “Anjo da Vila, Vila Madalena, São Paulo, Brazil.” by ER’s Eyes – Our planet is beautiful. is licensed under CC BY-NC-SA 2.0.

Short NSFW poem: RHL, ‘The Fig Tree’

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The fig leaf symbol’s one of History’s greats
As, inter alia,
It hides, discloses and exaggerates
Male genitalia.
The fruit itself suggests the female form —
Dripping with honey
The little hole breaks open, pink and warm…
The Bible’s funny.

First published in The Asses of Parnassus, this poem was republished in Better Than Starbucks, which earned a “Kudos on your brilliant ‘The Fig Tree'” from Melissa Balmain, editor of Light. And it has now been added by Michael R. Burch to my page in The HyperTexts. That’s a wonderful set of editorial acceptances – it makes me proud, and I have to erase my lingering suspicion that the poem would be thought too rude for publication. Now I rate the poem more highly, as being not just a personal favourite but also acceptable to a wider audience.

It sometimes feels that all I write is iambic pentameter. It is always reassuring when a poem presents itself with half the lines being something else, and the result is a lighter, less sonorous verse. The rhymes are good; the poem’s succinct and easy to memorise. I’m happy with it.

Photo: “Ripe Fig at Dawn” by zeevveez is licensed under CC BY 2.0.

Weekend read: David Galef, ‘A Question of Emphasis’ or ‘Wanna Make Something of It?’

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“poetry makes nothing happen . . . .”
—W. H. Auden, “In Memory of W. B. Yeats”

Poetry makes nothing happen.
Song lyrics, on the other hand,
Wedge into people’s hearts
When sung by a heartthrob band.

Poetry makes nothing happen.
It doesn’t enforce a cause.
That’s the way of propaganda,
With all its fixed applause.

Poetry makes nothing happen.
But I’ve seen something sublime
In the eyes of a student reading
Eliot’s Prufrock the first time.

Poetry makes nothing happen.
But must events take place
For poems to be eventful—
To make a normal pulse race?

*****

David Galef writes: “This poem was inspired by the memory of a graduate seminar taught by Edward Mendelson, a professor at Columbia University and the executor of the Auden estate. What Mendelson doesn’t know about Auden probably isn’t worth knowing, and what he brought to the study of Auden’s poetry was a deep knowledge of technique, context, and Auden’s modus cogitandi. Tired of those who quoted Auden’s famous line from “In Memory of W. B. Yeats” to indicate the inutility of poetry, Mendelson pointed out that the significance of “For poetry makes nothing happen” is more a point about art versus propaganda. The emphasis shouldn’t be on “nothing” but on “makes.” The aim of agitprop is to make all minds bend in one direction. True art, on the other hand, doesn’t force one meaning on the audience, though it may be powerfully suggestive. As Auden continues (and people who quote often omit surrounding words),
“it survives
In the valley of its making where executives
Would never want to tamper, flows on south
From ranches of isolation and the busy griefs,
Raw towns that we believe and die in; it survives,
A way of happening, a mouth.”
Poetry does indeed enjoy a special, immortal status, but those who want it to be a crowd-controlling megaphone will probably be disappointed.
What I wanted to accomplish in ‘A Question of Emphasis’ is just what stressing the right
word can do, and how poetry can change lives, in its own way.”

David Galef has published over two hundred poems in magazines ranging from Light and Measure to The Yale Review. He’s also published two poetry volumes, Flaws and Kanji Poems, as well as two chapbooks, Lists and Apocalypses. In real life, he directs the creative writing program at Montclair State University.
www.davidgalef.com

Editor: I can’t help adding this 6-minute exposition of emphasis from Hamlet: https://vk.com/video17165_456239062 with its star-studded cast… Enjoy!

Photo: “Nothing happened” by Graham Ó Síodhacháin is licensed under CC BY-SA 2.0.

Melissa Balmain, ‘No Ifs, Ands, Or Bots’

Using form: Villanelle with a limp: Susan McLean, ‘Instructions for Climbing and Descending’

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Good foot goes to heaven; bad foot goes to hell.
When every step torments and pain is chronic,
you can’t do as you did before you fell

and sprained your ankle. As the tendons swell,
don’t make things even worse. Learn this mnemonic:
good foot goes to heaven; bad foot goes to hell.

Take one step at a time. Do not rebel
or grumble that restrictions are moronic.
You can’t do as you did. Before you fell,

you bounded up the stairs like a gazelle,
but now your gait is nearly catatonic:
good foot goes to heaven; bad foot goes to hell.

You’ve always known it doesn’t help to dwell
on loss. You should let go, but (how ironic!)
you can’t. Do as you did before you fell,

but try to play it safe while getting well.
The best advice is simple, yet Miltonic:
good foot goes to heaven; bad foot goes to hell.
You can’t do as you did before. You fell.

*****

Susan McLean writes: “I love villanelles. I like them partly because they are songlike and partly because they present interesting challenges for rhyming and for varying the repeating lines, known as repetends. I thought at first that I had set myself an impossible task with my “-onic” rhymes, but they kept surprising me and leading me in new directions. I was not planning to refer to Milton when I started, for example, but when I stumbled on “Miltonic,” it fit perfectly with the metaphors in the first line. When I started, I also didn’t realize how many ways the second repetend could be varied while still making literal sense.
“The idea behind the poem came from real-life experiences. I had sprained my right ankle once, and after I wrote this poem, I broke it twice. However, the first line, which is literally the mnemonic device offered by a physical therapist as a reminder of which foot to step on when going up or down stairs, was one I heard secondhand. My partner John was told it by his therapist when he had a painful foot. The rest of the poem is in lines with five beats (iambic pentameter), but that line has six. I decided to use it, nevertheless, because the extra beat in that repetend slows the line down, mimicking the slow gait of the person with the sprain. It also makes the line itself seem to limp.
The poem was originally published in First Things and later appeared in my second poetry book, The Whetstone Misses the Knife.”

Susan McLean has two books of poetry, The Best Disguise and The Whetstone Misses the Knife, and one book of translations of Martial, Selected Epigrams. Her poems have appeared in Light, Lighten Up Online, Measure, Able Muse, and elsewhere. She lives in Iowa City, Iowa.
https://www.pw.org/content/susan_mclean

Photo: “How Many Times Do You Have to Fall Before You End Up Walking” by Thomas Hawk is licensed under CC BY-NC 2.0.

Weekend read: Michael R. Burch, ‘Modern Orpheus, or, William Blake’s Whistle’

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I.
Many a sun
and many a moon
I walked the earth
and whistled a tune.

I did not whistle
as I worked:
the whistle was my work.
I shirked

nothing I saw
and made a rhyme
to children at play
and hard time.

II.
Among the prisoners
I saw
the leaden manacles
of Law,

the heavy ball and chain,
the quirt.
And yet I whistled
at my work.

III.
Among the children’s
daisy faces
and in the women’s
frowsy laces,

I saw redemption,
and I smiled.
Satanic millers,
unbeguiled,

were swayed by neither girl,
nor child,
nor any God of Love.
Yet mild

I whistled at my work,
and Song
broke out,
ere long.

******

Michael R. Burch writes: “W. H. Auden famously (or infamously) said “poetry makes nothing happen.” I sympathize with his sentiment but beg to differ. William Blake has been a profound influence on modern culture and societies, not only through his own poetry, art and engravings, but also through his influence on singer-songwriters like Bob Dylan, John Lennon and Jim Morrison. When Dylan met the Beatles the first time, things were a bit cool at first, until Allen Ginsberg broke the ice by bringing up Blake. It turned out that everyone in the room was a fan. Morrison named his group the Doors after Blake’s ‘Doors of Perception’.

“William Blake has been a primary influence on my work, not only as a poet, but also as a translator, editor and publisher of poems about the Holocaust, the Palestinian Nakba, the Trail of Tears, and other similar instances of Blake’s three-headed hydra of church, state and industry doing its worst to make life on earth hell.

‘A Passing Observation about Thinking Outside the Box’ by Michael R. Burch

William Blake had no public, and yet he’s still read.
His critics are dead.

“William Blake was not an “art for the sake of art” adherent. Quite the contrary. Blake was an ardent reformer. For instance, he and Charles Dickens, who from what I understand lived on the same London street or nearby, wrote movingly about the plight of child chimneysweeps and other minors forced to work long, gruelling, sometimes dangerous, hours by unscrupulous businessmen, and before long England and other nations like the United States were passing child labor laws. Some poets do make things happen with their poetry…”

*****

Michael R. Burch is an American poet who lives in Nashville, Tennessee with his wife Beth, their son Jeremy, two outrageously spoiled puppies, and a talkative parakeet. Burch’s poems, translations, essays, articles, reviews, short stories, epigrams, quotes, puns, jokes and letters have appeared in hundreds of literary journals, newspapers and magazines. He is also the founder and editor-in-chief of The HyperTexts, a former columnist for the Nashville City Paper, and, according to Google’s rankings, a relevant online publisher of poems about the Holocaust, Hiroshima, the Trail of Tears and the Palestinian Nakba. Burch’s poetry has been taught in high schools and universities, translated into 19 languages, incorporated into three plays and two operas, set to music 61 times by 32 composers, from swamp blues to classical, and recited or otherwise employed in more than a hundred YouTube videos. To read the best poems of Mike Burch in his own opinion, with his comments, please click here: Michael R. Burch Best Poems.

Illustration: ‘Ancient of Days’ by William Blake

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