Category Archives: Resources

Sonnet: “The Quincentenarian Looks Back”

“Twentieth century”! – hard to think it through,
remember details in that distant view…
At her tenth birthday party, why’d I throw
her in the pool, all dressed up? Still don’t know.
Later we lived together overseas;
I had no clue of female hygiene needs,
never bought tampons, she used toilet paper.
Later she had a child. Mine? I wonder.
I’d left, we lived with others, better fit…
or did we marry, and have kids, then split?
I married once or twice, had kids, I’m sure.
Sent her too rude a joke, and heard no more.
We knew so little in those small young lives…
I miss you, though, my girl, or wife, or wives.

This science fiction sonnet, maybe a little flippant, was published recently in the Rat’s Ass Review edited by Roderick Bates. But what will happen when people live longer and ever longer? At what point will be stop bothering to remember things that were once essential to our lives? And the photo is a little flippant, too – if we start living to 500, it can only be because we can reverse aging. There may be a few eccentrics who choose to maintain their bodies as “old”, like in the photo, but I think most people would opt for something in the biological 20s.

And, really, it’s not so much a sonnet as 14 lines rhymed in pairs. And even the rhymes are pretty iffy. Oh well. But so long as you amuse or otherwise engage Rick Bates, you have a good chance of being published in RAR. His basic advice for anyone who has something they are dithering about sending out is: “Go ahead and submit.”

 

Poem: “4 God Limericks”

God

Christian idea of God

God made Heaven, earth, plants, people, fleas
In six days, and then rested at ease;
Then He thought: “In those stones
“I’ll hide dinosaur bones!!”
(He was always a bit of a tease.)

God looked out a Heavenly portal
And what He saw made Him just chortle:
Some dude, on a cross,
Claiming he was the Boss!
For his hubris, God made him immortal.

God, blessed with what one must call humour,
Decided to start up a rumour
That Himself as a dove
Came to Mary with love
And begat an Immaculate Tumour.

God saw how Religion had deadened
And said to His host, “Armageddon’d
“Look good on this lot”
For His plans were all shot
And His angels teased Him till He reddened.

As with the previous post, “4 Guru Limericks”, this was first published in Ambit No. 196, Spring 2009. (Hence the English spelling.) Like the previous post on gurus Buddha, Jesus, Marx and Hitler, you shouldn’t expect anything serious from a limerick. But this flippancy can have a purpose: by tackling a serious subject in a completely unserious way, you can undermine preconceptions and unthinking assumptions, and suggest alternative views and approaches.

With this in mind, consider the idea that religious belief correlates negatively with analytical thinking, but positively with moral concern and empathy. Research into this was summarized in The Independent in 2016, after more complete reporting in the science journal PLOS ONE. Limericks by their iconoclastic nature appear to be low in moral concern and empathy – but often it is some form of moral concern that has driven the limerick’s creation, although its rudeness and fresh viewpoint tends to favour analytical thinking over empathy.

Limericks are the clowns, the fools, of the poetry world. The best of clowns and fools go into stealth mode to make useful observations.

Poem: “Said Poor Mrs. Owen”

Wilfred Owen

(“Futility” by Robbie Kerr) 

Said poor Mrs. Owen
To her son Wilfred
Why must you always
Write of the trenches?
Why can’t you write
Like that nice Mr. Wordsworth
Of flowers?

Said Mrs. Picasso
To her son Pablo
Why must you always
Paint so distortedly?
Why can’t you paint
Like that nice Mr. Monet
Some flowers?

Because we don’t always
Create what we celebrate,
Sometimes we model the
Things that we’d like to change,
Things we don’t like, or just
Things that we think about –
Thoughts of ours.

This poem was published in The Road Not Taken – a journal of formal poetry that is edited by Kathryn Jacobs in connection with Texas A&M University at Commerce, TX.

Technically the poem lacks some aspects of what we tend to assume is “form”, notably extensive rhyme, alliteration or assonance. But each of the stanzas has the same seven-line form, with two stressed syllables in each of the first six lines and a shorter seventh line. The first two stanzas have virtually identical structure, though one deals with poetry and the other with painting, and the third stanza answers them. The last lines repeat and rhyme.

It is really the natural rhythm of the poem that allows it to be included in a journal of formal poetry. In the sense that “form” is any trick of verse that allows it to be remembered word for word, form can be a lot broader than some of the narrow definitions of formal verse.

Poetry Resource: “SF&F Poetry Association”; Sonnet: “On a Dead Spaceship”

Spaceship

(“Golconda Uranium (2012)” by Alexey Kashpersky)

On a dead spaceship drifting round a star
The trapped inhabitants are born and die.
The engineers’ broad privileges lie
In engine room and solar panel power.
The fruit and vegetables and protein coops
Are run by farmers with genetics skills:
The products of their dirt and careful kills
Help service trade between the several groups.
Others – musicians, architects – can skip
Along the paths of interlinking webs.
Beyond these gated pods that the rich carve
For their own selves (but still within the ship),
In useless parts, are born the lackluck plebs.
Heard but ignored, they just hunt rats or starve.

This sonnet was published in Star*Line, the official journal of the Science Fiction & Fantasy Poetry Association, a quarterly edited by poet and English prof Vince Gotera. Each issue contains a vast diversity of sf&f poetry. Not much of it is formal, but that is all part of the diversity which is appropriate to its genre.

So a sonnet is fine. And this one, like so much sf, is a metaphor for Earth today: circling the Sun, carrying highly unequal societies.

Technically, it is a sonnet to be sneered at by purists: it rhymes ABBA CDDC EFGEFG, the second quartet failing to rhyme with the first, making it a flawed Petrarchan sonnet. In addition, rhyming “star” with “power” is a bit of a stretch, one syllable against two, and none of them sharing quite the same vowel… Oh well, it’s only Science Fiction…

Poetry Resource: “Shot Glass Journal”, Poem: “In the Metal Box”

You sit in the humming metal box
And the unlikely landscape rolls
Beneath you in its crumpled seas and rocks
Seen from some miles above on long papyrus scrolls.

This little poem was recently published in Shot Glass Journal, whose motto is “… brevity is the soul of wit …” Accepting only short verse (although “16 lines or less” seems overly generous for “short”) in either free or form, it is remarkable for an American institution in reserving half its space for non-US poets. In the current issue, the left-hand column of 21 US poets is balanced by the right-hand column of 21 poets from Australia, the Bahamas, Canada, India, Ireland, Israel, New Zealand, South Korea, Turkey and the UK. This in itself adds richness and interest to the journal, all the more tasty and accessible in a short-form environment.

Normally edited by Mary-Jane Grandinetti, the current issue (#29) is guest-edited by poet R.G. Rader, the poet and playwright who founded Muse-Pie Press. Muse-Pie Press publishes Shot Glass Journal, as well as two other idiosyncratic magazines, Bent Ear Review of spoken poetry (audio or video submissions only, naturally) and the fib review of Fibonacci poetry. All are open to both formal and free verse.

Technically, this might or might not be a “throwaway poem”. That’s how I would describe it, meaning just a casual thought in verse; but on the other hand some people use the term to mean hand-written thoughts (usually not well-formed) on scraps of paper left behind on public transit or in the park. This one has a bit of form: rhyme, meter, and the last two lines lengthening in imitation of the endlessness of air travel and of the landscape that is being flown over.

 

Sonnet Contest: Cash prizes, no entry fee!

poetry magazine, Better than Starbucks logo

Better Than Starbucks has just opened its annual sonnet contest, an opportunity for all lovers of formal poetry to practice their skills and show off their best work.

Open through October and November (closes December 1), the contest has no entry fee but awards prizes of $100, $50 and $25 for the top three sonnets, which will be published in the magazine along with seven runners-up.

Expect the competition to be fierce! Better Than Starbucks already has a solid following among formal poets. Last year’s competition drew 560 sonnets, this year’s will undoubtedly see more. And you can only send two sonnets. Make sure they are good!

What “good” means can be gleaned from looking at last year’s results in the January 2019 issue, and more sonnets on the Formal Poetry page in March 2019. There are explanatory notes on the contest page, showing some leniency in the definition, and clarifying that previously-published work is acceptable:

This contest is for a metrical sonnet.
Your sonnet can be shakespearean, petrarchan, spenserian, rhymed, or slant-rhymed.
Blank verse is fine, as long as the sonnet form is clearly identifiable.
We’ll consider tetrameter, hexameter, etc. as well as pentameter.
Some metrical variation is fine, but don’t forget the volta!
As always, we do accept previously published work.

Good luck!

Formal Launch: Potcake Chapbook 4 – Families and Other Fiascoes

The fourth Potcake Chapbook is now launched into the wide world, with its contributors coming from England, Wales, Greece, the Netherlands, Canada, and coast to coast in the US.

04 Families and Other FiascoesPoets new to this series are, in order of appearance, Maryann Corbett, Vera Ignatowitsch, Kathryn Jacobs, Anthony Lombardy, Susan de Sola, Jane Blanchard and Michael R. Burch.  A glance at their profiles in Sampson Low’s Potcake Poets page will show you they include editors at Able Muse, Better Than Starbucks, The Hypertexts and The Road Not Taken, as well as various prizewinners.

Returning contributors are A.E. Stallings, Ed Conti, Tom Vaughan, Ann Drysdale, Gail White and Chris O’Carroll, who of course can boast their own editing and prizewinning. And returning as well is the artwork of Alban Low.

It’s hard to do justice to families in a mere chapbook. Not only are there dozens of possible family relationships (and the number is actively increasing thanks to both social changes and biotech developments), but each of those relationships can close or distant, sweet or bitter, simple or complex, present or merely remembered. It requires science fiction to describe an individual entirely without a family.

This chapbook touches on a great deal, but by no means all, of what “family” means. Send a copy to someone who appreciates the bittersweetness that accompanies family love, up and down the generations.