Tag Archives: sonnet

Sonnet: Richard Fleming, ‘Boy’

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He closes his eyes while, around his head,
like playground shouts, a flock of angry birds
explodes. He feels an overwhelming dread,
remembering his irate father’s words
and what the words preceded: those first blows
that pummelled his thin shoulders and his ears,
left him confused and with a bloody nose,
his much-loved, navy T-shirt stained with tears.
He blinks, refocuses. The birds have gone.
And, looking at his wristwatch, he can see
hours have slipped by like buses missed. A pawn
on life’s great chessboard, he stands helplessly.
Time flows around him. In it he will grow
to strength while it diminishes his foe.

*****

Richard Fleming writes: “I’ve written a great deal of verse over the years, much of which I’d happily disown, but amidst that unruly scrub-grass a few flowers have blossomed. The bouquet presented here comprises a mixture of formal and informal verse, including a number of older poems that have appeared elsewhere: there are also several more recently written ones that have not previously been published.

          “The Russian poet, Yevgeny Yevtushenko, is quoted as saying: ‘a poet’s autobiography is his poetry’ and that may be true to a degree but let’s not forget that poetry is a creative art, a flight of fantasy, therefore poems that, at first glance, may appear to be autobiographical will almost certainly have been embellished by the writer’s imagination.

          “The selection leans strongly towards rhyming verse: my preference, despite the fact it seems to have fallen from favour in the world of modern poetry. What odds? I’ve never been one to run with the pack.”

‘Boy’ was published in The High Window.

Richard Fleming is an Irish-born poet and humorist based in Guernsey, a Channel Island between Britain and France. Widely regarded as one of the island’s foremost literary voices, his versatile work blends lyricism, sharp wit, emotional depth, and a strong sense of place. Drawing from his Northern Irish roots and adopted home, his poetry and prose explore love, loss, nostalgia, identity, and modern life. Collections include Strange Journey (2012), held in the National Poetry Library, and Stone Witness (Blue Ormer) featuring the BBC-commissioned title poem. His work can be found on

Facebook https://www.facebook.com richard.fleming.92102564/

or Bard at Bay www.redhandwriter.blogspot.com

*****

Photo: Boy Walking Contraluz by Wilfredor, Creative Commons Zero, Public Domain Dedication

Armand d’Artois,’Oxen’, tr. John Gallas

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Under a porridge heaven (scourged with black,
and prickly-pale as sackcloth) drear and dun,
the road lays down its cobbles, mirrored slick
with recent rain and half a sickened sun.

A passer-by or two. Not noticing
the shambling creatures going to their deaths.
A troop of oxen, slipping on the slime,
heading for the abbatoir. Their breaths

resigned and patient; runny eyes that see
the emerald grass, the clear, bright streams, the fields,
the apple-blossomed ease of Normandy.

Silver-drooling snouts. Sometimes a snort
or sniff. But nothing more. Remembering
the sea. A passing smell. A passing thought.

*****

John Gallas writes: “I love ‘Oxen’, a little gem you find sometimes when translating from periodical/magazine contributions that mostly sank without trace over time. I’d be delighted. It’s from ‘La Parnasse contemporain’ (only ever 3 editions – 1866, 71 and 76).”

Armand d’Artois (1788 – 1867) was a French playwright and librettist. Here is the original:

LES BŒUFS

Sous un ciel bas, d’un blanc triste, teinté de noir,
Qui prend l’aspect blafard et morne d’un cilice,
La rue étend au loin son pavé rond et lisse
Que l’averse a rendu luisant comme un miroir.

Quelques passants s’en vont, flanant sur le trottoir,
Sans voir ces condamnés qui marchent au supplice :
Des troupeaux de bœufs, dont le pied trébuche et glisse
Sur le chemin qui mène au sanglant abattoir.

Et dans les yeux rêveurs de ces bêtes superbes
Sont encor peints les clairs ruisseaux, les hautes herbes
Et les pommiers en fleur du gras pays normand.

La bave en fils d’argent tombe de leurs narines,
Et parfois l’un d’entre eux renifle longuement,
Comme au ressouvenir d’âcres senteurs marines.

John Gallas, Aotearoa/NZ poet, published mostly by Carcanet. Saxonship Poet (see www.saxonship.org), Fellow of the English Association, St Magnus Festival Orkney Poet, librettist, translator and biker. 2025 Midlands Writing Prize winner. Presently living in Markfield, Leicestershire. Website is www.johngallaspoetry.co.uk which has a featured Poem of the Month, complete book list, links and news.

“Herd of Cattle on Red Dirt Road, Vietnam” by AdamCohn is licensed under CC BY-NC-ND 2.0.

Sonnet: Amit Majmudar, ‘If Eve and Adam Never Fell’

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it doesn’t mean two shlubs like you and me
would be in Eden with them. God knows I
am partial to a slice of apple pie
and grew up filching off a neighbor’s tree
the peaches he intended for his nieces.
How many generations would the ruse
have lasted? Theologians float their theses,
but sin’s a firecracker with a fuse

that heaven’s ghostly glow can light as well
as any spark that fountained out of hell.
Can’t speak for you, though I suspect I do,
I’d grow so bored, I’d climb the wall with you:
A derring-duo, deathlessness-defying,
we’d sneak out into all that lively dying.

*****

Amit Majmudar writes: “If Eve and Adam Never Fell” continues a long tradition for me. For a reason unknown to me, I have written obsessively for decades about the fall from the garden of Eden, in fact by sheer volume of work it comes in third behind the Ramayana story and the 1947 Partition of India among my recurrent themes. “Subtle Anatomy,” for example, is one of my first ever published poems, way back in 1999:

Subtle Anatomy
by Amit Majmudar

An arm is the spine of an angel wing,
cracked at the elbow. Webbed for gliding once,
we could leap off of cliff or bridge or tower
and saw no problem with a leap of faith.
What happened to it? Ask the suicide.
After the battle in heaven, the good angels,
precursors to the Turks who shamed their captives,
carved and carted off those wings—atrocious—
a mound of wings more chilling than a mound
of skulls: in this case, the contributors
could watch the ground tumor swell. So you see
we have some angel in us, even if
it’s the bedeviled kind, stripped of its wings
like a drunk pilot, out of service.

Before Eve met the serpent, she was fleshier
than even Rubens’s palette could stomach
and spineless, literally. The serpent
dove in her through the nest-hole anus
until the scorpion-stinger coccyx
slurped in too, and she sheathed him whole.
He straightened her, the breath in a balloon,
into this human posture of rebellion,
this upright and bipedal challenge.
Settled, the serpent sent nerves everywhere,
claiming each inch of her with senses.
Not with an apple but an apple’s taste
the serpent ruined her, fossilizing
to the vertebral column. So you see
we have some devil in us too
and dead center at that
commanding everything.

previously published in The Journal of the AMA

*****

Amit Majmudar’s recent books include Twin A: A Memoir (Slant Books, 2023), The Great Game: Essays on Poetics (Acre Books, 2024), the hybrid work Three Metamorphoses (Orison Books, 2025), and Things My Grandmother Said: Poems (Knopf, 2026). His forthcoming book is a novel, Cervantes in Chains (Slant Books, 2027).

‘If Eve and Adam Never Fell’ was first published in The Sonneteer

Illustration: RHL and GPT-6 Astra Light

Bartolomeo Dotti, ‘Abortion in a Flask’, tr. John Gallas

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To Giacopo Grandis, doctor and anatomist

Dear Giacopo, this sad, obscene disaster,
forever motherless, and piped of breath,
if ever it was living, died too soon,
and goes untimely to the feast of death.
And are the Humours of its tiny tub
sweet milk, or tears? For sure, its mother’s womb,
its first and living globe, was made of flesh,
and not the glass that rounds it in this tomb.
The embryo is dead: long live the corse.
Its promised Immortality cut short,
it floats in blood, aborted, come to naught.
O Man! O Slab Professors! Learn perforce
that this is Woman’s flesh and blood: more sweet,
more frail than glass; less strong than aquavit.

*****

John Gallas writes: “The ‘Abortion’ poem by Bartolomeo Dotti (1651-1713) is part of a work in progress (a History of Italy in Poems – featuring not the Great Monuments but the lesser poets from the 1st poem in Italian up to a poet b.1935). If you ever want any more, there’s 84. At least 60 rhyme and bounce.”

VII
L’ABORTO NELL’AMPOLLA
A Giacopo Grandis, fisico e anatomico

     Questo, Giacopo mio, sconcio funesto
cui diè morto natale il sen materno,
se maturo nascea, moria ben presto,
e voi d’intempestivo il fèste eterno.
     Non so se dolce latte o pianto mesto
gli sia di quel cristal l’umore interno;
so ben che l’alvo suo fu come questo,
poi ch’utero da vetro io non discerno.
     Vive quasi per voi chi per sé langue;
embrïone morì, scheletro nacque,
fatto parto immortal d’aborto essangue.
     Uomo, impara! Insegnarti al Grandi piacque
che sia ventre di donna e maschio sangue
piú fral del vetro e men vital de l’acque.

There is a brief outline of Dotti’s turbulent life here.

John Gallas, Aotearoa/NZ poet, published mostly by Carcanet. Saxonship Poet (see www.saxonship.org), Fellow of the English Association, St Magnus Festival Orkney Poet, librettist, translator and biker. 2025 Midlands Writing Prize winner. Presently living in Markfield, Leicestershire. Website is www.johngallaspoetry.co.uk which has a featured Poem of the Month, complete book list, links and news.  


John Gallas, ‘Blantyre Sonnet’

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My new clothes should eat the pilau – Persian proverb

Refused admission. Speel’s. On Friday night.
Apparently my clothes. Not smart enough.
Full they said. Departed in a huff.
Ate at Goldberg’s. Went back Monday night.
Same fat bouncer. Wore my Paul Smith suit.
Nothing said. Nice table by the bar.
Cocktails. Hognuts. Champagne. Caviar.
Alligator steaks. Took off my suit.
Arranged it on the chair like that and that.
Spooned the food inside it. Then the drink.
Waiters looked the other way. I think
I proved my point. Paid up and took my hat.
Tipped the bouncer. Bowed at Bwana Speel.
‘I think,’ I said, ‘the suit deserved the meal.’

*****

John Gallas writes: “It’s one of my favourite ‘Persian Proverb’ stories (the original is a merry little read, involving a guest at a Vizier’s house) and making the sonnet was therefore – the whole content being pre-provided – an exercise in style, form, rhyme etc., a challenge I very much like – which is why I do so much translating. I also happen to think that the ‘message’ (though I’m not that fond of poems with ‘messages’) applies increasingly to a world of judgement by appearances, influencers, and pre-packaged (but, alas, empty-packaged) ideas of social success. I don’t often get this ‘relevant’, but the applicability just came with the story, and that kind of proves it’s timeless/universal, and not my personal grouch.

‘Blantyre’: has an interesting history – I was asked to ‘Rep of Ireland-ify’ it for a Food Festival in Cork, were it went down (haha) well – so I entered it for the ‘Taste’ poetry competition last year … and it won! So I have 2 versions – I think the ‘Irish’ one is a bit more zippy, but whichever you prefer is ok with me – I’ve attached the ‘Abhar Blas’ (‘A Matter of Taste’) version.”

ábhar blas
(a matter of taste sonnet)

refused admission – Friday night – at ‘Gator –
apparently my blús – not smart enough –
FULL they said – departed in a huff –
ate at Porkys –
went back one week later –
same trom Bouncer – wore my Trixie Blout –
nothing said – nice table by the bar –
tapas – Boxty Raws – Moss-Roasted Gar,
Thomas Walk Champagne –
undressed – laid out
my suit – like someone in my seat – and piled
the food into its lap – poured in the drink –
Waiters looked the other way – I think
I proved my point – paid the damage – smiled –
tipped the Bouncer – thanked Cócaire O’Neill –
I guess – I said – the suit deserved the meal.

*****

John Gallas, Aotearoa/NZ poet, published mostly by Carcanet. Saxonship Poet (see www.saxonship.org), Fellow of the English Association, St Magnus Festival Orkney Poet, librettist, translator and biker. 2025 Midlands Writing Prize winner. Presently living in Markfield, Leicestershire. Website is www.johngallaspoetry.co.uk which has a featured Poem of the Month, complete book list, links and news.  

Illustration: ‘Blantyre Sonnet’ by RHL with ChatGPT-6 Astra Light. Not perfect, but I wasn’t going to waste time arguing about to collapse the clothes…

Using form: Helena Nelson, ‘Post-NSTEMI, as prescribed’

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We want your heart to function at its best.
Bisoprolol’s a helpful little pill (lol)
and aspirin’s a friend. You’re less impressed,
it seems, by side-effects of Ramipril
but the cough may pass. Any chesty pains?
Squirt GTN under your tongue. It’s droll
how nitro-glycerin expands the veins
and arteries. As for Lansoprazole,
undoubtedly protecting your digestion
from anti-platelets such as Prasugrel,
yes, take it. Eplerenone is my suggestion
as best antagonist. Won’t you pop that in,
O protagonist? And zap LDL
for sure before you snore—Atorvastatin.

*****

Helena Nelson writes: “After a heart attack, I was fitted with a stent in one cardiac artery and prescribed eight drugs, though one was optional (the GTN spray) and another only for the first six months (Prasugrel). I struggled to remember their names and purposes, so I put them in a sonnet, and as much about them as I could manage. LDL is so-called ‘bad cholesterol’. Bisoprolol is a beta-blocker and helps regulate blood pressure. Eplerenone is an aldosterone antagonist (this supposedly helps keep the heart muscle in shape). Make of that what you will. As they say on FaceBook, ‘it’s complicated’.”

Helena Nelson runs HappenStance Press (now winding down) and also writes poems. Her most recent collection is Pearls (The Complete Mr and Mrs Philpott Poems). She reviews widely and is Consulting Editor for The Friday Poem.

Illustration: “San Antonio Dr. Julio Palmaz and Schatz invent balloon expandable heart stent” by gunaxi is licensed under CC BY-NC-SA 2.0.

Bouts-rimés: Maryann Corbett, ‘Shelley’

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I struggle with his life. In that warm land
of his self-exiled end, a graveyard stone
hushes his willfullness, but when the sand
first mixed his ashes, didn’t London frown
and sneer that the infidel would now command
a truer view of God? And all I’ve read
about his careless loving (women as things
to take, enjoy, and jettison) has fed
a crabbed dislike. But let the poems appear
in their own strength—raging at old, mad kings,
hymning the autumn, moaning black despair,
packing in fourteen lines the whole decay
of human tyrants’ pride—and they strip bare
my morals: Wonder sweeps his sins away.

*****

Maryann Corbett writes: “What sparked this poem, quite simply, was an invitation from Ken Gordon of The Sonneteer to write a bouts-rimés with the end-rhymes of Ozymandias, in celebration of Shelley’s birthday. I fooled around with a subject unrelated to Shelley himself but decided that, given my instructions, the poem had to be about Shelley, so I’d have to do something with my conflicted feelings about the man.”

Maryann Corbett earned a doctorate in English from the University of Minnesota in 1981 and expected to be teaching Beowulf and Chaucer and the history of the English language. Instead, she spent almost thirty-five years working for the Office of the Revisor of Statutes of the Minnesota Legislature, helping attorneys to write in plain English and coordinating the creation of finding aids for the law. She returned to writing poetry after thirty years away from the craft in 2005 and is now the author of two chapbooks and six full-length collections, most recently The O in the Air (Franciscan U. Press, 2023). Her work has won the Willis Barnstone Translation Prize and the Richard Wilbur Award, has appeared in many journals on both sides of the Atlantic, and is included in anthologies like Measure for Measure: An Anthology of Poetic Meters and The Best American Poetry. A seventh book, Notifications from the Unseen, is forthcoming from Slant Books.

Illustration: Joseph Severn’s portrait of Percy Bysshe Shelley, in Wikimedia. The radical 19th century poet practiced the politics of the plate. For Shelley and other liberals of his day, keeping sugar out of tea was a political statement against slavery.

Sonnet: Bob Trewin, ‘It Doesn’t Last’

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No matter what you do, it doesn’t last:
Your best endeavours are gone in an hour.
If you could see the present become past,
Your better weather just a passing shower,
If you could see your garden run to weeds
That once was hoed and tended with such care
And understand you only bury seeds
That will outlive us, and will still be there
When we are gone, to sprout and live anew,
Would you think that your labour is worth while
To do the things you feel you have to do,
To make the effort, go the extra mile?
What else is there to do but push ahead?
So damn them all and be glad you’ll be dead.

*****
Bob Trewin writes: “This is my first poem in Snakeskin. I have previously appeared in some anthologies produced by the Holmfirth Writers’ Group (published by George Simmers, who is a founder member). I have also self-published two collections: Snowflakes in the Night, available from Amazon and the Lulu bookstore and Sonnets and Sundries, available from the Lulu bookstore.

“As for where this poem came from, I wonder how much you, living elsewhere, are aware of the rapid transformation that is happening in the UK, a transformation that no recent government has had a mandate to sanction, let alone actively pursue. If it is reversible, I will certainly not be around to witness it.”

Since scribbling some mediocre verse as a teenager, Bob Trewin put aside his pen for the best part of half a century. He began writing poetry again after retirement and now belongs to a number of groups scattered across the Pennines in West Yorkshire. He has won first and second prize in successive years in the National Association of Writers and Groups’ Open Poetry Competition.

“Garden work” by Bilderschachtel Photography is licensed under CC BY 2.0.

Sonnet: Alex Rettie, ‘Protection’

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“Jansen, you gotta wear gloves when you work
on the grinder. You want hurt yourself?” And
then Kaczmarek looked down at Frank’s left hand.
He saw the scar before the boy could jerk
his arm away. “It’s nothing. An accident
is all, ya know?” He’d done it Sunday night.
Sometimes the burning made you feel alright
when you were getting lonely. He had meant
to do it somewhere hidden, but it felt
good, the old man noticing like he had.
That’s probably how it was to have a dad—
he’d hit your backside with a leather belt
when you were a little shit, but he’d care
if you were hurt. He’d even stroke your hair.

*****

Alex Rettie writes: “Protection” was first published in the Summer 2026 issue of Nimrod International, edited by Boris Dralyuk. It’s part of an as-yet unpublished manuscript called “The Triangles,” which follows the lives of two gay men (including Frank, the speaker of the poem) and a nun (the former teacher of one of the men).”

Alex Rettie is a Calgary poet who has been published in print and online journals in Canada, Australia, the UK and the US. He co-edits the online poetry journal Poems for Persons of Interest (https://pfpoi.blogspot.com/). You can find more of his work on Substack at https://poemsforpoi.substack.com/.

“Scarred Hand” by GrantG42 is licensed under CC BY-NC-SA 2.0.

Sonnet variation, amphibrachic: Daniel Kemper, ‘Impossible Love’

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“Water causes the mind to become.” Pratītyasamutpāda

Impossible love is the spirit of poems escaping
the rhythms, and forms, and the former expressions
of lovers like Shakespeare and Ovid. Reshaping
traditions re-feathers the beds for the sensual sessions
and canopy-shaking delights of The Muse, yet neither
The Lady, so dark and complex, nor Corinna her equal,
nor any persona She dons, entertains the idea of a breather;
instead, with a tumble of laughter, it’s time for a sequel.
Impossible love is eternal renewal; The Muse’s
allure is forever unique, yet the heart of her dances
is primal and deep. The relationship calms and confuses
the poet: the infinite love. But the finite romances.
The union of poet and Muse re-invents and recovers
the poetry born of the love of impossible lovers.

*****

Daniel Kemper writes: “On first read The Muse will likely be understood as “the muse,” IOW, the actual, earthly woman who inspires a poet. The bit about “any persona she dons” will get read as merely “her varied moods” or some such. But there’s a reason for the Buddhist epigram. There’s a reason for capitalizing The Muse. This is The Muse as a spirit, a spirit whose visit inspires and is itself an inspiration who arrives, created (or summoned?) by aspiration.  Writing then, is making love to The Muse, who sometimes inhabits the bodies of mortals, the personae she dons…  Alas, is it possible for spirit and flesh to commingle?

“Clearly this poem is all-in on the classical style, save that it’s a sonnet in amphibrachian meter (x / x). Few poems exist at all in the canon in amphibrachs, but there are some. All sloppy. No sonnets. Few realize that when you read through the end of the line, as generally one should, these become a simple anapestic meter (x x /) like “…[Christ]mas and ALL through the HOUSE not a CREATure was STIRRing not EVen a MOUSE.]

x / x    x / x    x / x    x / x   
x / x    x / x    x / x    x / x   
becomes
x / x   x /  x   x /  x   x /  x  x /  x  x /  x   x /  x   x / x   

meh. Anyway…        

“PS: There’s a little meta-textual play where the poem talks about “escaping the rhythms and forms and former expressions.” The line is self-referential. This poem, being a sonnet in a meter that no sonnet has yet been written in, is itself “escaping the rhythms and forms and former…”  

‘Impossible Love’ is previously unpublished.

Daniel Kemper, a former tournament-winning wrestler, black belt in traditional Shotokan karate, and infantryman has earned a BA in English, an MCSE (Systems Engineering), an MBA, and an MA in English and had works accepted for publication at more than a dozen magazines, including a pushcart nomination. He’s been an invited presenter at PAMLA 2024 and presided over the Poetics Panel in 2025 and has been the feature poet at several Sacramento venues.

“seventh sense” by woodleywonderworks is licensed under CC BY 2.0.