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WARD KELLEY -

Poets, by their very nature, are outsiders; indeed this might be exactly how they were intended by Nature. The sensitivity required for poetry generally springs from a childhood in which the poet discovers the rest of the children are solidly grouped into assemblies whose rules appear arcane to the young poet. The resulting pain is what – one can argue fuels the creative process.

Some poets harm their very selves in efforts to assume some form of normalcy, Hart Crane and Sylvia Plath leap to mind. Other poets achieve the acme of outsider status in their own unique manners, such as Eliot deciding he was really an Englishman, not a Missourian, or Dickinson's contention she was a wayward nun. But whatever the contrivance, we all have to solve the problem of the outsider's relationship to regular society - no easy task. And perhaps it is this friction, this grating of the outsider mind against the rock of societal mores, that sparks the poem itself.

A relative newcomer, APRYL FOX. I say 'relative' in that she has written 1000+ poems, but only in the past year or so has been publishing her work. In her piece, I see the struggle of the outsider and the sparks that alight.

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Apryl Fox has been writing since she was twelve-years-old, and her favorite authors include Stephen King, Ernest Hemingway, Isaac Asimov, and Sylvia Plath. She has been previously published in Word Riot, Locust, Offcourse, Erete's Bloom, and Seeker Magazine.  Apryl lives in Michigan where she is currently working on three novels.

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APRYL FOX
Awakening

In the dark, I feel your arms slide around me
and I tense, uncomforted by the feel of your skin against mine
as we look at the burning house. 
Your skin reminds me too much of sandpaper, but I do not 
want to upset the intense 
concentration on your face as you ask the officer 
closest to you what went wrong, your questions bouncing 
around my ears like tamborines. You want to settle this matter of who
started the fire, and was it anyone's fault, and was there a stove
or lamp on when the house burst into flames.

I would like to tell you that nothing is anyone's fault, that
these things happen for the good of God, and maybe each
terrible thing we go through is supposed to make us learn a little more
about patience and tolerance, but I keep my mouth closed and I let
you ask your questions in your own way.
I am falling asleep on my toes as I stand there being nipped by the cold,
my arms wrapped around myself as I shiver in my poncho--it had rained
earlier, and the smoke rising from the house was like steam rising from
a heated bath--my lips turning blue in the face.
I have had so many sleepless nights for the past two years
that I cannot even recall when it is time to wake
or time to dream, and I stare around me in awe
like Rip Van Winkle waking after forty long years of sleep.

copyright 2003 APRYL FOX
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I hope I've presented Ms Fox's poetry in a manner that lends some illumination. In the end the struggle is ongoing, just as the poems, and the poets who channel the poems, forever interpret the mental land on which we walk. I recommend APRYL FOX's work to you. Here is a new voice engaged in the struggle. She can also be found in the most recent Offcourse.

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Ward Kelley has seen more than 1400 of his poems appear in journals world wide. He is a two-time Pushcart Prize nominee whose publication credits include such journals as Plainsongs, Another Chicago Magazine, Rattle, Midstream, Zuzu's Petals, Ginger Hill, Sunstone, Pif, Whetstone, Melic Review, Thunder Sandwich, Potpourri, and Skylark. He was the recipient of the Nassau Review Poetry Award for 2001. Kelley is the author of two paperbacks: histories of souls, a poetry collection, and Divine Murder, a novel; he also has an epic poem, comedy incarnate, on CD and CD ROM.

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Ward Kelley's 'Never Marry It' was previously published by The Paumanok Review (February, 2002).

  


WARD KELLEY
Never Marry It

Within every great beauty is the seed of madness;
the history of beauty tells us so, but one doesn't
have to study much to know this, for the most

alluring beauty has always deviated from the norm,
and this is why great beauty should always be admired
from afar, whether art or woman. Never marry it . . .

for it will not allow itself to be trapped, and it is
impossible to fashion a cage, no matter how clever,
without some form of bars. Determined to be free,

great beauty will ultimately find its freedom in death --
and whether yours or its, makes little difference -- and
often both participants become victims of the fatal seed.
copyright WARD KELLEY

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