"I had many things to write, but I will not with ink and pen write unto thee..."
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MARIE KAZALIA
Suicide and a movie			

'Suicide is a disease of singularity and selfhood'
 -  William H. Gass, The World Within the Word


The most disturbing part of my hallucinated memory 
returns to me swimming black out of that moist cold 
haze of intoxication recalled. He confessing feelings
in cryptic entrapping euphemisms. She offering
counter explanations, causing her to realize her 
vulnerable condition in a flash of deep insight, as s
he causes him to see what his feelings disguised 
from his inner vision, until just then--
her fragile state of mind
His concern. Words in blind void heard
No lip movement. Could not see him telling me
how I looked like the woman in the Bukowski film
'tales of Ordinary Madness.?
My toughness really vulnerability
Disconnected from those controls
placed on others by general society
Like her, with no one--not even her one true love
able to really understand her individuality, her need
to be a free full person, regardless that shes female
And how the world thinks of her as that--
female only. Men wanting to use her body, her love
to make themselves feel good about themselves
Not her, no one to make her feel good
no other woman befriending, always judging
with calculated envy. She the most vulnerable
to suicide


Blue Language SEXUAL CONTENT no apology SEXUAL CONTENT 40 pages chapbook of erotic poetry & prose by MARIE KAZALIA hand painted stenciled cover art -- signed & numbered limited edition $8. plus $2. S&H to US address Send CASH, CHECK or M.O. made payable to MARIE KAZALIA, to: RED HAND PRESS PO BOX 432344 SAN FRANCISCO CA 94142-2344
"Poetry endangers the established order in the soul."
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AMIZIGH

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LINDA ABRAHAM
Proofing Your Prose: 5 Errors That You Don't Want

These are the 5 biggest mistakes that we watch for when we review essays:

Evading the question.

You're not running for governor of California or any other political office with this essay. Make sure your essays answer all parts of a question.

Meandering.

Having essays that wander through the pathways and byways of your mind or life might work if you are James Joyce, but fail miserably if you are not. Make sure that each essay has a point and a theme. Then stick to it.

The gray flannel generality.

Sweeping declarative statements that anyone can make. Platitudes about the preciousness of life, the universality of man, the centrality of family, the importance of vision and buy-in in leadership . They're a dime-a-dozen. Now don't get me wrong, those ideals resonate with me as for most editors. However, unless you demonstrate that you uphold them by using specifics, details and anecdotes to prove your point and distinguish you from the masses of essayists, you will write a bland, boring essay. Detail and show-me specifics reveal your values, distinguish you from your competition, and add interest to your essays.

Superficiality.

Closely related to the gray flannel generality, superficiality means that you are being lazy, responding to why or how with brief, necessary answers which most will recognize without your saying so ('The way I dreamed it"; "it's that way in nature"; "scholars say so" and pseudo-details such as "birds eat because they are hungry". These few examples indicate mental laziness. Give the essay process the time, attention, and thought it requires if you want to get accepted. Superficiality and laziness will not land the fat envelope in your mailbox.

Writing what you think they want to hear.

This is a grievous mistake according to many editors. To paraphrase John F. Kennedy, write what you want them to know; don't write what you think they want to read. IWriting outside your box will sound stilted, insincere, phoney; you will be tempted to plagiarize or plagiarize unwittingly. In any case, if it doesn't come from what you know or what you've researched thoroughly, you can't answer questions or respond to 'I'd like to see more on X'.

When you proof your prose, look for these fatal errors, and do what we do: get rid of them.



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 from POETRYrePAIRS MM.11:130

RIC MASTEN
The Deaf			

imagine a woodsman
swinging an axe in the distance
the tree speaking out of sync
then nothing
except what is left in your eye
chips still fly but your ears
dumb fleshy things
hang from your head
useless handles frozen stiff

the world around you
fills with dead air
the quiet thickens
till the atmosphere is packed solid
surrounding you like clear wax
and every one there
rides in a limousine
stars of the silent screen
seen through shatterproof glass
the faces glide past
lips moving like goldfish

the trumpet has lost its voice
the sea shell — mute as a dish

my god in a place like this
what do you do with a word
like inconceivable?

spell it she said
hands moving behind the question
in a kind of semaphore
and you talk to fast

later that evening
the poems fell from my mouth
little naked birds crying for life
and who would have known
they were there
had she not taken them into her care
holding them up
til they could fly on their own

and back where this began
the tree came crashing down
and the sound
was the sound
of the deaf applauding


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