Martyrdom by Kristina Marie Darling

'Visitation' by Noah Saterstrom (2012)

‘Visitation’ by Noah Saterstrom (2012)


I never imagined love as a cause for suicide. But there we
were, surrounded by all of the tell-tale signs: a breadknife,
a withered corsage, a white dress with some ruffles along
the bottom.
The night before I sensed that something had gone
terribly wrong. He told her, brushing the hair from his
eyes, how her sonnets failed to turn at the volta.
Now she’s gliding along the surface of the lake. Her hands
folded like the knot on a small bouquet.
So he tries and tries to wake her. He looks at her perfect
wrists, nearly submerged: cold skin , a silver watch, every
bracelet fastened in place.
Martyrdom is © Kristina Marie Darling, from Brushes With (Blazevox Books 2013)

I did a brief reading of Kristina Marie Darling’s Brushes With on my Open Salon blog

The Non Herein- by Michael Mc Aloran

The Poet As Minotaur In His Post-Catastrophic Citadel, The Non Herein- by Michael Mc Aloran.

 Published Lapwing Publications, Belfast, 2012.  

Acrylic by Michael Mc Aloran

Michael Mc Aloran’s (third) collection of poems , The Non Herein-  is published by Lapwing Publications, Belfast. Lapwing Publications will be familiar to readers of contemporary Irish poets,  Helen Soraghan-Dwyer, Desmond O Grady and Eamon Lynskey. Michael Mc Aloran’s work has appeared in The Recusant, The Medulla Review, Heavy Bear, Ygdrasil, Muse, A New Ulster, and other literary Journals. Mc Aloran owns the Bone Orchard Poetry blogzine which hosts an eclectic list of contemporary poets whose works of poetry and flash-fiction are rolled out on a regular basis.

The Non Herein- is a complete book of some fifty nine stand alone poems which exhibit an inter-relatedness in theme, a poetry of the body. More distinctly a poetry of the skeletal system, of the architecture that maintains the body.

There is a body hidden beneath and within The Non Herein- . It is, or more properly, was, a huge biological colossus or entity, and it has been left out to the elements. Or part of it has been left out, vultured. Its revealed head, teeth, death-grin and spinal column hint at what the poet guards in his broken citadel. The reader is simultaneously invited to ponder the catastrophic events that underpin the book and told ‘this far and no further’ by Mc Aloran.

I sensed a vastness of hidden architecture below Mc Aloran’s tenacious use of colour, and in his use of symbol in the poem/s. Colours are identifiable as amber, molasses, tumour smoke, and black. The mythos of the once-living entity pervades the atmosphere of The Non Herein-. The pervasive symbols in this book are of the skull (decapitated and separated from the hidden body), the teeth, the eye and the spinal-column,


Of The Traces Of - (10)


‘Ashes ashen traceless

Of the locked till wind

Speech ever

Slivers of

Trace of the without

Knocking upon


(Never entering)


Ever the traces of it ‘


Whilst Mc Aloran consistently attempts to reduce the size of the colossus hidden beneath and uniting the poems of The Non Herein- , he never quite succeeds in his venture. The reader gets to wonder at the catastrophe that has led the poet to the speaking of it,


Till Headless Asking - (18)


‘The Shadow of

Ice of a pyre’s silence


Asked of

The meat of it ‘


What has been left out are parts of an organism that is bleaching in the sun, or had been stripped by hoar-frost. The stripped body left out is near the pyre. We are left in no doubt that the pyre isn’t sacred,


Doused - (15)



In a flame of naught


Hissing upwardly

vacancy of none


Embers embers

Doused by final piss ‘


Mc Aloran’s vigil is maintained in order to decipher the language which the necropolis offers him. This is evident in his absolute control of symbol throughout the book, mentioned already in his use of colour, image, and even weather, where rain is monsoon /deluge and where the elements are merely functional symbols without physical heat.


Silently (All The…) - (22)


‘ The bone ash of

Listless as the sky unlimbered


Lingering dice of loss

Breaking upon the shore’s



Silently all the bloody while of it ‘


In The Non Herein- Mc Aloran’s vistas are stripped-down to bare elements. They are concomitantly built up from the selfsame elements to suggest a limbo or no-place. Humour maybe subdued, ebbing-away, or indeed humble but it is always there. Here is a victory-song for life pushing up through human-remains, detrius, stink and bone.


The Night’s Claim- (41)

‘Smooth yes the stone of it


Gathering no moss

Yet ever

The shit

As the night’s claim exhales


Rats in a barrel

Blood-shot    silences ‘


The actual colossus appears in Circumference Of - (pp 54-55)


‘Until again


Carousel of shadow

Blind fingers


Dead searching of the course

Night and limb


Gathered to the pulse

Stricken of


Echoing out of one dead hand unto a vacant sky

Absence of the one


Dreaming all the while

Yet never of the sleep of it ‘


The skull, bone, the eye-socket, the open hand, and the spinal column form this book’s overt symbolism. Mc Aloran’s landscapes are sometimes Dali-esque backdrops for the outplay of the drama of loss, upon which straggled flowers appear then disappear as quickly as a candle-flame caught in a breeze. The machine in which the poet is caught is huge, a huge animalesque architecture, a tracery of deadened nerve-endings and frozen capilliaries. But it once lived.

Mc Aloran narrates this once-living necropolis with a curious tenderness that sometimes emerges momentarily but is often quelled and left unexplored. Whilst Mc Aloran has mastered the symbols which he uses so effectively to both camofluage and decipher the unnamed catastrophe which he has survived, he has created a prison of infinite proportion which has reduced things to symbols of. Hence he becomes the guardian of the images that he allows himself to reveal to the reader who must discern the map that s/he is offered in this book.

The geography of The Non Hereinis phosphorescent, over-exposed, a lansdcape of shapes, tongues, lungs, bleached wood, stone, and the knives of the butcher. Flowers are momentary and related to organs, organs are momentary and not related to human-life, but to human-function. This is not however a utilitarianism in his vision, but a sheer mastery of image which has a vertiginous effect on the reader.

Yet, within this post-apocalyptic Dreamtime there is a super-structure, a very definite exso-skeleton of mute and disbelieving support. The poems do not hang straggled and bone-whitened like rags in the bleaching sun. Mc Aloran’s use of words to define and subsequently defy the bleakness of his vision are assured, neat and despite possibly his best intention warming, warm.

Here may be unnameable catastrophes just happened, survived, but the poet will sift through it all and have his triumph. His engagement is with a burned and ruined corpse left out to dry and fossilize with its rag-remnant of torn flesh and chilled bone, an empty jaw-bone, a leaving from a physical life.

Creative Commons License
The Poet As Minotaur In His Post-Catastrophic Citadel by C. Murray is licensed under a Creative Commons Attribution-NoDerivs 3.0 Unported License.
Based on a work at

And Other Poems

This is a brief note about the And Other Poems blog which is owned and written by Josephine Corcoran. What a breath of fresh air the blog is, judging by contemporary availability of good poetry (and critique). To say that poetry is sorely neglected in the face of market-forces is a wild understatement, but more polemic anon.

“And Other Poems is simply a quiet, uncluttered place to read poems by different writers posted by Josephine Corcoran. The blog’s aim is to give readership to poems which would not otherwise be available, for instance poems no longer elsewhere online, out of print poems, poems published in print but not online, and new, unpublished poems by established writers. Poets have given permission for their work to be featured and copyrights remain with the poets.”

I had been seeing some of Josephine’s link on Twitter for a period of time, and as always was gladdened to see the advent of blogs and websites dedicated to the reader of poetry. Quite a few blogs and websites deal in modern and contemporary poetry in all its wonderful variety. Whilst some people may look on this avant-gardeism as a niche-activity, it is important that the poetry-reader can access all types of poetic-writing. It has been a while since I looked at how poets use online tools to disseminate literature  but I see a radical improvement and diversification in the area. Josephine knows her poetry which is excellent for her readers. I recommend a perusal of her blog and of  her list of poets which is wonderfully diverse. I am adding here the And Other Poems index , and of course a link to my poem i and the village (after Marc Chagall) which she kindly published on 11/09/2012.

I have never presumed that poetics are a niche-activity , but that a wholly conservative approach to critique combined with a mechanistic desire to advance contemporary fiction book-sales dominate newspaper editorials/reviews,  at least in Ireland. The fact that many readers seek poetics through varieties of means, combined with news that 30,000 people signed up to PENN State’s Modern and Contemporary Poetry Course in 2012  would suggest that market-forces are just wrong. Or actually repellent !  Editors would rather clever women review silly books, than look at poetry or actual literature.  If  poetry readers seek adequate reviews of women authors and their books they must look elsewhere than the media, hence the blogs, the small presses, the literary journals and forums dedicated to poetry.

There is a list of blogs and websites dedicated to poetry on the right sidebar of this site. Links to And Other Poems are embedded in this post and given below :

Irish Poetry Imprints (Online and Print)

The difficulty with muses


It seems that muses, those shadowy goddesses who influence writers, are limited under current editorial and employment injunctions to give inspiration alone to great male poets. Or so Simon Gough would have us believe.

Muses apparently perform some type of quasi-sexual inspirational function and it doesn’t matter if they are girls or boys, once the poet is a dude and his inspiration is carried through the ages to the makers of poetry. I wonder (aloud) if the linked article had been written by a female poet, a woman writer – would the muse issue be a bit more interesting, or complex ? 

Simon Gough

“There’s no reason on earth why a muse should have to be female.  Whatever the truth of the matter (and uncertainty still rages in the higher corridors of intellectual power), the identity of “the fair youth”, to whom Shakespeare dedicated so many of his sonnets is almost immaterial. The one certainty is that he had a muse, who provoked


‘But thy eternal summer shall not fade
Nor lose possession of that fair thou ow’st;
Nor shall Death drag thou wander’st in his shade,
When in eternal lines to time thou grow’st.’


Here is Simon’s  top nine list of great poets and their muses :

  • Catullus – Lesbia

  • John Keats -Fanny Brawne

  • Thomas Hardy – Emma Gifford/Florence Dugdale

  • W.B Yeats – Maud Gonne

  • F. Scott Fitzgerald -Zelda Fitzgerald

  • Bob Dylan – Sarah Lowndes

  • Neal Cassady -Jack Kerouac

  • Robert Graves – Margot Callas

The woman muse (or sometimes the young boy muse) provides the meat and torture of poetic inspiration to a succession of male writers in Gough’s imagination. He makes no mention of the muses of Elizabeth Barrett-Browning, of Adrienne Cecile Rich, of  Sylvia Plath. The entire list of writers produced by Gough includes not a single woman poet !

I’d like to see a woman poet’s perspective on the muse. Maybe that will happen in a century or so when the literary establishment comes round to the idea that women write rather excellent poetry. I have to say that I rather prefer the idea of the Duende anyway. Writers interested in the idea of the muse and of the Duende should look up Federico Garcia Lorca.

The muse who features on Poethead is called  Euterpe.

Two sestinas

‘Sestina’ by Elizabeth Bishop

September rain falls on the house.
In the failing light, the old grandmother
sits in the kitchen with the child
beside the Little Marvel Stove,
reading the jokes from the almanac,
laughing and talking to hide her tears.

She thinks that her equinoctial tears
and the rain that beats on the roof of the house
were both foretold by the almanac,
but only known to a grandmother.
The iron kettle sings on the stove.
She cuts some bread and says to the child,

It’s time for tea now; but the child
is watching the teakettle’s small hard tears
dance like mad on the hot black stove,
the way the rain must dance on the house.
Tidying up, the old grandmother
hangs up the clever almanac

on its string. Birdlike, the almanac
hovers half open above the child,
hovers above the old grandmother
and her teacup full of dark brown tears.
She shivers and says she thinks the house
feels chilly, and puts more wood in the stove.

It was to be, says the Marvel Stove.
I know what I know, says the almanac.
With crayons the child draws a rigid house
and a winding pathway. Then the child
puts in a man with buttons like tears
and shows it proudly to the grandmother.

But secretly, while the grandmother
busies herself about the stove,
the little moons fall down like tears
from between the pages of the almanac
into the flower bed the child
has carefully placed in the front of the house.

Time to plant tears, says the almanac.
The grandmother sings to the marvelous stove
and the child draws another inscrutable house.

Sestina by Elizabeth Bishop

Listen to the poem here , Sestina . Sestina  by Elizabeth Bishop is published in Questions of Travel,  which is discussed here in Modern American Poetry

‘Sestina’ by Dante Alighieri

I have come, alas, to the great circle of shadow,
to the short day and to the whitening hills,
when the colour is all lost from the grass,
though my desire will not lose its green,
so rooted is it in this hardest stone,
that speaks and feels as though it were a woman.

And likewise this heaven-born woman
stays frozen, like the snow in shadow,
and is unmoved, or moved like a stone,
by the sweet season that warms all the hills,
and makes them alter from pure white to green,
so as to clothe them with the flowers and grass.

When her head wears a crown of grass
she draws the mind from any other woman,
because she blends her gold hair with the green
so well that Amor lingers in their shadow,
he who fastens me in these low hills,
more certainly than lime fastens stone.

Her beauty has more virtue than rare stone.
The wound she gives cannot be healed with grass,
since I have travelled, through the plains and hills,
to find my release from such a woman,
yet from her light had never a shadow
thrown on me, by hill, wall, or leaves’ green.

I have seen her walk all dressed in green,
so formed she would have sparked love in a stone,
that love I bear for her very shadow,
so that I wished her, in those fields of grass,
as much in love as ever yet was woman,
closed around by all the highest hills.

The rivers will flow upwards to the hills
before this wood, that is so soft and green,
takes fire, as might ever lovely woman,
for me, who would choose to sleep on stone,
all my life, and go eating grass,
only to gaze at where her clothes cast shadow.

Whenever the hills cast blackest shadow,
with her sweet green, the lovely woman
hides it, as a man hides stone in grass.

Sestina by Dante Alighieri

The image at the base of this post is from the Wikipedia Site discussion on the Sestina form . I am adding here a discussion on the form used by both poets in the above post . I wanted to focus on content , which is after all what poetry is about (that and adaptions/metamorphosis/shape-shifting and code !).

The following tables are from and Wikipedia showing the Sestina  form in its essence,

 7. (envoi) ECA or ACE