immutabilité

In the afterlife

There is always something to do

pick up the leaning umbrella before it hits the window,  leaving

a tell tale smudge

clutter. Le désordre

le bruit, le fatras,

a maniac for the mind seeking calm

in Upton’s Jungle where only heat bakes

rocks inedible

cushions flattened by visitations, last nights vestige

reminds me of when the bad boy dropped me off at my house and I ran

whippet thin and full of bile through tall yellow grass before sun was up

thinking if I could get inside, wash every molecule off, it wouldn’t be real

for what is real? Who is alive and who is not?

Was it real that you gave birth to me? Or did I come out from your forehead

like Athena without guile, just seeking, the end of the puzzle

wet with embryonic writhe

a dot representing the center, a square we are lost in, a triangular shape of a woman

scything herself of humanity

yoga mat lying on the floor, when no one is looking, legions roam across

their sticky melange leaving detritus and DNA – filthy castings of a viral world

and we think there’s a purpose to cleaning? When our minds are so

filled with dirt, the stain of then, the need for order, no end in sight

you died before I could recall my own conscience

still playing in the sandbox with Pavlov’s dog

salivating at lunch time when the ice cream truck sounded

turning the corner into our 1970’s neighborhood

all the kids who grew up to be wrecked, all the kids with abuse

shuttered behind their sleep-filled-eyes, what we knew and did not know

before we lived, before we were fully conceptualized

clambering out of robot heads into uniforms with starched collars

and itchy labels. Derrida scolds me for forgetting

the metaphysics of presence, how the hair startles before

we are aware of the interloper.

My mother, without me would have been

the same, oppositions casting wide circles around the other

in extravagant orbit,

her elegance like a chill shadow

against ivory, casting divine repetitions

she may once have wondered what it would be like to

behold a daughter and then, cleaning the smudge

the umbrella made on the glass, moved on to watering

the thirsty plants, who never receive enough

sustaining in this infernal heat. Montaigne’s grotesques

filling empty space with coherence, as monsters dressed in provocation

attempt to mediate man’s presumption, for our limit is sifted clear of

lasting knowledge in the face of holy entreaty.

I am and I am not

here and there, once and before, dancing to the last song

of the evening in your arms, unable to

tear myself away from the grand illusion

that life could be smooth like a record with

little grooves created from their undulate

music to move the water inside our soul

carried far until we grow

weary somehow of the weight

and set it down beneath a tall tree

where we shall never move from.

(First published in Free Verse Revolution, 2020). 

Book Review – The Kali Project: Invoking the Goddess Within

Thank you so so much dear Feminist Confessional for this valuable and really excellent review of The Kali Project.

Feminist Confessional

The Kali Project: Invoking the Goddess Within, is an apt and provocative title for this substantial anthology of poetry, writing and visual art by Indian women, collated, produced and edited by IndieBlu(e) Publishing. Kali is a Hindu goddess who defies easy definition and contains contradictions and multitudes. She exists both within and outside of traditional notions of ‘the feminine’. Kali is a nurturing protector who ultimately seeks justice through the destruction of evil. A fierce and violent warrior, Kali is considered terrifying, ugly or beautiful depending on the context. She is primal and wild, yet able to complete seemingly impossible tasks, such as vanquishing otherwise unstoppable demons, with her cunning and nous.

Kali is the ultimate feminist icon; she doesn’t just break down the narrowly defined, socially-acceptable traits of womanhood, she smashes them to pieces. Kali is boundless and will not be contained. This boundlessness and her complexity stand…

View original post 795 more words

THE KALI PROJECT is published!

CONGRATULATIONS THE WAIT IS OVER … The Kali Project is LIVE and print copies are for sale via Amazon: https://www.amazon.com/Kali…/dp/1951724062/ref=sr_1_1…

For the first time ever we have also made the publication available via an Indian distributor Pothi, enabling our Indian readers to purchase copies locally:https://store.pothi.com/…/candice-louisa-daquin-editor…/

Book Depository: https://www.bookdepository.com/Kali…/9781951724061…

Barnes & Noble: https://www.barnesandnoble.com/…/the-kali…/1138632460…

A hard cover version and Kindle will be forthcoming. KALI will also be for sale in Book People & BookWagon and you can order The Kali Project via your independent bookstore (via The Ingram Group).

PLEASE consider purchasing a copy to support this worthy project AND upload any pre-press reviews you have written to help us succeed in getting this incredible book out there.

Contact Megha Sood or Candice Louisa with any questions. Thank you so much to everyone involved, especially Christine Elizabeth for her incredible formatting of The Kali Project.

The Kali Project is a nearly 600 page collection of some of the most famous Indian poets and writers and artists in the world, as well as acolytes, children, teens, and new writers, coming together to create a groundbreaking anthology of writing and art.

The purpose of The Kali Project was to highlight inequality in all forms, speaking to sexism, racism, caste-inequality, gender, income, education. The value of these potent poems and artworks will be immediately obvious and we really hope you will consider being part of The Kali movement by purchasing a copy and leaving a review.

Pale skinned mixed-race

What they see

when they do not see

anything but the cloth over bones

its hue and texture

I won’t be given a chance to illustrate

whether I possess the kinetic DNA within my manifestation

for it matters not

to anyone, you are holding within you

a rainbow, when the color you inhabit

through lottery and variance

dissuades them from believing

you are anything but

that plain, dreary composite of the conquer

able to get a seat at North-side restaurants

while others are told; sorry we’re taking bookings

for next week

in that experience there lies a divide

sometimes between siblings, one fair, one keening

toward onyx

while I observe the differentiation

like the whet of a sharp knife carving out marrow

I would ask

do not make the mistakes your subjugators revelled in

invite your sisters of a lighter hue

sometimes we sit here watching you

braid your hair and soak up the sun

wanting so much to be part of

what our DNA says we are

Je suis désolé de n’avoir pas été comme tu

For

what seemed like forever

and was perhaps

some lost sand

sifting through light

slower when observed

turning like eager sun dial

face capturing shape and shadow

as the moon faced women

blue in Picasso’s rough brush

your edges sleek impossibly

by Masters deft curve, mimicking

nature readily, surely as time will

erode the fullness of our cheeks

your high bones hold you up

that half smile imperceptable

through memory shaking her

coat free of rain drops

as we drift further into long night.

I recall being good at Tug of War

in school with my artex white shirt rolled up

the thin fabric of my skirt flapping

dangerously high, leaning in for the pull

boys on the other end heaving, purposing

(this was always about more than a rope you know)

their extraordinary need to dominate and

our quiet, tugging urgency to defy

even then I might have upset the historical balance

made you proud, if you’d been watching

the length of rope dipping into glassy water

with the weight of decades, days spent

trying to form words of consolation where none

seem worthy enough.

You have slim bones that cannot pull heavy

rope from weighted oceans and even if

your arms were strong, I wonder if you would

gather me to you, within the eye of rushing storm

our fragile satellites eclipsing, resolving

sorrow with gentle grace, unleavened bread

yet to rise

to feel your perfumed palm on my forehead

the beneficence of your gaze, or hear

your voice, its sonorous depths, call for

me and gladly, I would present myself

for any time in your light is time lived

well and good and whole.

in your absence there is only

shadow and cold

reminding me, estrangement is unnatural

when it pares two segments of the same orange

apart, with no mend, balm or eulogy

great enough to salve the hurt

building within us, mountains of

dried salt from spent regret grown

dry.

I long and shall always long

to return to you

in that hour where memory

tells me

we laughed and

in your eyes I saw

my center

verdant and blooming

with the tender cobalt nectar

reserved for what can never

be replaced.

Les terreurs d’une nuit

In the dark when you cannot see well

and squint futile

shadows take on recollection

you are, again, that child

wide-eyed and awake in night

seeing monsters configure themselves

at the foot of your bed

and maybe

climb on in.

Time is definitely female

a circle and not a line

she curves backward

like a hungry snake

devouring her tail

she dives forward

impulsively, unknowingly

as if she too

is unseeing.

Though decades pass

we speak still in the dark

in the voice of a child

surging from within us

bile, relief, sweet, salty, sticky fingers

eating the last of childhood

forbidden to those who

no longer grow upward

only inward, if they are

lucky.

I have lain in many beds

with lovers, sometimes alone

standing in, for absent friends

memory like a scar, whispers

near and far, recollection a drumbeat

solace in stillness, the cliff you walk to

without seeing its drop.

It always scared me to hear

the sounds of night dance around me

in abandonment

though more than anything I wished

to join in

their unseeing merriment

as if by releasing my fear I could

inhabit a deeper rest.

December 2020

Twilight

there in the last glimmer

I see a girl run barefoot across the field

I see an old woman, hunched and bent, look up

and briefly, as the smile crosses her face

resemble that girl again

I see the cruelty of passing cars who

do not slow to permit the old woman crossing

their fierce lipped drivers dripping with venom

at the vulnerability of the ancient

I see the disinterest of those behind closed doors

watching their Twitter feeds like stock markets

of gossip and futility, forgetful of

the song bird who used to sing outside

and now does not

the sky has broken open like an orange feast

light pours out into darkness and indigo colored

clouds hasten to rush against the backdrop like

tired dancers exiting stage right

far away a man chops wood for his first fire of the season

a woman might be giving birth in a nearby hospital

couples squabble and make up, over dinner

the TV is muted, the street is awash with festive tinsel

and the occasional inflatable polar bear

one day we will be that girl rushing to gather her urge

against tall grass

we will also be that old woman, returning home

to an empty house with tall staircase

when they pass, we keep them alive through our memories

the old and the new

shining like new stars in a Winters sky

I see my grandmother’s there now

I remember their voices, mindfully reminding me

be kind

be kind

be kind

Submit your work to these two anthologies


BUT YOU DON’T LOOK SICK: THE REAL LIFE ADVENTURES OF FIBRO BITCHES, LUPUS WARRIORS, AND OTHER SUPER HEROES BATTLING INVISIBLE ILLNESS

AND

THROUGH THE LOOKING GLASS: REFLECTING ON MADNESS AND CHAOS WITHIN

Indie Blu(e) Publishing is thrilled to announce that we will be starting off 2021 with sister anthologies, But You Don’t Look Sick: The Real Life Adventures of Fibro Bitches, Lupus Warriors, and other Super Heroes Battling Invisible Illness AND Through The Looking Glass: Reflecting on Madness and Chaos Within.

The focus of But You Don’t Look Sick: The Real Life Adventures of Fibro Bitches, Lupus Warriors, and other Super Heroes Battling Invisible Illness will be on writing and art from those living with a chronic but invisible physical illness or disability, such as fibromyalgia, lupus, multiple sclerosis, cancer, digestive disorders, chronic fatigue syndrome, diabetes, migraine headache, dysautonomia, etc.

The focus of Through The Looking Glass: Reflecting on Madness and Chaos Within will be on writing and art from those who are living, or have struggled with, mental illness such as mood disorders, anxiety disorders, eating disorders, personality disorders, post-traumatic stress disorder, or psychotic Disorders.

Writers and artists are welcome to submit to either, or both, of these anthologies as applicable to your lived experience.

Given the high volume of submissions that we are expecting, we ask you to follow the submission guidelines as closely.  If you are submitting to both anthologies, please send your submission in two separate emails.  We will begin to review all submissions after January 1, 2021.

Please note that we are not able to offer monetary compensation or free print copies to contributors to these anthologies; however, all contributors will receive a PDF copy of the anthology they are published in. Indie Blu(e) Publishing has prioritized the accessibility of our titles and providing an outlet for artists and writers who might not otherwise get published over profits since we first launched in the fall of 2018.  Keeping 400 and 500 page anthologies affordable globally in a pandemic is challenging.


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But You Don’t Look Sick: The Real Life Adventures of Fibro Bitches, Lupus Warriors, and other Super Heroes Battling Invisible Illness

Anthology Submission Guidelines

SUBMISSIONS ACCEPTED: December 1, 2020 through December 31, 2020

SUBMIT TO: IndieBluSubmissions@gmail.com

SUBJECT LINE:  But You Don’t Look Sick Submission

SUBMISSION FORMATTING GUIDELINES 

  • The maximum number of pieces for submission per writer/artist is six (6).
  • Writing may include poetry, prose, short fiction, essay, and/or creative nonfiction
  • Individual pieces of writing should not exceed 1,000 words
  • Writing should be submitted as a single Word attachment to your submission email.  PDFs are the acceptable alternative if you do not have access to Word.  
    • Please use either 12 point Arial or Times Roman font with 1.15 line spacing.
    • Individual pieces of writing in your Word document should be titled, and separated by Page Breaks (not hard returns). A page break is achieved by using Control+Enter.
    • Special formatting is strongly discouraged.  Bold, italic, and multiple font sizes in a single piece are acceptable.
    • Please title all attachments starting with your first name,last name.  
  • The exception to this is if you design your submission as a ‘camera ready’ JPG or PNG image that we can import into our publication as we would a photo. In that case, you may use any formatting you wish, but the image must be crisp, 300 DPI, and able to be reproduced clearly in black and white. If in doubt, please contact us at IndieBluSubmissions@gmail.com before submitting.  Your ‘camera ready’ writing must be accompanied by the text in a Word (or PDF) version.
  • Artwork submitted for the Anthology must be crisp, 300 DPI, and able to be reproduced clearly in black and white
  • You will be notified if your work is accepted. Please do not consider non- acceptance as any diminishment of your experience, but as with any publishing venture, we must try to fit the individual pieces together into a strong whole.
  • All contributors to the anthology will receive a PDF copy of the finished book

BIOGRAPHY: All submissions must include a professional biography and cannot be adjusted once submitted. Bios should be 75 words or less long and may include your social media links.

You will be contacted directly through your email when your work is safely received for submission.  If your work is accepted for the anthology, you will receive an agreement letter that you need to complete fully, sign and return to us within 10 days. 

PREVIOUSLY PUBLISHED WORK We will accept previously published work but must have written permission by the previous publisher attached with your submission if they retain rights to your work.

If you own the copyright, your permission and the date and title of the previous publisher must be included at the bottom of your submission. 


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Through The Looking Glass: Reflecting on Madness and Chaos Within

Anthology Submission Guidelines

SUBMISSIONS ACCEPTED: December 15, 2020 through January 15, 2021

SUBMIT TO: IndieBluSubmissions@gmail.com

SUBJECT LINE:  Through The Looking Glass Submission

SUBMISSION FORMATTING GUIDELINES 

  • The maximum number of pieces for submission per writer/artist is four (4).
  • Writing may include poetry, prose, short fiction, essay, and/or creative nonfiction
  • Individual pieces of writing should not exceed 1,000 words
  • Writing should be submitted as a single Word attachment to your submission email.  PDFs are the acceptable alternative if you do not have access to Word.  
    • Please use either 12 point Arial or Times Roman font with 1.15 line spacing.
    • Individual pieces of writing in your Word document should be titled, and separated by Page Breaks (not hard returns). A page break is achieved by using Control+Enter.
    • Special formatting is strongly discouraged.  Bold, italic, and multiple font sizes in a single piece are acceptable.
    • Please title all attachments starting with your first name, last name.  
  • The exception to this is if you design your submission as a ‘camera ready’ JPG or PNG image that we can import into our publication as we would a photo. In that case, you may use any formatting you wish, but the image must be crisp, 300 DPI, and able to be reproduced clearly in black and white. If in doubt, please contact us at IndieBluSubmissions@gmail.com before submitting.  Your ‘camera ready’ writing must be accompanied by the text in a Word (or PDF) version.
  • Artwork submitted for the Anthology must be crisp, 300 DPI, and able to be reproduced clearly in black and white
  • You will be notified if your work is accepted. Please do not consider non- acceptance as any diminishment of your experience, but as with any publishing venture, we must try to fit the individual pieces together into a strong whole.
  • All contributors to the anthology will receive a PDF copy of the finished book

BIOGRAPHY: All submissions must include a professional biography and cannot be adjusted once submitted. Bios should be 75 words or less long and may include your social media links.

You will be contacted directly through your email when your work is safely received for submission.  If your work is accepted for the anthology, you will receive an agreement letter that you need to complete fully, sign and return to us within 10 days. 

PREVIOUSLY PUBLISHED WORK We will accept previously published work but must have written permission by the previous publisher attached with your submission if they retain rights to your work.

If you own the copyright, your permission and the date and title of the previous publisher must be included at the bottom of your submission. 

US Polls: What should We Celebrate?

My opinion piece in Borderless Journal Xmas 2020.

Borderless

By Candice Louisa Daquin, Senior Editor, Indie Blu(e) Publishing

Even the most stalwart historian among us, will attest, it takes living in a country, inhabiting its borders, to truly understand a country. It is no wonder we struggle to truly comprehend the lived experience of people in other countries. America must look very strange to the rest of the world, just as we who live in America may stereotype and miss the nuances of the political landscape of other countries.

But as strange as America may look, it is a strange country to live in too. As an immigrant to America, I have the advantage of knowing what it is like to have lived in three other countries and been resident or citizens of them. It helps in seeing why people hold the perspectives they do.

Obviously, it is a mine field if you say only one side is ‘right’…

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Defacto

And the big ball in the sky and the slit eye of Un Chien Andalou and the upturned chin wielding the knife and the rinsing sink pouring sacred wine said:

Why don’t you believe in yourself?

Others who are fair to middling to pithy served over weak tea (don’t you just hate tepid and the nudity of wearing clothes?).

The result of waiting in your head, as others stream out and strap their wings, the consequence of exile, invariably madness, the quiet kind most likely, sometimes the type they label histrionic

which is really a way of saying get it out, your woman-hood and your messy gore, leave us nothing of who you were, be gone feelings, welcome the sunshine state of not giving a good god damn

They believe. They over believe. They sit fat and grand with crown and chips and mushy peas and rosacea and secret leak-proof underwear

they preen and fetishize their dusty heads with nothing special inside the sagging tent. So why not you?

You who are marvelous, hideous, magnificent, repulsive, malodorous from not washing (did Simone Mareuil wash underneath her arm-pits before committing suicide by self-immolation, dousing herself with gas-lit-fire in a public square somewhere) 

when the rot and the unplanted bulb decays in damp corners and still produces no birth. You who are broken in the long arm of fracture and making an art of surviving by licked many times, thin string, waking to the caw of crows and their beady-eyed-scream. Why not you?

You who succumbed to the Piper and didn’t wake up, not once, somnambulist, you write behind your wafer-thin eye-lids, ink streaming like borrowed tears, nobody reads, water or divination, they simply don’t believe that crap anymore (I don’t even believe in YOU anymore)

We wouldn’t lie to you would we? (whisper whisper whisper) we tell the truth (oh surely, we do, we do) we venerate you on Monday and poach your blue eggs badly on Thursday. Liar liar liar! You let the cat out and she was run over by the hill you never walk UP.

That’s why. That’s why. That’s why.

Ooohhhh that’s why
It fits like a glove (big hands, black heart) not your glove, your glove is velvet and lost, your glove didn’t ever feel right when it was on

fits like a mussel in your mouth, squirming. A muscle unused (you don’t desire me, I have lived too long and too short, I don’t drink enough to blot it out, I am a thing of dust that isn’t touched or fucked or run-over) cold mussels in brussels (overcooked always worse than raw)

I tried to be frank (all cold thumbs, warm brain, brain on fire, leaving debris of a life badly lived, in little love bites around her neck, praying mantis wearing jewels)

you turned me down for the jingle jangle and fizz and pop (old hat, large gloves, ashen feet, holes in the middle of you like whiteout) one pierced ear, Queen of Hearts. Black nave of Diamonds burrowed deep in fecund rib.

I would if I could (believe) but your exquisite lie is a third eye in my fever dream, it pulses like Soho

It tells me not to swallow.

(Inspired by Un Chien Andalou, 1929,  Luis Buñuel & Salvador Dalí).