reminding themselves they can still fly

Only so much can be said of birds, or landscapes

yet grief? Grief is a world incapsulated in a tear

held to the sun and magnified, its kaleidoscope of color

without end

and while you may see me sitting at this table

with dried flowers catching wan Winter sun

my face a careful study of emotion beneath surface

I am actually at this very moment

lying on the unwashed floor

feeling cold tile invade my pores

just like the virus who crept into my stomach

changing everything like zealous house cleaner

see, on the floor I can curl up like I did as a child

pretend I am a dragon again, where ageing and its horrors

or just the spite of unbidden sickness

will not come for me, because I am no longer real.

The sun light will fade and with it, shadows come

reminders of our ephemerality

a dance with what is and what is no longer

the ghosts of my grandparents waltz beneath pear trees

their necks bent to dark skies, mouths slack with amusement

I thought then, nothing could disturb the fabric of the world

because youth told me so

and lies were easy to sew

delusion, such a merry friend

now it is not as easy and like them, my mask grows weary

often wishing to climb into bed and read

stories of others who have lived and died

sitting at tables, lying on floors, looking upward, open mouthed

finding ways to express the horror and brief respite

of coping with pain

I so admire those souls who laugh

though I suspect sometimes they simply do not think

of how things really sit

and that’s all right

because there’s no one way

of getting through this

the birds, maybe they know other means

perhaps that is why they migrate and it is has

less to do with warmth and more to do with

reminding themselves

they can still fly

(Expecting To Fly, by Buffalo Springfield, one of the best songs of the era https://www.youtube.com/watch?v=hzMl0-bhNcM&t=25s)

Not a lot

Some of the forgotten towns

circling big cities, lone wolves

warming fur against bright lights

wear their bleakness like a flag

the emptied streets at night where

no merriment is found, kids have

climbed aboard their bikes and motored

through snow if necessary, to escape

into the cold clutches of wine and euro-pop.

The touring people who do not live in these towns

glamorize by proxy

their little steeples, the preserve of history

how charming graffiti looks in a foreign language

they do not see behind the doors

into a teen world of preparedness

all who will flee when time comes

somehow, make their empty pocketed way

to bigger cities, offering the solace of

24 hour misery

surely it beats

sleeping in your childhood cot

listening to your parents snore

inching closer to a local grave plot

they put their heads in bags of glue

just to feel like they are from somewhere else

finding it a marvelous irony

when their frigid mountain town is named

‘best hidden tourist spot’

by those who are also in their own ways

trying to escape

their stifled lot

Tempera

Query feels like a brand though it comes with veil

the doctors say, phantom pain becomes step mother

to fragile veins

first one to freeze come a cold snap

ready for tindering a bristling fire

at noon I want to eat warm eggs from your palm

touch your vermillion paint brush to my own face

feel the render of tempera against parchment

without any contempt for you, I wish you gone

but ink dries fast in the cold, it’s a myth it takes a warm day

to run a bath and slit your wrists

they never ask why, only how

the fire trucks blink like fallen damsons on melting streets

it was your enemy knocked on the door, broke it down, carried you out

not laughing at your slack form, the way your hair when wet

thins into dismal life line

the bequeath of surprise leaves us wordless

I with my bandages, you with your newly found soul

the sweetness of sharing this clementine center almost makes us forget our mutual hatred

to burn in respective votive, prayed to by sinners, also cherishing the role of loathing

dying is a slow storm, coming in squall, lost to its own menace

we leave the phone off the hook and become masks affixed to unpainted wall

maybe the next inhabitants will lift them gently from their nail

and remark before painting

that they left no shadow

How’s it taste?

In the olden days

they mined towns for their ore

like men drank youth from the

neck of local girls

until everything became brittle

time fled ahead

to something unrecognizable and sour

then we looked up from our tasks

seeing a familiar chink of light in day

years falling away, yellowed pages

surprising us with how many

collected at our feet

how could, all this time have gathered, and

dust in our hair, as we sat, hunched over

our endeavors like hungering cats

without respite?

Without children, our marking

of the passages of life, mislaid somewhere

a half mended cardigan

no longer fitting right

we skipped from pursuit to distraction

thinking it possible to always return

to that hour we woke

our heads wet with the burnished zeal

of awareness

now, now we have slept

without knowing our slumbering

the turn of years into decades

our prodigious output, a heavy weight

on the bare necked sap of youth

staring into the mirror seeing lines

that have crept unbidden in afterglow

like thieves, we still believe ourselves

that youth

with shiny hair and bright intentions

where have they found themselves? Lost

among conifer trees, flitting in and out

like an optical illusion, solitary birch

burying fears of

going blind and birthing cancers

instead of placentas beneath the mother tree

stifling truth

for one of ‘maturity’ and ‘reliability’

ironed sleek on fists of thawed rebuke

though every night as indigo infuses sky

there remains a longing with the starlings to scream

fermenting anguish out into the humus

where nobody, save the desolate lost

might respond to entreaty

and return, by pull of thread

tug of color through dark

that vital spirit cherished

when all else went to rot

amidst the berserker of youth

thirsting on its short straw

determined to drink it all

before we, parched and fragile

in garnishment, got to share

a little of life, just a glance

backward to the days spent dancing

lost in sound, the writhe of

bodies about, surging in a sea

of shared rebuke

of this cold world

where water in the morning on your face

scolds

your vast, lovely, unspoken

dreams

Bulletproof

(Inspired by reading Cordelia Feldman’s novel In Bloom, reviewed after this poem).

When the rush comes

questions like: Why are you doing drugs? Are you an

unhappy child?

Do you realize how inappropriate it is?

Bad choices lead to worse choices. Slippery slopes. Killed brain cells.

Those questions seem irrelevant

for, that which you have searched

seemingly before awareness, birth, first flickering

is surrounding you and the fucking magic of it

is holding sorrow so far away

you can’t recall the last time you felt its fingers

closing around your throat in possession.

Yes sorrow

misery, self-hatred, dysfunctional thinking, dysthymia

depression, malaise, disorder, horror, they

have long sat at your scarred table

munching on your best intentions

not to throw yourself from a bridge

just because every day is so painful.

Parents show the whites of their eyes

like distrusting horses being inspected

for cavities and you are the hole

they observe without looking

wondering how they birthed

someone so strange, unexpectedly unwell

did we not take enough pregnancy vitamins?

Was it more like my ‘funny’ uncle and how he never

seemed quite right?

Blessed, tainted blood

that’s not it

anymore than sexual abuse or

quiet pinch of undiagnosed learning disorder

when there are cheery-faced celebrities proclaiming

their cured malaise, even as they grew up

in fire

therefore, it is not

the firing, how deeply you set, how many cracks

it is more the knife of life

cutting you open

silence surrounding before

you knew you were alone

a haunting long before words like

‘intrenched’ and ‘affliction’ were commonly nailed

like scarlet blooms on thirsty cacti.

Sorrow, you were flowing in my blood stream

like an unbidden life, wishing to suck mine out

marrow and all.

There’s only apologies

for not being able to be what you want me to be

grieving for the perfect mess made when I was doing my very best

not to cut myself to ribbons

and as self-hate dances with a wish to

pull hard on the string attached to light bulb

and just blink out ….

music and its phantasmagoric wonder

infiltrates darkness with a tender mercy

potent keys of a piano played on an empty stage

seem to possess a furtherment.

You, who sup at the high seat for well-adjusted

cannot really fathom, aside in dusty theory

the every day battle with spirits resembling

skewed reflection and how when joy arrives

soft and cloudy, she is split savagely

by the very strength of your inner tenency

to plunge headlong, when you want to do

the opposite.

Fate lifted me out of the car gently

like I meant more to him than a one-night-fuck

and maybe thinking back, I was

precious

in that turkish delight moment

softened at the edges by

little blue pills.

If I die in ten years from some malady

will you point your frozen heart at me

and say; “Her bloody drug use killed her”

without recalling

without it

I’d already be nourishing trees

with my life blood.

Will you state: “She was weak because she

couldn’t cope without them”

forgetting, we do what it takes

to stand upright, pulled from the inside

skins flayed on electric lines of penance.

For our generation, for some of us

those who didn’t yet know how to

put words to how we felt

the holes in our fabric

those diminishments

only worsening with perpetual self-reproach

(after all, didn’t we have a roof over our heads?

How the hell could we be so ungrateful?

Do they say that to people with cancer?

Only the smokers I think, we are banished

to the smokers ward if we suffer from

depression, they put us down as incurable

and slightly pathetic and faces turn away

like cliffs beckon our swift feet forward).

I danced beneath strobe lights, proud of reaching

19 and not having taken anything stronger

than weed, my iron will a contrast to

my crumbling will to live, sometimes

it fascinates me. He whispered in my studded

ear; “I know you disapprove of hard drugs but …

and like a violin played accutely until

you find yourself crying on the other side

of intensity, I saw the futility of holding back

how ‘good behavior’ didn’t work with the model

of suffering experienced daily, another way of

saying it was

fuck it

the pill was bitter like

poison

and returned me someone

I had not met in many years

happiness flooded my bloodstream

I didn’t care it was artificially induced

all moods are, all behavior dictated by

the flow and ebb of chemicals surging

in our amygdala.

Why do some of us fall so far?

When others seem oblivious of

sorrow like it’s a thing to bring out

at funerals and nothing more? Can we really

reduce it to ‘failure‘ and ‘success‘ and affix the

ugly admonishment forever, like kicking

someone all the harder once they are down?

The self-loathing and condemnation

invariably accompanying perpetual sadness

lifted like a shroud and music entered

my blood stream with an invoking joy.

Many years later I read about ‘self medication

and thought as a professional

trying to help people who felt

like I did / alone / worthless

how trite labels and ‘understanding‘ in general

was.

I’d write you a book of my foray with drugs

if it didn’t cause you to condemn me

then again

you already have

so why not?

Don’t throw stones

at glass

houses

unless

you’re bulletproof.

Cordelia Feldman writes on WP and has published her first book of fiction In Bloom. She’s a magnificent person and a genuinely beautiful human being. I urge you to purchase a copy.

In Bloom

I didn’t know what to expect when I purchased In Bloom. That can be exciting. I purchased it because I have followed the author Cordelia Feldman on her blog for many years. As a publisher/editor I tend to get high burn out for acquaintance reads but this was not at her behest, I wanted to read In Bloom, because the quality of Cordelia’s writing and humor over the years has often left me astounded.

In Bloom is semi-biographical set-in mid teen hood. Which might seem odd at a time when the adult author is struggling with metastasized cancer since her mid thirties and this has taken such a chunk out of her valuable life. One might not be blamed for thinking she’d write about a later time in her life. However, if the reader has ever had a prolonged battle with their health, they will intimately appreciate the difficulty of ‘going there’ and the positive impact of focusing on other things. In addition, the challenges a writer has to accurately reflect her past self, something few do realistically and Feldman excels at.

Cordelia has in her blog, done a monumental job of focusing elsewhere, she’s ‘bloomed’ in the years since her cancer diagnosis despite all obstacles. Her infectious optimism, her attitude of caring for others even as she suffers, the way she brings humor out of the darkness, and her undefeatable intelligence hook you from the start. With each blog post she refers sardonically to a book title, often obscure, and that quick mind of hers is as agile now as those who have never experienced a days sickness.

Likewise, with In Bloom, a little gem, a veritable Pandoras’s box replete with humor, nitty-gritty mindful observations, completely lacking in self-pity and with so much to evoke and fascinate. Why fascinate you may ask? Many of us can directly relate to being a teen and going through much of what Feldman has gone through, but many cannot. This is both a warning and a true invoking of a time in history and a type of lifestyle for the young that Gen X’ers and perhaps many others, can appreciate.

Just as we can put an album on and suddenly go back in time, In Bloom takes us to the tawdry experiment called youth and provokes some intense feelings about why we do what we do when we do it. For some, drugs are a clear cut no, no path to hell. For others, they’re a rite of passage. My personal take on it is; drugs are a gateway, to growing up and moving on, but for some, a gateway we don’t regret, nor judge.

The club scene of the 90s in the UK was spectacular and for many young things, going out and dancing all night on Ecstasy was the most fun they’ve ever had. If that makes them sound sad twenty years later, well you weren’t there. The clubs had such atmosphere and comradery that it was impossible not to see them as Magic Faraway Trees of their time. It might be like trying to explain to a non-drinker why a drink can feel so good at the end of the day. Or try telling your parents the Sixties weren’t a revolution.

All the proselytizing in the world and nary a judgment cannot convict those hearts who bloomed in that era and recall it with fondness and a little embarrassment. If you imagine ecstasy earned its name through hard graft, and lived up to it, there’s nothing shabby about those Turkish delight infused experiences anymore than throwing rocks at the Beats Poets for their dabbling with the illicit.

Feldman writes hypnotically and with great alacrity, understanding the mind set of the teen to an uncanny degree. Her intelligence as a writer is evident, but so is her sage wit. Feldman conjures a time that has passed but we can all to some extent, look back on. However, this is not all she does. In Bloom isn’t merely a celebration of taking drugs at raves, that really wouldn’t begin to give it its dues. In Bloom is an evocation of a young woman’s experience with mental illness.

Do drugs cause mental illness? We know they can but more often they exacerbate or draw out, what is already there, for chemical and hereditary reasons. We don’t truly know the myriad ways mental illness occurs, just that it does, and for so long, it was judged and condemned without trying to be understood. Feldman attempts understanding through description and succeeds admirably, in her gentle nudging toward insight through the stumbling’s of the newly initiated.

The main character of In Bloom is clearly a composite of the younger Feldman, but she’s also a character in her own right. Her experiences are not mere autobiography, she and her cast of bandits are all fully fleshed out people existing within In Bloom and they make you care about them, despise them, cheer for them. Do not forget 17 is the age mental illness will begin to rear its head irrespective of whether you are downing E or lemonade, although of course, the reaction with the former will be more dramatic and so it is.

I rarely want to stay up reading all night as I used to because I read for a living. But In Bloom was that notable exception, as I feel it will be for many of us. Before being tempted to cast stones and accuse Feldman of glamorizing drug-taking or blaming her cancer on her previous actions, consider the truth. We don’t get sick because we dabble with drugs as kids. We don’t start doing drugs because we read about them in a book. Pain has its outlets and kids know that well. There are deeper issues here, ones that In Bloom cannot speak to, but we all know they exist and we all know life is far, far more complicated than what we see on the surface.

The ultimate value of In Bloom lies in my knowledge that I would have enjoyed this book immensely whether I knew Cordelia as a writer beforehand, or not. Her skill as a writer has never been under question, she has proven her worth time and again with her tapping into the amygdala of her readership. Her intelligence as a thinker on this planet, is beyond refute. I only wish deeply that she were given time to write more, as I suspect, in Cordelia Feldman we have a voice of our generation.

Review: Four (4) Poetry & Art by Tara Caribou (published by Raw Earth Ink, November 2020)

When has been more necessary than 2020 and early 2021 that we have needed beauty?

Stuck in sterile homes, we do the best we can. Nonetheless we stagnate a little, because we are meant to be alive, breathing, feeling creatures of the wind.

For most of us, we’ve never been indoors so much. For some, who reside in the unparalleled beauty points throughout the globe, they have been our divination to the lost world.

WordPress siren Tara Caribou author of Four (4) Poety & Art (Published by Raw Earth Ink (late 2020) has long been that paragon, that horse whisperer of beauty and the observation and offering of it.

Tara Caribou

As well as an accomplished photographer in her own right, Caribou is founder of Raw Earth Ink, an indie micro publishing house based in Alaska, publishing some of the hottest talent out there.

Consequently you would not be wrong to assume Caribou has little time to devote to her own abilities as a poetess, but there you would be wrong. With incredible self-control and discipline, Caribou has been blogging, building a reputation for her young dynamic company and writing exquisitely, all while running another business and producing some of the best poetry and art books I’ve seen in recent years.

Because I know this, I cannot be surprised at what Caribou achieves, she is a very quiet powerhouse of determining and mastery. She never does anything half-measure, she is a true old-school perfectionist and she happens to have the one thing few of us possess. Really good taste. From her logo to the choices she makes about whom to publish, and what project to embark on.

Why this matters so much, is related to the initial success of her second poetry volume. If you are going to publish something about the four seasons, life, the outdoors, you want it to be in some way, reflective of the indescribable beauty of the outdoors. At the same time you have the safe space to write your heart out and not apologize for doing so;

a hundred crumpled pages / glimpses of who I really am / for I am / alone.” (Filaments of Ink)

Using her own artwork, photography and uncanny design skills, Caribou has accomplished her goal. I’m inclined to leave it at that, but it’s really worth mentioning this is no easy feat, for the greater percentage of books I read are middling in design, occasionally very disappointing and never possess that wow factor.

Photo by Tara Caribou, Alaska.

From the moment I received my excitedly purchased copy of Four (4) I saw what Caribou had accomplished. She’s brought the outside inside for us all;

Without Pain I’d find no ultimate balance / for this my jaded soul.” (Lessons in Pain)

Four (4) is like a beautiful day and a sonorous night. The book possesses everything almost effortlessly. Her cover is thick and gleaming, the artwork sumptuous and dreamy. The colors vivid and reflective of a perfect day. This is both a classic design and modern enough to be appreciated by all and cherished for the loveliness of her wrappings.

Inside we find even more delight. Four (4) is so well thought through, again no surprise there, as I know Caribou’s prodigious work ethic, but the care and attention to every little thing really sets Four (4) apart from other small press books. I think this little wonder, is perhaps the best calling card Caribou’s company can have, because if you wanted your book to be as gorgeous as this, you’d need look no further for a publisher.

Tara Caribou is one of my most enjoyed poets. She writes a lot, she works hard at her craft, but she doesn’t hide her emotions behind theory and method, she’s very much in the real world. It is this bravery to reveal and knowledge of the value of deep observation and consideration in writing, that makes it so easy to revel in Caribou’s written work. At the same time, she is not convoluted, she is not pretentious, she is a writers writer, she writes about what we all at some time or another, consider and want to understand better;

Who am I really? / Can somebody tell me? / It’s dark in here / Smoke and screams / Is that me?” (No Escape)

If you are familiar with Caribou’s work you will also know her for her passion. Generally I run a mile from writers who ‘write out sex’ because invariably they leave me embarrassed or disgusted with their renderings. But there are those whose sheer voracity of unsated passion, lends them the quill for writing on intimacy and doing it well, usually because they know what to reveal and what not to and how. Those writers? I definitely read;

I’m trying to hide all my inside parts / the real parts / the something found beneath ribs and sinew / for it’s deep inside I hide all the truth.”

The four sections of seasons are reflected in mouthwatering chapters, with the really lovely (and original) idea of creating ‘considerations’ for each season. In Spring, we have time and light and dark, echoed through Dawn, Midday, Dusk and Night. Within that section, the poems speak of these themes. Summer possesses variations on the theme of love, Autumn speaks to the elements, Winter of the moon. I don’t want to say too much, because that’s the delight of unwrapping this gem, but you get the drift, and can appreciate alongside me, the tremendous thought gone into this collection.

I made my own / powerful lines spoken with weak knuckles / or perhaps just a weakness for love / well, weakness is weakness / but I never claimed to be strong.” (What I Meant to Say Was)

Even without her prodigious talent and drive, Caribou’s eye for beauty is unparalleled and it is this, her opus magnus, she lends us, in our darkest times. Four (4) couldn’t be more timely, it couldn’t be more relevant, and it honestly, truly, could not be a lovelier book of poetry and art. I am so impressed, it only makes me prouder of Caribou’s achievement as an artist in the world of publishing, where we all think we can never be surprised again … how wrong we are.

If you love the beauty of our world, I recommend Four (4) to you as the best of what you may currently be missing. If you are a romantic at heart and have no outlet, Four (4) is your new friend. Caribou’s willingness to plunge into the truth of what makes us human and the best things about it, are uncanny and she’s not one to shy away on paper from exposing realities we all can benefit from.

And I’m lying here / Wondering / About space and time / And where I fit.” (Space Between)

Ironically, it is Caribou with her vision, that helps US understand where we fit in this world. Her pure rendering of what possesses our core, is hard to reject. I believe she actually has known her place in this universe a very long time and that is why she is so wise and aware. But even sages should have their doubts, that’s what makes them relatable and ultimately, human;

Hold my hand / let’s move together forever / always forward / into the light.” (Echoes)

People say the quieter people are the ones we have to watch for, and they’re not wrong. While the rest of the world bleats loudly, Caribou is hard at work, producing and conceptualizing publications that will stand the test of time and give us something truly worthy to sink our teeth into. That’s no easy endeavor and she and Raw Earth Ink are among the most impressive creatives I have met.

I pluck a few motes without effort / they weigh heavily in my palm so / I relax my fingers and blow them out / little galaxies all their own.” (Far-Flung Galaxies)

Purchase Four (4) here.

Raw Earth Ink

Candice Louisa Daquin.

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. 

Le repas

The way she cleans

puts away the day

into lopsided drawers that do not shut

well even on easy days

their contents lost in shuffle and exploit

planes over head, mornful drone, a whine

of grief as they attain height

her hands chapped from slapping herself

back to life

rivets run like zippers down her nails

a light somewhere is extinquished

another turned on, sudden furnace, shadows

vanquished, she has not drunk

all day, for the trembling in her hands

betrays the wait.

Dusk smears sky, oranges hang like

tired bosoms pressed in a woman’s dress

amidst plump leaves, blue-black birds

caw their hunger into the cavernous pitch, cats

with arched tails, disappear potently, eternally

her ankles swell with want, her thyroid

a box of treasure, alight with waiting in chocolate dusk

she dozes in her reverie, business put away

the calm of darkening, a hot bath scalding

dry air with its promise, oils filling her nostrils

pungent and wistful, infusion of sorrow

she remembers when

they lay together without fault

or breakage

the outline of their union

a mandala, with complicated lines leading back to circles

drawn in henna, indigo, cheap car paint, permanent in bare footed sprint

poured into a tattoo gun in the wild hinterlands of Canada

stabbed in little sticcatto for her eternal, sea sick

pleasure.

She lay then, thinking of

burning up

like fireworks

set alight to bloom and bloom till dry of pollen

in empty skies void of furtherment

she wanted to melt

the snow as she walked back

alone and hurting, wounded by her own loathing

a cigarette in her mouth

pressed against clenched, chipped teeth

and you? You were far off like winking lights in sea storm

and you were so far then… gone
without being gone

As is so much of life. Waiting. Closing curtains. Wrapping away disappointed hours

to bed, to claim, to screaming beneath wedged pillows

till the thankless clock in the downstairs anteroom chimes not

and without putting our heads in the oven even once

we are done
Done
Done.

It can kill

Almost sun up

the tinder box within my chest

is scratched free of ignition

I have nothing left to light

against encroaching darkness

for so long, it was only you

who kept me burning, fed the diminished

flame within

now, cold weather comes hunchbacked

like a visiting relation who has

no regard,

streets are emptied, as ducklings for feasting are

short-lived in their joy, for we live in a climate

spoilt with her bounty

the people proclaim Winter their enemy

hiding inside, till blessed sun returns

to bake streets into their usual direct lines.

I have always loved the cold

for it is somber, serious, it does not apologize

for not laughing or smiling toothily for a photo

the cold is an adult, a survivor

and my warmth is now swept out

into the street to nourish next years

growth.

You have left me ransacked, weighed with grief

or rather, I permitted it

with my need to divest you with

my self keeping

it was you see, a way to continue

waking up in the morning

brushing hair, scrubbing feet

clean of their midnight chase into darkness

where if I stayed long enough

I might find no way out.

I used instead, the succor of your regard

for me, a diminished thing in a shiny coat

of false expectation, as hibiscus bloom

just before frost, as if daring it to

kill

knowing, one day, the flint

would no longer strike alight

the flame no more catch

and we’d be without fire, without warmth

without familiarity or loyalty.

As those who feel and then feel nothing

ransacked void with wilted affection

the chill of their galloping regard

worse than any Winter storm

for knowing your hater is surely

a greater pain than strangers who harm

just for the merriment of it.

I know you. I see the emptiness in your eyes

these years have rinsed out slowly like a series

of rogued pinches and double-exposures

I understand, too well, just as

I see my own senseless defeat

lain on unflinching wet ground, not moving

for the cold has washed over and she is

frozen in her private grimace.

Some of us can carry on

without the light of another

I have long existed without harmony

safety, even sanity, but I cannot lose, no

I cannot bear to, the surround of you.

If it comes then, you will find me

a memory in a long story, a footnote to something

larger than us all, lost in yellowed paper and indistinct

photos of past, growing longer with each yawn

and outside of us, that tree will still stand

in 200 years, we will have children born and

die here on this land, where the dead are

forgotten to we who roamed once, through the ravages of

time and her pitiless relinquishment of mercy.

It is the way, of mortality, even love may be mortal

in how she closes up sacrosanct and inviolable like a flower

denied light

refusing to bloom again. You say

nothing because your mouth is

filled with ashen excuses, and moving on and

what you’ll do next; it is a tempest, a fever

beneath your skin, lending you the fugue-state to

live again, for you are from your mercurial ancestors

a kind of people who always find ways to

endure, as if doing so, will make you more

memorable.

I then, I am not like you, nor ever have

possessed, the penchant for survival you tout, it doesn’t

matter much, we are all going to be

soot and lost words before long

the race, the belief we matter, is just

grime on our sleeves as we pass

through. I have seen a world

without me, as I have witnessed a life without

you, they are all echoes of each other

betraying the faith I had never quite built

knowing you would leave

observing in your eyes before you were aware

the emptiness of regard, how softly we skim

life’s abundant surface, like we hardly land

at all. At times it does not feel like it can

be real, this ache, this movement toward

self-destruction, surely this is not how it ends

and yet, years become decades and still

we find ourselves, curled into a ball, waiting

out the cold, a frigid breeze coming in

beneath the door, reminding us, no matter

how much we may like the Winter

it can surely kill.

Return my love, lay your grief down

I don’t care how sorry you are /

Because I have seen now /

The error called “us” /

Is bigger than we are. /

Our tiny insignificance /

Has already burned and turned to diamante ash /

There is nothing to say, to ash. /

It is my wish /

To rage in smoke /

Just as I learned today /

Babies born of smokers /

Usually end up with emphysema /

End up with holes in their lungs like lattice work in chantilly lace /

My least favorite thing is to think of the future and its slick, short, night-clubbing inevitability /

It looks like a darkening banana skin coming down the elevator, hitting basement on repeat /

Vanquishing hope to avoid the insouciance of age, invisibility and the dreg of illness. /

Sometimes I let myself briefly wonder /

What I will die of? Will I be alone? How much will it hurt? Why do you never get used to pain? Is it any wonder they strive to build artificial life? /

Other days it is hard to keep from dying, like the flower opening her lillied face to a desert and seeing the absence of nourishment. /

As I stand /

In ash /

Waist high /

You were /

Not as important as I led you to believe /

I say this, not to crush you /

For I have refused that need to inflict hurt /

On anyone but myself /

You simply never realized /

Because you’re not as brilliant as the outline of hot wax on fingertips /

A well shined bronze, shadows of madness, cages in novels /

That I was half a person /

Unable to understand how to inhabit a world of well oiled souls /

Where people work out to avoid cellulite, even if they are dissolving like white sugar cube inside. /

It’s what you do /

All of you /

Automatrons with data phallus, souls without windows /

I used to think it was real brave or real, real /

To wear my hemorrhaged bandages on the outside /

But it wasn’t. /

There isn’t room in this crowded world for the sick /

Let alone the well /

There wasn’t room for me /

In my parents marriage /

In my well brought up friends houses, with straight backs and braided hair before seven am and tepid eggs in their fragile shell /

No room in my own life, of empty vases because I don’t want, have never wanted, to pick the flowers, the wild scent /

I can’t even kill ants, swarming me, biting my frigid skin at night /

Like once you did, train track lover /

When we were demons and goddesses and liars. /

I wasn’t tutored in appreciation, or deception of how to survive the hanging /

Life bequeaths those of us born in violet hour /

And when I was born, my mom /

Lit up another cigarette and looked outside into the bleak world of wards and cut up hearts /

Not wondering how I would survive /

Her yellow child, her wallflower bride /

But how she would. /

When I was old enough I wondered how I would too /

Over and over, like practicing ballet will invariably deform your toes /

I grew misshapen in my ghosting despair /

While all around me, others who were well and adjusted and filled with jam and feathers /

Wondered what they’d have for tea, who they’d go down on at the office, where they got their hair dyed and how to fix the run in their cheap stockings /

How to bottle it … How? /

I am flying above the world on the key around my neck, the lock is in my bones, it rattles and disturbs me with its pricking /

People tell me to remain calm but I am already doused in gasoline and alight on the lyric pyre /

You watch with a bucket of water at your feet. You stand still and unmoving like every time, nothing is done to save /

Choose a side. Choose a side. Choose a fucking side! /

My nails grow long and bullets make polka dots in my dress like punctuation without sense /

Once more I am the young girl trying to dance away her hurt. Once more the Winter is hot and nothing freezes to kill the pestilence /

A man said on the TV the other day that he had no desire to better himself. A cult leader told us we could become gods if we just lowered our cameras. /

I wanted to learn to tie the knot in my core, right. /

There are golden tickets in the sky if you look long enough /

And it is not even bloody /

Fireworks night Charlie. /

I don’t care how sorry you are /

Because I have seen now /

The error called “us” /

Is bigger than we are.