I feel discouraged by WordPress (WP) banning my personal site (this) for life from following other WordPress sites. I have written letters of explanation to WP, explaining if I ‘followed’ 30 people’s sites in one day, it may be because I’m not on WP often (I pre-schedule posts) and follow handfuls of people at a time for the purpose of garnering talented writers. WP banned me FOR LIFE from following any further WP sites, and has refused my numerous appeals. It behooves them for people like myself to promote WP authors through publications, I did no harm but am treated like I’m Trump and it’s Twitter. After 7 years on WP it’s disheartening. I cannot leave WP because I’ve built my site and contacts there. The bigger picture discourages me. To work so hard and get slapped down. I feel social media can do this with us writers/editors/publishers when it ignores the hard work we do. I hear this from FB folk all the time whose personal pages are ignored. I wish there were some way to push back. When all we are doing is creative work. How is that in the same ballpark as spamming? Would any of those who I followed really have objected my following? When it gave them a chance to find out about publishing opportunities.
A dying art
(We’re in our 4th day of power and water outages here in TX but I had written this just before so I’m posting it now via my phone:)
I understand when people submit work to the publishing company I work with and they are rejected and feel badly. I understand because there is a formula in the publishing world that goes something like this;
If you are the IT person of the moment, if you possess the right age, gender, skin color, ethnicity, immigration status, political affiliation, tattoos, etc., etc., then you might get published on that basis alone. Whether good or bad, you are the dish du jour.
If you are not the above, then you either graft away for years, building a network until you are published. Or you give up.
But in between those extremes, there are those like myself who work long full time jobs and still want to occasionally publish something. We submit to submission calls periodically and many times are astounded at the rudeness of rejections. Or watch as less talented folk get published because of ‘who they know’ or they fit a criterion.
When we produced The Kali Project, we were told by many, that we were ‘so polite and thoughtful’ which saddened us to think (and know from personal experience) how unkind the publishing world can be and how it doesn’t have to be.
Why would you want to tear someone down just because you can?
We receive some really ‘poor’ work but we always treat people with respect. It’s surprisingly easy to do. Many ‘poor’ writers end up becoming quite accomplished, if you give them encouragement to improve.
Recently I was recommended to a publisher by an agent friend of mine, as being a good place to submit my own fictional book. The response to my submission was: “We did not find this interesting at all and have no wish to pursue.” Granted, that must be their opinion and they absolutely have a right to it, but could they have said it differently? Given 3 large heads in publishing pushed me to try to get the book published, I’m pretty sure it’s not without merit. There are just better ways of responding.
A dear friend of mine who is a famous, published writer, told me one of her first books was reviled by over 100 publishers before a small publisher took a risk and now, she’s a worldwide best-selling author. So, if this happens to you and trustworthy people have said you have talent, don’t let it stop you.
It is so easy to tear someone down and so easy to build them up. I don’t contribute as much as I would like to this world but I hope I support others and encourage them if nothing else. Obviously positive-criticism has a strong place at the table. But cruelty should not.
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.
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.
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.
Candice Louisa Daquin.
For the sake of SMITTEN, a project I believe in more than anything I have ever done before, I have asked close friends to take over my social media rather than close it down, so that SMITTEN can continue to flourish and succeed.
In my absence, due to my severe eye-sight-issues, my friends will be running the SMITTEN Facebook page and all SMITTEN related materials. Our goal is to ensure SMITTEN is successful in all ways. Sales are one way of legitimizing a project and ensuring its authors are HEARD.
Obviously LGBTQ projects are harder to sell than others, but it is my hope SMITTEN can continue its success through the rousing support of all those who believe in LGBTQ equality and the rights a woman has to love another woman. Please consider supporting SMITTEN – each sale helps raise visibility and gives SMITTEN authors another opportunity to share their unique and beautiful voices.
SMITTEN news and updates can be found here
SMITTEN is for sale at Amazon and Barnes and Noble. If you support local bookstores please ask them to stock SMITTEN using Ingram. If you cannot afford a Kindle copy or hard copy please ask your local library to get a copy of SMITTEN via Ingram. It doesn’t take much and it means everything to the 120 authors and poets of SMITTEN. Indie publishing doesn’t flourish without our support as a community!
The creation of SMITTEN; Interview with Kindra M. Austin
Interview with Kindra M. Austin one of the two co-founders of Indie Blu(e) publishing by SMITTEN editor, Candice Daquin.
Candice: Indie Blu(e) is a young, edgy and finger to the pulse type of micro publishing gig. What went into its inception? What forces created Indie Blu(e)? What influences?
Kindra: When Christine and I first encountered one another, we recognized straight away that we share a passion for not only writing, but for helping other writers hone their creative voices. I think we first began talking about joining forces to build a publishing company in 2017. In 2018, we realized we already had the bones to build upon with the Indie Blu(e) Network, which we co-founded. The IBN began as a source for readers and writers to discover indie authors, and authors published through small presses.
Our shared vision has always been to represent the unconventional and underappreciated. Knowing what we wanted to represent was the easy part: razor edged, badass, blow a hole through societal norms types of writing. Christine and I spoke at great length regarding our mission, which is to work in a close partnership with our authors to create books that shine, and reflect the talent of the writers. Speaking for myself, I can’t imagine operating a press that didn’t focus on the aforementioned. My influences come from those who do things their own way. I don’t have the heart to do anything otherwise.
Christine and I definitely bet on our combined reputations as writers and editors when we announced the birth of Indie Blu(e) Publishing, and I know we were both happily surprised by the volume of submissions we received early on. Our submissions list continues to grow, and that is a personal success because it speaks to the trust we’ve earned in the writing community. The level of faith these writers have in us is humbling, and drives us to best ourselves with each new project.
Candice: I was fortunate enough to be asked by the founding members of Indie Blu(e) to come onboard. It struck me early on that Indie Blu(e) are unique in that you are not just a typical micro publishing house. As conceptualizers and publishers you have a very strong principle in the choices you make with publishing and it can be said you galvanize and bring together people over very powerful themes.
What do you think are the reasons you operate this way? What benefits do you believe come from linking your beliefs with your publishing acumen? How has IB shifted the micro publishing world by combining strong ideas with publishing? Did you feel a moral responsibility to do this? Did you talk about why this was important? After the Kavanaugh hearings and the #metoo movement, how did We Will Not Be Silenced come to be created?
Kindra: We make it easy for one another to use our individual platforms, sources, and Indie Blu(e) Publishing as a vehicle for advocacy because we all believe in the power of the collective voice. Personally speaking, I have always believed that as a writer, I have the power, privilege, and duty to speak for those who aren’t being heard, and who are marginalized.
I’m incredibly proud that IB has marched to the front line with We Will Not Be Silenced, and that the proceeds from WWNBS go to charities. So yes, I felt a moral responsibility. During the Kavanaugh hearings, there was a fire burning in the pit of me. When Christine suggested a collection of writings and art imparted by sexual assault and harassment survivors, I was all in without hesitation. And I think that a micro-publisher willing to speak so loudly and intimately about its beliefs shows its golden balls. In my dreams of success, Indie Blu(e) Publishing will be at the forefront of anthologies that shatter the foundations built by bureaucrats, hatred, selfishness, fear mongering, and willful ignorance.
Candice: I came onboard to work with you during the creation of We Will Not Be Silenced. In turn this influenced me to consider SMITTEN. Thanks to your idea of bringing voices together, I could see the value of an anthology of poets writing about love between women. You were open to the idea – why do you care so much about giving voices to those who are usually not heard?
Kindra: I’m too empathic not to. A lot of people don’t get upset enough over injustice and uncaring to rise up and help. I don’t understand that at all, and I don’t want to. I never want to know what it’s like to live quietly while my brothers and sisters of this world are suffering.
Candice: Since I have known you both, I have seen a powerful wave of influence coming from ideas you regularly have, where you create projects and communities and collectives and this raises the awareness and voices of authors we may not otherwise hear from. What are your influencing reason(s) for being so socially conscious? Do you think it is a prerequisite of someone in your position as publishers?
Kindra: A lot of my writing influences are authors who are/were involved in raising awareness and advocating in one way or another. Again, I see it as a privilege, and my duty to do the same. A lot of writers we are introduced to have important messages and sensitive life experiences they want to purge, and we hear the call to give them safe and secure outlets to speak their truths. If I weren’t socially conscious, I’d make for a poor publisher, I think.
Candice: Recently you have had a very successful series of poetry prompts on feminism and feminist books including many lesbian classics. Many of the authors in SMITTEN have participated and become part of your growing community of authors – thanks to your inclusive approach to authors and good ideas. Is this a necessary part of being a relevant and sensitive publisher?
Kindra: Absolutely. If IB ever lost that, I’d have to walk away. But that would never happen, so no worries.
Candice: What goals do you see going forward with Indie Blu(e) based especially on the wide influence you have already had in the writers communities?
Kindra: I’d like Indie Blu(e) to publish fiction. I’m a novelist at heart, and I’d love to work on crazy good novel. Also, we have a lot of great anthology ideas. I’d like to see IB at the front of micro-publishers who represent the best up and coming writers.
Candice: Is Indie Blu(e) a publishing house with a social conscience and if so, do you believe we should all aspire to consider this when committing to creative endeavors?
Kindra: Yes, we have a social conscience, and IB gravitated toward social issues and advocacy naturally. While I do believe we should all develop a strong social conscience and stand by our principles, I don’t think that every project needs to address feminism, sexual abuse, domestic violence, etc. IB is in a position where we can represent both gripping, entertaining fiction, and collections like WWNBS and SMITTEN.
Candice: With SMITTEN you were gracious enough to be a huge support in its creation. Why are you able to tap into the depths of a project and relate to it, even if it’s not exactly like your own lives? How did you learn to be responsive to subjects diverse to your own lives? And sensitive to the needs of minorities when dealing with neglected subjects such as rape, sexual abuse, lesbianism and inequality at large?
Kindra: I don’t know exactly why I can relate to people and experiences different from me and my own, other than to say that I’m highly empathic, and I’ve been around diversity my whole life; I’ve always had friends who were different from the majority, and I saw them struggle with misunderstanding and cruelty. I’ve also experienced a lot of direct disparagement.
I’ve been close with women who’ve been raped, my mother and sister being two of them. I grew up around domestic and sexual violence. I’ve spoken up for my cousin, and the children of some of my friends who are mistreated because of their sexual orientation. For me, it’s all about being human. To see another human being suffering in any way makes me ill, and the only level of relief for me is to use my platforms to address the issues.
I’m incredibly proud to be a part of SMITTEN. There’s no way I could have passed on the opportunity, and I thank you, Candice, for including me in this stellar project.
For information on SMITTEN please go to https://www.facebook.com/SMITTENwomen/ and if you want to purchase SMITTEN it is now available via KINDLE and hardback at https://www.amazon.com/dp/1951724003/ref=sr_1_3?keywords=Candice+daquin&qid=1572275732&sr=8-3 among other book sellers. If we all purchase one copy we raise this projects awareness and make it more possible for future necessary projects to exist!
For up-to-date information about who Indie Blu(e) is publishing, check out their site at www.indieblu.net or their facebook page at https://www.facebook.com/indieblupublishing/\
Kindra M. Austin can be found at https://www.facebook.com/kindra.m.austin.author/
Q&A with Poet Candice Daquin about SMITTEN Anthology – by Robert Okaji
Candice Louisa Daquin was born in France, and has also lived in England, Canada and America. Daquin has worked in dance, publishing, as a psychotherapist and more recently she divides her time between teaching, editing and writing. Daquin is the author of five collections of poetry and numerous poems and reviews in magazines, websites and periodicals. Daquin was co-editor of We Will Not Be Silenced (2018) an anthology of poetry in response to the #metoo movement. This Is What Love Looks Like – Poetry by Women SMITTEN With Women is her first poetry Anthology as lead editor, and is due out October 2019 (Published by Indie Blu(e).
So what’s this Anthology all about?
This is What Love Looks Like – Poetry by Women SMITTEN with Women (SMITTEN for short) came about after Indie Blu(e) had published We Will Not Be Silenced, which was an anthology of poets throughout the world writing in response to the #metoo movement and the then Judge Kavanaugh hearings. It was the right time and the anthology went on to be an Amazon best seller.
There was something so powerful and such an incredible energy working on an anthology for the first time. Shortly afterward Indie Blu(e) asked me to work with them and I now do part time on some of their poetry publishing. I had been so positively affected by reading all these poems from writers throughout the world I wanted to see if it were possible to create another anthology but this time for women who loved women.
As a lesbian, I felt that lesbians were increasingly marginalized and invisible by the co-opting of the LGBTQ movement and I wanted to find a poetic medium to express lesbian voices that was not erotica (which many lesbian themed poetry collections were). Fortunately Indie Blu(e) backed my idea and we put the call out.
Truly I did not expect the response we received, it was so galvanizing and breathtaking to see how many women submitted and the quality of some of the work. Our youngest poet is 14 and our oldest, 87. I think that speaks volumes about the need for collections of poetry on various subjects and how it brings voices together and keeps poetry relevant and alive.
SMITTEN is due out October 2019 and we’re so excited to be part of this, because it’s already begun a really necessary poetic dialogue about the representation of emotions in poetry. For anyone, there is something lasting and beautiful to be found in this collection and it is my hope as many heterosexuals read it as lesbians and bisexuals.
Please tell us how or why you turned to writing poetry?
I wrote as a kid when I felt emotions I couldn’t put into prose. I think for the very young there is a natural doorway into poetry that sometimes we lose as adults. Poetry should be emphasized more, as once it was thought as the highest form of expression and I can see why. Having worked in publishing, teaching and psychotherapy it was always part of my life to write.
Would you offer up some of your influences – poetic and otherwise. What draws you to that work?
Shamefully I am less influenced by others than perhaps I should be. There is so much value to reading a wonderful poet for any creative and I’m sure it does permeate and percolate through to our creative sub-conscious. I tend however to write without direct influence so it’s hard to harness the exact mechanisms involved. Typically I am drawn to work that I find honest and brave. I think for me, as an ex-dancer, I find dance my greatest influence, and like music, it can produce poetry in me when I listen to and watch it. Likewise, reading a psychology book will often inspire me.
What is the relationship of your environment, your daily surroundings, to your writing?
Not as good as it should be. I work too much and never have enough time. Ideally I’d create a haven for writing and devote myself more stringently to the relationship between my environment and writing. Like many of us, I juggle multiple jobs and tasks and am lucky to get any time. Maybe if I retire in 35 years time I may have these things and I expect that is why some poets who are older are such consistently good writers. Working on SMITTEN I loved hearing the varied voices, different parts of the world, different ethnicities and cultural backgrounds, even different ways of loving. That has so much value.
What themes or traits will readers find in your work? What will they not find?
They will not find acceptance or tolerance of inequality or bigotry. As much as I may find something of value in the Bukowski and Billy Childish poets of the world, I would never embrace that inequity toward a group of people (women) and I feel strongly as a woman about being unapologetic and very honest. SMITTEN is part of this legacy, it’s lending a voice to those who usually aren’t heard very loudly.
List three favorite poets, an admirable animal, and your go-to beverage.
Oh dear! I’m terrible at listing ‘favorites’ because honestly, it changes all the time. I read a LOT of poetry so for today I can say, Anne Sexton is always up there, I recently re-read a lot of Tennyson and he’s always influential and lastly, I love the Metaphysical poetry movement of the 20’s and just finished a book on those authors – too numerous to mention. In SMITTEN I was absolutely blown away by our 14 year old’s poem. It gave me faith. That poetry has a real future. Equally, I loved that a woman who is 87 is still writing and has an entire history in her words. We also have three Native American poets, who are absolutely superb. Can I put those instead of the admirable animal and go-to-beverage? (Whale/Tonic Water).
And your creative process? Could you offer us a glimpse into how your poems develop from first glimmer to fully realized piece? Do you follow a regular writing routine? Do you listen to music while writing? Write in public or in solitude?
This IS What Love Looks Like: Poetry by Women Smitten With Women
Candice Louisa Daquin Reviews Sarah Doughty’s Just Breathe — Go Dog Go Café
One of the hardest things to do when reviewing a book is to read other reviews. I typically don’t because it can be intimidating or distracting. However, I was curious to know what others had thought of this series of books and interestingly more has been written about Sarah’s Earthen Witch Novels series than most […]
via Candice Louisa Daquin Reviews Sarah Doughty’s Just Breathe — Go Dog Go Café
Pinch the lock
My fifth book, Pinch the Lock, published by Finishing Line Press (FLP) is now for sale, my apologies for any delay. If you pre-ordered your copies, you should be receiving them direct from the publisher any day now, I don’t know why they were running so late, but the book is for sale direct from the publisher and via B&N and Amazon now. I’m very grateful to all those who support me in this endeavor, thank you so much!
Take the high road
I was a child once
perhaps we played together
were you the friend I helped climb the pear tree?
were you the friend who said jump over the puddle and we both missed and came home all muddy in time for trouble?
were you the one who got to the top of the hay bale first and said ‘I can see all the world’ from here and in that moment we really thought we could
or did you grow up in a nice apartment on the Upper East Side, sent to the best schools and expected to do well
which you did in that idle and coveted way of those who have purchase of a velvet lining
did you ever wonder what it was like for the rest?
did you ever wonder why so many famous people are the children of?
did you ever stop and question if ‘life is what you make it’ still stands true?
did you drink dirty water like the kids in Flint?
did you get poisoned by copper like the babies of El Paso?
if you went to a demonstration did you go so you could make change or to show off your $400 Free People outfit?
when you got your first job was it from hard-graft or the friends of your parents?
I went to university with you, I was the one who had a bicycle whilst you drove a Jeep
I wasn’t jealous except when I was hungry and that suited me because I couldn’t afford to grow
when you sat like King on your throne and your acolytes bowed, you crowned yourself head of our year and published the first zine
did it reflect truth or the diamond shanty of your ideals?
good for you that you had a pretty life and long vacations
many of us worked for a living and got up at 5am to empty kitchen tables
parents who stared through the rain at yet another long day
ground down by platitudes that didn’t apply
I’m not bitter it’s just that when we sit in the same room and you tell me
‘I’m sure you can understand Candy, as an owner of a small printing press I have to make ends meet’
I can’t help thinking how fake things that are meant to be real are becoming
we lost art to the debutante, we gave away our souls for front covers with dazzling lies
we have an election that denies the people and computers who act like surrogates
jobs if you’re in China and expensive degrees that promise nothing but loan re-payments
it is said there is no better time than now, and the past was harder when ancestors danced in death in ditches and were blown up
it is said there is no better time than now, we are the proverbial fatted calf, glutted on luxury, we don’t know how bad it used to be
for our grandparents who broke their backs and discolored their lungs in coal pits and the basements of rich homes
back in time we didn’t have flat screen TV and cell phones and fancy jeans but it’s swings-and-roundabouts
now we’re in time where not being online 24/7 can lose your job to someone who didn’t mind being beholden
we had vacations whilst now everyone’s too afraid to be out of the office and checks their cell phones at the dinner table on Sunday’s
where is our sense of self? Did we buy into the belief we are free and rich because we were told that by a meme or nodding head?
did we forget what George Orwell or Rachel Carson said?
Because when we’re young we think we have it all if we have sex and firm thighs and the right to protest
but what good is protest if nothing ever changes? ask the pipe lines who cut through our country if they have heard us yet?
or the profits garnered to keep the 99 percent out of the front lawn
but oh wasn’t it always that way?
sure I read Dickens too and the Little Matchstick Girl
poverty isn’t a modern-dilemma
however maybe apathy and delusion is
wasn’t Marx talking about that when he mentioned Opiates?
we don’t need to take our Big Pharma pills to know
cancer comes with a price tag and you’d better not be poor
the cost of ‘getting well’ is only one part, the other is the creation of the disease
ask the petrochemical industries, do they let their kids inhale or eat that?
does anyone think of the future? Or should we change what Marie Antoinette said to
let them eat lead
what does it say when you’re glad you don’t have kids to inherit these times?
I wanted to write poems and get published and you owned the rights like you always had
glutted and fat on your marble pyramid
you look at people like me, like the street cleaner regards bird shit
something it takes some elbow grease to clean and even then
the outline will mark the pretty pavement where you wanted to hold
your procession proclaiming the world is good and just
I suppose I didn’t fit in with that then and I don’t now
this world is made of dust and sweat, we toil even when we think we are not
against haters, against cruelty, against disregard, apathy and the unexpected
sometimes I think we got it very wrong when we called these Modern Times
Charlie Chaplin may have had a point there
as many who are gone now did, we’re in another incarnation of delusion
hurry up children take your medicine, sip, sip !
so … I won’t win a trophy or even get my name recalled when I’m gone
and that’s okay with me God
I just want enough to live on and to be unmolested by those who seek to tear down
an honest heart or a man who prizes integrity above fitting in
lest we follow a prophet who says he’s the one, and all fall off the cliff
did we ever figure out if the Pied Piper was evil?
down we go
you cannot find truth looking into empty crystal
you find it by noticing the hypocrisy and stepping out of the casting coach
it will be a harder road they always said
but a high road is preferable to one paved in gold