Tag Archives: poetry book

From Red Dashboard Press

Principles of Belonging

principles of belonging

Joshua Gray is an internationally published poet whose poems have been published in journals such as Poets and Artists, Front Range Review, Iconoclast, Zouch Magazine, Tar Wolf Review, Chaffin Journal and Blind Man’s Rainbow. He was the DC Poetry Examiner for Examiner.com for two years where he wrote reviews of books by local DC authors as well as reported on the local poetry scene. He regularly writes critiques of individual poems which can be read or linked to from his Web site. His book Beowulf: A Verse Adaptation With Young Readers In Mind was published by Zouch Six Shilling Press in 2012 and he is the editor of Pot and Sticks, a collection of poetry by Charles A. Poole. He currently lives in Kodaikanal, Tamil Nadu, India.

You can read the poetry of Joshua Gray in the Fox Chase Review at this link: http://www.foxchasereview.org/11June/JoshuaGray.html and in the Winter/Spring 2014 edition.

Check out the book here: https://www.createspace.com/4483569


The Complete Pasquale

Forthcoming in 2014 from Red Dashboard Press – The Complete Pasquale

Pasquale Varallo, Poet, is a resident of Fox Chase, Philadelphia, PA- Born in the Great Depression, Pasquale Varallo quit school after eighth grade, joined the Army at 16, the Coast Guard at 19. He doesn’t like poetry if it isn’t understandable after 2 readings. He was widowed after 42 years of marriage to his beloved wife, with whom he had 4 children (and 3 grandchildren). He spends his time waiting for the eternal call.

“Poems for a Beautiful Woman by Pasquale” by Pasquale Varallo is in three parts. The first part depicts the grief over the loss of his wife, the second part emphasizes the fun and experiences Varallo encountered after dealing with the grief and started to go out and have fun.  The third part is about losing the second woman in his life, this time because of his mistakes. In this part he highlights loving her and then losing her.

I find it hard to say which poem I like the best because each one touches a different part of the soul. – Natalie V.


Cities Hidden by Rain – Edgar Cage

Cities-HiddenISBN: 978-0-9897051-3-4

Rain Mountain Press

Published: 2013

106 Pages


Review by: g emil reutter

If the sound of rain were translated into language, Edgar Cage is the guy who can do it. Cage is a minimalist who envelopes the reader in images from the opening stanza, “Broken payphone/a man without change/ working inside a snowflake.” A sense of hopelessness, a breakdown in communication yet restores hope in the fresh image of working inside a snowflake.

Cage travels to scarred rivers, empty streets to a never ending stream of rain and cockroaches, crickets and leaves, crooked lines and ants, of talking to cicadas. He writes of the winter gaze of a window sill, of knowing how he lost mountains and where they go. Cage brings us to the fifth chamber of a lake, “a snail drags away/ the muffled sobs of someone/ who wants all water to die.”

Cities Hidden by Rain is a solid read of transcendent poems written in a minimalist style woven with fresh imagery that never fail to surprise.

You can check out the book here: http://www.rainmountainpress.com/books26.html


g emil reutter-g emil reutter lives and writes in the Fox Chase neighborhood of Philadlephia, Pa. (USA)

10 Questions for Michelle Cahill

michellecahill-copyMichelle Cahill is a Sydney poet who was born in Kenya and spent her childhood in the UK. Her most recent collection Vishvarūpa was shortlisted in the Victorian Premier’s Literary Awards. She received the Val Vallis Award and was highly commended in the Blake Poetry Prize. In 2013 she is the CAL/UOW Poetry Fellow at Kingston University, London. She is a co-editor of Contemporary Asian Australian Poets (Puncher and Wattmann) and she edits Mascara Literary Review

Interview by: g emil reutter

The Interview:

michelle cahill 3

GER: You have written, “Poetry and poetics are being shaped increasingly by theoretical perspectives, tutored by academia. This signals a potential for innovation and transgression of established conventions.”  Can you expand on this statement?

MC: I guess I mean that theoretical approaches to writing poetry are frequently informed by philosophical and discursive awareness that shapes the poetics and complicates the poet’s natural voice. This can be dense and awkward; little more than a series of writing exercises that feels as if it’s tutored by curriculum and derivative. But at its best the poetry can be beautifully challenging of conventions, undoing the poet’s own previously held assumptions and voicing intrepid manifestos.

So I guess I am referencing the potential for intersections between poetic practice and philosophical or ethical discourses.

ACCov (1)GER: Your first poetry collection, The Accidental Cage, was written over a ten year period.  Share with us the journey from its inception to publication.

MC: It was about living my life, responding to nature, experience,whilst being quite remote from a poetry ‘scene’ as such although a few conferences that I attended did inspire and shape the poems in their later stages.  It was partly about my experience of Buddhism, which shifted my perspectives on understanding death, suffering, freedom. There are several poems about asylum which respond to the repressive politics Australia holds towards refugees and more generally misplaced people. There are also poems about motherhood and the difficult negotiation of domestic spaces that women frequently experience.

 I received quite a lot of editorial support from the publishers Interactive Press  and that helped to refine the book. I love that it is an unmediated response to these concerns and experiences, confident with its free verse forms.

GER: You have received a number of grants and residencies over the years. How important have they been to your development as a writer/poet?

MC: I’ve felt privileged to receive grants for writing; they have enabled me to take time out from the routine of a day job and fall into deeper rhythms of writing. Residencies are also marvellous opportunities to focus on writing and less on daily interruptions. The best residencies provide meals and room cleaning or laundry services so that you don’t need to waste precious time on the mundane tasks.

The other vital aspect is taking that journey elsewhere, meeting other artists/writers and being inspired by those conversations. Residencies may become a starting point for creative collaborations, for lasting friendships; a residency tends to open up my imagination to new possibilities and challenges. Sometimes it alters the direction of my work.


GER: Your second collection of poetry, Vishvarupa is a more recent full length collection. How does this collection differ from the The Accidental Cage?

MC: It’s less experiential and more deeply embedded in mythic and imaginative space where arguments about identity, power,  love, death, and representation take place. The poems are more formal in structure, though I don’t necessarily think they are more disciplined. The poems in Vishvarupa concern a partially real and partially imagined self, and the multiple layers are satisfying in deeper ways.

But even still, there is something fresh and unrehearsed about a poet’s first collection and nothing can quite replace that quality.

GER: As a writer of short fiction and poetry do you use different methods in the development of the two genres?

MC: Mostly it’s trial and error as with all writing. The more you write the more skilled you become in using language to achieve sometimes tricky outcomes. Fiction is painstaking and complex; it’s technically the most challenging genre to write , I think.

But the outstanding poems require one to live an uncompromising, often difficult life. Poetry is a way of life, really.


GER: You are the editor of The Mascara Literary Review. As an editor what do you look for in work submitted to the review that inclines you to publish the work?

MC: Good writing is what I look for, meaning that the poem, story or essay is confident, of a high quality, and risk-taking in terms of content or style. As editor of a journal  one can shape it to not merely reflect but also investigate one’s perspectives on diversity, on cultural and literary representation. It’s a two way process: I mediate MascaraMascara mediates me.

michelle cahill 2GER: How valuable has internet publishing been to your development as a writer/poet?

MC: It’s been hugely valuable and has far exceeded my expectations. It connects me to an international community. The ability to read and cross-reference writing over the internet is in my view, marvellous.

GER: What poets have inspired you over the years and how important is it for a poet to be well read regarding the work of other poets?

MC: Brigit Pegeen-Kelly, Robin Robertson, Dîpti Saravanamuttu, Judith Beveridge, Peter Boyle, Louise Glück, Seamus Heaney, Lucy Brock-Broido,  Sujatta Bhatt, Meena Kandasamy—

These are just about my favourite contemporary poets writing in English.

michelle cahill - steve sharpe

GER: You have lived on several continents during your lifetime.  How has this affected your writing and sense of place?

MC: It deepened my inner life and made me very independent as a writer since there was little external stability. It familiarised me with losses at an early age since leaving a country is a huge upheaval. It made the Australian landscape at first seem strange and hostile, though now I love it. There is a vivid connection to place in my writing, (often more than one place), and a sense of the journeys between them.

GER: How would you describe Michelle Cahill?

MC: Private. Sensitive. A lover of words.

You can read the poetry of Michelle Cahill in The Fox Chase Review at 2011 SU and vist her on the net at http://michellecahill.com/

*photographs from various internet publications

New Release from Chad Parenteau

patron emer

Patron Emeritus is now available for order from FootHills Publishing.

“Chad’s work is perceptive, fresh, and eminently listenable.”
Simone Beaubien, SlamMaster, Poetry at the Cantab Longue

“From nimble, spicy haiku and sharp political satire he can leap to the most intimate and subtle craft.”
Prabakar T. Rajan, poet, author of A Slice of Water

You can read the poetry of Chad Parenteau in The Fox Chase Review at these links: 2008 WS2008 AW

signposts for sleepwalkers by Michele A. Belluomini

signposts_for_sl_5154c8da2b566_90x9043 Pages

Plan B Press


Review by g emil reutter

Within the pages of signposts for sleepwalkers, Michele Belluomini ,uses images to bring us along on her walk into the reality of memories and the surreal nature of dreams. From facing fear of the unknown to watching in the shadows, she travels on trains home; brings us to the Triangle Factory in 1911 … human comets streaking through the air. She returns to the stormy rains and snow of everyday life.
She writes of ghosts that rise and fall around her, the shadow of the train rolling over the rusted hulk of another and of dreams.
From Dream poem #28
we dreamed we were darkness
all the best lives were taken
everything a mirror
in the walls of the blue house
you could find the answers     if only
thunder and lightning in the midst of a snowstorm
people ripping up letters and receipts
incriminating evidence
I had already stopped doing the slip/slide dance
I kept remembering things
Belloumini is a master at images such as this from Meshes of the Afternoon (after a film by Maya Deren):
a woman
a door
sunlight on a mirror
a key
and a knife in an empty house
ascending stone stairs
a woman holds power in her mouth
her mirrored faces echo
the knife’s lucent edge
into an open palm
Belluomini reminds us of places forgotten.  … and empty wire hangers in a closet filled with longing. Of family… I tried to run away from it/travelling here and there/still, I have returned, prodigal daughter/knowing escape is no longer the point.  And the pond in the mountains … chimeras of steam float over its surface to the variations of the ocean. Her homes and apartments become characters onto themselves. signposts for sleepwalkers – get the book.


You can pick up the book here: http://www.planbpress.com/bookstore?page=shop.product_details&flypage=flypage_books.tpl&product_


g emil reutter bw almost uptown poetry cartel 2– g emil reutter lives and writes in the Fox Chase neighborhood of Philadelphia, Pa.

A Sort of Adam Infant Dropped: True Myths by R. Scott Yarbrough

Yarbrough book_

Paperback: 112 pages

Publisher: Ink Brush Press (January 25, 2013)

Language: English

ISBN-10: 0988383950

ISBN-13: 978-0988383951


.Review by: Diane Sahms-Guarnieri

R. Scott Yarbrough attempts time and again to reconcile his world of the religious and the mythological through narrative, non-fictitious and fictitious poems, which center around his Texan life of conflicting roots (son of a Methodist minister and mother of Chickasaw descent).
Intrigued by personal and universal myths he writes poem after poem (many believable and some not so believable) philosophizing about people (real and imagined) and personifying characters of old (Medusa, Tiresias, Icarus, etc.) in a new and entertaining, even thought provoking way. 
The entire book, A Sort of Adam Infant Dropped: True Myths, is centered on his own “Personal Myths” (Section I) and his“Teaching Universal Myths”(Section II), all the while searching to make sense of a senseless world and answers to the unanswerable.  Hence, this may be why man/poet is driven to create myths/poems – to sustain him and us through life’s on-going inexplicable moments. 
Perhaps the saddest memory poem and the root of mythological stirrings at a tender, young age is Yarbrough’s “Icy Roads at Christmas” where“Christmas Eve has always been a problem for me,” that is when his father, the minister, died of a heart attack. 
… He finally fell lifeless beside/ the sad cat’s meow that twisted around
his feet/like a small tornado….
…Santa and Jesus/have always been the same person to me, really.
There are actually two narratives that make up this one complete narrative – the second narrative, in this poem, is the description of grandmother Yarbrough mixing “Ruby Red Daiquiris,” numbing her pain and young Yarbrough’s
  …Just eight, I slept drunk/ in her snoring arms all night.
The first section of the book is not ego-centric.  Many of Yarbrough’s poems focus on characters and personal myths that include extended family members, as well as neighbors, friends, and people he has shown kindness to over the years.  In “My Soul Mate Called From Albuquerque,” he writes,
We grew up the broken children of our own god,
 a Phoenix meeting itself in each morning’s fire.
And in “Vein-Faced Dolls with Eyes,”
…In West Texas, when I was in third grade, a teenager/stopped and drop-
ped a raw egg into my Halloween sack; a cruel adolescent trick; it soak-
ed, quietly chewed/a hole, then littered my candy out in little trails/ from
 door to door.    
.                            .                                                                        
His strong similes carry this poem along,
..the raw egg…eating away, dotting a trail/with all that free candy falling
out/likea spilled genetic code, funneling/ memory out of a hollowing
 skull/likeseeds sifted from the belly/of a Jack-O-Lantern?” 
But this poem is not just about a horrific teenage prank that happened to him.  Not at all!  Sinister as this Halloween trick was there is another parallel world happening in the poem simultaneously, woven in and out of its fabric, and that is Nature’s prank to a nameless “she” in the poem and how this objective “she” was frightened by
Those mindless, vein-faced dolls with eyes that won’t/close: Halloween.” 
Further, the “she” adds:
…“It was also tricks/and kissing game treats with boys in the alley…           
…knowing I’d never grow old.” 
The poem weaves the “she” narrative into the “she’s” husband diagnosed with “Vascular Dementia,” ending the poem sadly and abruptly with the“she” following “that sweet candy trail” the one from the bag soaked by the raw egg
over the concrete driveway/ past the wrinkled boys, home to her /
mindless doll where she’ll have to watch an /aging witch fly across
her mirror night after night.”   
There’s a reason why I quoted many lines from this poem and that is because Yarbrough has dealt with time (present and past and future) in an extremely effective way and has seamlessly once again woven two parallel narratives into one narrative, lending here and borrowing there, so that everything adds up at the end and you ask yourself – How did he do that? Wow, such good crafting!  Even the lines of the poem that transport us back in time – “Strange how one random story can swirl back school desks/ and black rimmed glasses and hollow pumpkin heads and disguises”- are layered in meaning. Words and images layered in so many surprising ways.
As a professor of Mythology at Collin College in Plano, Texas, Yarbrough’s poems blend realism with mythology in a way that entertain and question the obvious.  He has carved out a world he lives in and a world he imagines. 
In the second half of his book, universal rather than personal myths tie the everyday present to the mythological past.  Titles like “Medusa in Kindergarten,” “Tiresias,” “Teaching Gilgamesh to College Freshman,” and oddly enough, “Didn’t Pinocchio Know?,” “Protesting Plath,” and “I Want to Die Like Johnny Cash,” reflect poems where axiom and myth blend past and present together.  These poems not only entertain, but question the everyday present and the ageless teachable moments of our classical mythological past. 
“Oedipus Rex Meets Tiresias at Walmart” has smart irony from start to finish, as the speaker, Oedipus, is returning his wife’s (or is it his mother’s?) – “Do it Yourself: Family Tree” PC disk for a pair of toga brooches.   Now think about it “toga brooches,” you know those pieces of jewelry that fastened to a garment.  Hmm…it works, right.  A brooch is something your mother/wife would wear and a “toga” brooch – okay- keeping with the ancient Greek toga wearing theme.  Clever!
Oedipus finds the “woman’s accessories aisle”and here is Yarbrough’s list:                        
 -Togas, laurels,/ choreographing chorus cards, herbs for alters,
 wrinkle cream, drapes, Sphinx repellent – then, there/ they are, solid
 silver with zirconium heads, brooches perfect /enough for a queen. 
 Women don’t ever know what we/ go through to please them,
 such a riddle.
Did he write “riddle”?  That’s what I mean.  The poem is a riddle. Women are a riddle. Walmart is a riddle.  Another riddle- me-this moment in the poem before it ends with Tiresias “blindly” wishing his life away to retirement “in the white clouds and calm of Colonus” is when Tiresias passes the “glasses shop” on his way to the door to exit his journey out of Walmart, and he says that he has to remind himself “to get an eye exam, soon.”  (Everyone knows Tiresias is a blind prophet of Thebes!)
And finally,
…I hold /up my bag, like a secret, like they want you to, /like you found
the meaning of life at Walmart.
Life is the riddle. What then could be the answer to what we do and why we do it?  Well, maybe, there is no answer to life’s puzzles/questions, but all in all, Yarbrough keeps it real as one can in A Sort of Adam Infant Dropped: True Myths.

You can find the book at: http://www.amazon.com/Sort-Adam-Infant-Dropped-Myths/dp/0988383950/ref=sr_1_1?s=books&ie=UTF8&qid=1362057918&sr=1-1

diane-sahms-guarnieri-signing-booksDiane Sahms-Guarnieri is the poetry editor of The Fox Chase Review

Cadillac Men – Poems by Rebecca Schumejda

Publisher: New York Quarterly Books

ISBN: 978-1-935520-68-9

151 pages

Review by: g emil reutter

Cadillac Men is a collection of character and place poems that encircles the reader drawing them into the world of the pool hall. These are not just plain spoken poems but poems that celebrate great victory, defeat, and betrayal. Schumejda highlights again and again the addictive nature of pool and the hustle. How the competition never ends even if those playing appear to be friends. Like the dive bar poetry of some meat poets, Schumejda reveals life in a pool hall of high stakes amongst those with low means.  Her words unlike the meats are not sparse but flowing with description and packed with the emotion of someone who has been there, her power of observation is at its peak in this collection.

There are those who write about the sub-culture of American life and those who write about the world they live in. Rebecca Schumejda brings her world, characters and all to the forefront in a collection of poems based in the reality of first-hand knowledge. These poems draw the reader into her world from the first poem to the last leaving the reader with the desire for more.

Poems by Rebecca Schumejda in The Fox Chase Review: http://www.foxchasereview.org/10AW/RSchumejda.html and http://www.foxchasereview.org/11AW/RSchumejda.html

g emil reutter is a Philadelphia Poet

Hitchcock Hotel by Lynn Lifshin Now on Kindle

Hitchcock. The mere name, a touchstone of the macabre. Creator of countless memories and thrills, mysteries and chills. Yet, the indelible stories he told, the masterpieces he created, must stand astride the cannily crafted mythos of Hitchcock himself. In HITCHCOCK HOTEL, poet Lyn Lifshin journeys into this vast penumbra of platinum women, psychosis, and frenzied brilliance to unmask the man hidden behind the torn curtain at the rear window of our imaginations…

New Releases from Michelle Chan Brown and Vihang Naik

Michelle Chan Brown’s Double Agent – 2011 Kobe Press First Book Award Winner

Michelle Chan Brown in The Fox Chase Reviewhttp://www.foxchasereview.org/10AW/MBrown.html

Vihang Naik’s Poetry Manifesto

Vihang Naik in The Fox Chase Review: http://www.foxchasereview.org/10SU/VihangANaik.html


Images of Being Book Launch

A great time was had by all at Ryerss Museum and Library for the Book Launch of Imagesof Being .