This week Literary Revelations brings you the exceptional poetry of John Hinton.
Hinton’s writing is inspired by human interactions and accompanying emotions. Love, hate, indifference, passion. His words explore who we are, how we behave. Eloquent and gritty, these words reveal the joy and pain of this beautiful human existence. Hinton serves as President of Poetry Society of Indiana. In this role, he works toward the goal of helping people discover and express their personal voice through poetry.
Find John @johnrhinton2 on Twitter.
Open Letter to Undisclosed Recipient
victims of the same crime violated by common perpetrator our traumas took us to depths of sufferings most will never know I thought we would have bonded an alliance of understanding instead, we became passive enemies never any outright attacks only assaults of indifference time and again I waved a white flag a strange act as I was fighting no war yet, I sought surrender not from a fight but from schism it seems my act of concession turned the white flag to red your apathy flamed to hostility you took an innocent prisoner weaponized your own flesh and blood hostage to pain you blame me for torturing me by separation part of me cruelly severed Do you see me bleeding? Does it please you watching my slow-dripping agony will this debt you’ve attributed to me ever be fully satisfied or will you charge the exorbitant interest of affliction forever
Hidden in Childhood: A Poetry Anthology – preface by Gabriela Marie Milton
Release date: late January 2023
If you open the pages of this poetry collection, you will be mesmerized by the talent of the contributors, and by the range of stylistic approaches they use to recreate the world of childhood. It must be said from the beginning that this is not a poetry collection for children. The pages you will read memorialize the beauty and magic of childhood – remembrance of love and fairytales – as well as its ugliness – abuses, poverty – that unfortunately still exist in our world. Some of the authors of the poems included in this anthology were brave enough to talk about the pain they endured in childhood. I salute all contributors: those who tell the world that childhood is love, and those who still bear the wounds of a difficult childhood.
As the editor, curator, and publisher of this book, I am honored and humbled that so many poets entrusted me with their work. The poems I included in this anthology are stunners. They are magnificent in their wealth of emotions, and very diverse in style. It is the role of the editor to try – as much as she/he can- to stylistically unify the works included in poetry collections. To a certain extent, I decided against it. I allowed for English spelling, as well as for American spelling. I overlooked places where perhaps I would have used different words, in the interest of clarity. Why did I do it? Two reasons: (1) These breathtaking poems have their own energy, an energy that continuously echoes in one’s soul, and it sends shivers down the spine of the reader. There is a freshness about them, freshness in front of which the strive for better formulations ends up in patheticism. (2) Perfection is most of the time sterile. There are emblematic poets who sometimes consciously allowed for small degrees of clumsiness – here and there – in their poems in order to preserve the authenticity of the feelings. I hope I did that in this collection.
The themes and archetypes the contributors use are very diverse. You will find the father as the protector and/or as the abuser, the figure of the mother as the nurturer and/or as the monster, the loss of siblings, the heavenly paradise of grandparents, the fight with disease, and the list can continue.
To turn to a different idea, once Charles Baudelaire wrote, “The child sees everything in a state of newness… Nothing more resembles what we call inspiration than the delight with which a small child absorbs form and color.” No doubt, during childhood we are first and foremost the recipients of the sensory world.
The academic literature on childhood – as well as our common understanding – frequently defines childhood as a period of our lives that precedes adulthood. Whatever happens during our first years is formative and important to our becoming. However, we tend to dissociate childhood from maturity. Most people subscribe to the dichotomy of childhood/adulthood.
Indeed, the prima facie reading of the poems included in this anthology shows that the authors kept in mind the dichotomy of childhood/adulthood.
Yet, what strikes the reader during the second and/or third reading of these stunning poems is how present childhood is in the lives of the authors, now mature people. For these poets, whether they know it or not, childhood is not a simple memory filled with joy or pain. Childhood constitutes itself as an integral part of their poems, a part that continues to transform them as they write.
The strength of this poetry collection is the capacity of its authors to blur the line between childhood and adulthood. Whether the authors talk about joyful memories, or sadly abusive childhood, the effect is stunning. We do not know anymore where childhood stops, and adulthood starts.
Am I returning to Philippe Ariès and his Centuries of Childhood: A Social History of Family Life (1960), who put forward the idea – albeit controversial – that during medieval times childhood was not recognized as a distinct phase of human existence?
No. I am not. I merely claim that the idea of childhood is not as transient as authors such as Ray Bradbury claimed.
In many aspects, childhood never goes away. It stays with us forever.
This is what you will discover in this anthology, which contains the most beautiful, as well as the most heart-wrenching, verses one has ever read. And this is a phenomenal discovery.
We are thrilled to feature the poetry of PS Conway, an American Poet with Irish roots. We hope you enjoy his work.
PS Conway returned to poetry in 2020 after a far too long hiatus from writing. Sadly, yet serendipitously, the Covid19 quarantine created a much-needed space for words; words that attracted an ardent online community of readers. PS finds fascination in language birthed from dark, literate, and emotive places. In the last 26 months, PS has been published in 12 literary publications. In his free time, PS fancies himself a rock star, jamming on his drum kit, and a wannabe sommelier, savoring Napa cabs with his wife Susan.
I pace along stone fortress walls looking to the forest at small herds of deer grazing in the space between light and shadow.
Oisín clings to my leg, eyes welled with tears, a wee fawn with the soul of a poet, he mouths your name, and I shake my head ‘no’.
as for me, this warrior’s heart lies lost in memories of you, as entwined as moss taking root ‘midst worn cracks of this dún.
but know this, my most solemn pledge, sworn unto the gods…
our love is beyond time, and no black curse, no conjured slight, will e’er halt my search; I will find you and return you from shadow into the light.
the storm
hold me fast, my love, for I am frightened of the coming of the night, safe in our snug seaside cottage, sheltered from the storm, the raging tide summons – and I cower
under the covers like a child, fitful in this turmoil, swift shallow breaths like ice, throat so dry, and I thirst, I thirst for life, for the spring-tide of my youth, what shall suffice save forestalling the coming of the night with its dark schemes, its furtive machinations, to steal this life, this soul, from me, from us, this soul, a toll, my final oblation
who will tend me in the darkness, tell me all will be well, you will be well, scatter the ghosts that haunt this fearful mind who dreads the end, drowned in night’s ebbed ebon clatter
then silence, all is still, peace settles ‘cross my heart
dry your tears, my love, the storm abates the full moon awaits o’er the sea, holds my eye, she is beautiful, she is warm, and she calls my name gentle ‘long hushed surf, like a sigh
she
she proffers up her imagination unto the currents of moonlit breezes seeks conjunction with like-minded dreamers who behold the heavens and know beauty
she views horizons yet knows not limits only potential for further creation she knows full the ache how true genius craves to plant wildflowers o’er Algernon’s grave
she shall not be small ‘neath vast harvest skies denies being small ‘neath the eyes of a man tessers so swift across space and time ever-rewriting her fate with a pen
Literary Revelations Journal is thrilled to bring you the magnificent art of Hikari, a wonderful Japanese painter. The drawing featured in this post was done by Hikari especially for our Literary Revelations Journal. We are honored beyond words by Hikari’s gesture.
Here is Hikari in her own words:
“I was Born in Tokyo and I lived in Paris until the age of 15, because of my parents’ business. During my stay in Paris, I often traveled in Europe with my family. The fact that the natural surroundings and the customs of Europe were so different from those of Japan had left a very big impact on me.
Since my return to Japan, I have lived in Tokyo. After graduating from university, I worked as a Certified Public Accountant. I am a painter, and my works express something that cannot be expressed in words. My passion for drawing and colors conveys a beautiful world in harmony with nature through the gradation of colors. My art is inspired by the spirit of Japanese Nohgaku, an art which I also practice.
[Nohgaku is one of the traditional styles of Japanese theater passed down from generation to generation for more than 650 years. In 2001 Nohgaku was proclaimed by UNESCO a Masterpiece of the Oral and Intangible Heritage of Humanity.” [https://www.unesco.emb-japan.go.jp/htm/nogaku.htm]]
In 2022, I was recognized during the Grand Prize Exhibition of Platinum Art Association, and I exhibited with Jiyugaoka Gallery. In October 2022, I drew an illustration for a poem written by Virginia Mateias, a Romanian-Canadian writer. In February of this year my work is scheduled to be exhibited with Ginza Gallery Art Point.”
Again Literary Revelations Journal is deeply grateful to Hikari for this beautiful work.
I am thrilled to share the front cover of Hidden in Childhood: A Poetry Anthology to be released by Literary Revelations Publishing House late January 2023.
Given the high volume of submissions only 75 contributors have received news from us. Please check your email. You may be one of them.
We are still working on selecting new poems so those of you who did not hear from me, please stay tuned. I will be in touch.
Remember submissions are still open until January 3, 2023. You can find the guidelines for submission Here.
I would like to share some of my thoughts on the poems that I have already read.
Thoughts on Hidden in Childhood: A Poetry Anthology
As the editor, curator, and publisher of this this book, I am honored and humbled that so many poets entrusted me with their outstanding work. I thank everyone from the bottom of my heart.
I am mesmerized by the talent of the contributors, and by the range of stylistic approaches used to recreate the world of childhood. I must say from the beginning that this is not a poetry collection for children. The poems selected memorialize the beauty and magic of childhood – remembrance of love and fairytales – as well as its ugliness – abuses, poverty – that unfortunately still exist in our world. Some of the authors were brave enough to talk about the pain they endured in childhood. I salute all contributors: those who tell the world that childhood is love, and those who still bear the wounds of a very difficult childhood.
Charles Baudelaire wrote, “The child sees everything in a state of newness… Nothing more resembles what we call inspiration than the delight with which a small child absorbs form and color.” No doubt, during childhood we are first and foremost the recipients of the sensory world.
The academic literature on childhood – as well as our common understanding – frequently defines childhood as a period of our lives that precedes adulthood. Whatever happens during our first years is formative and important to our becoming. We tend to dissociate childhood from maturity. Most people subscribe to the dichotomy of childhood/adulthood.
Indeed, the prima facie reading of the magnificent poems we selected shows that the authors kept in mind the dichotomy of childhood/adulthood.
Yet, what strikes the reader during the second and/or third reading of those stunning poems is how present childhood is in the lives of the authors, now mature people. For these exceptional poets, whether they know it or not, childhood is not a simple memory filled with joy or pain. Childhood constitutes itself as an integral part of their poems, a part that continues to transform them as they write.
The strength of this poetry collection will be the capacity of its authors to blur the line between childhood and adulthood. Whether the authors talk about joyful memories, or sadly abusive childhood, the effect is stunning. We do not know anymore where childhood stops, and adulthood starts.
[]
I look forward to reading the poems I did not, and I look forward to new submissions too.
To those of you who celebrate Christmas, a wonderful holiday filled with magic. A hundred year of love to everyone. I will update everyone soon after Christmas.
Gabriela Marie Milton Pushcart Prize Nominee Award Winning Author #1 Amazon Bestselling Author
Camellia S. is the author of the poetry collection entitled “The Prototype of Rebirth,” collection available on Amazon. Camellia does not call herself a poet but a humble servant of words. When she takes a break, she can be found either crooning or in front of the camera, experimenting with fashion (some childhood dreams never end.) Camellia was born in India, and lives in the Midwest. She can be found on the following platforms: Twitter and Instagram- 20_camellia, Youtube- @Camellia.S, her newest venture.
Here is Camellia in her own words:
Oh what can she say? Her heart remains chained, bound to her sentiments, excitements, and passions… But her words, a tall Prince Charming atop a bright red steed, break her free! So, she wanders through the fiery sunset… It takes her back somewhere, a place where there is joy… The birth of a baby girl, her cherubic hands and laughter… And so, a Camellia is born on a cold, December night in a colorful and beautiful land, called India. Born is she from fire, born is she to run… So, she runs and runs from a childhood she calls cruel, from a heart that always wept more… What’s this? A TV! A heroine dances inside, her long midnight hair and shiny red dress… A parallel line, a little girl that looks just like her, runs to the TV… “Oh if only I could be up there…” The little girl sighs… “Oh no, just run away!” She screams at the little girl… But it’s too late… She watches as the little girl holds the hands of her mother and father and crosses the seas, to the land of freedom and liberty…
“No!” She cries, as a little girl paints her skin white… “Dear marbles so blue, if only my eyes could be like you… Dear little rosy flower, if only I could bloom like you…they say I smell dirty, if only I could have things as nice as them… If only I looked like them, they would like me… If only I could speak like them, they would stop laughing… Believe me I’ve tried and tried to change my color, but chameleons are not very nice to look at…” The little girl laments… She steps off of her bed and looks at the mirror… She gasps as echoes ricochet through her head… “My, a deflowered beauty… A black dahlia, you’re the only one of your kind who looks as pretty as a sin…” She dances as masked hands travel up her skin… Bitter stains, but she bends in the directions they play… A destroyed painting, she laughs… “At least now they think I’m pretty…” but now, she’s hated at home by many…
And in a heartbeat, the illusion disappears… She’s caught in a tug of war between two cultures… Does she belong anywhere? A tale of two identities, she holds on to both… She knows, the land of the free, Midwest America, is where she belongs…resides… But her home of India, she doesn’t let that go… And so, she starts to paint her words… She leaps into their colors and textures… Finally, she learns how to breathe… Finally, she catches up with her skin…
But is the chapter really over? “Welcome Home,” her transcendental dreams laugh… Now that she has found herself, is it really time to find him, the blurry sketch from her dream? The story has just started weaving…
A Thankless Prayer
Cloves and spice On a broken table… Spread across the plates, A thankless prayer am I… I watch their lips, Silence… The champagne spills from the glass, Like over-boiled laughter Their chatter, leftover potatoes Forgotten in the fridge… Their hands shake, They can’t pray…
Just Sold!
I pressed my nose upon the shop window, I felt its cold glass… The bold but delicate golden letters- CHÉRIE… Oh no, silly me! Not this shop! My schoolmates were admiring the large hat, In a lush, moss green… Perhaps, I had my eyes set on the tiniest orange number They figured… Oh, but they were wrong! Their squirmy giggles, How monotonous against the sways and flashes! Looking back at me through the window, The women from the store across the street… The one where godless souls couldn’t go… Attached to poles like mannequins, They danced in naked sins, Faceless homonyms… But the men who lurked! Both puppeteers and puppets… Sweaty stains, Their hands even repulsed shadows… But I envied the women, Oh how I foolishly wished to become one of them… To dance up there, To be touched by those men! Their rotund fingers, fleshy…greasy… And their brawny arms… When I closed my eyes, Their faces appeared chiseled… Their warm, bushy mustaches, Not one was clean-shaven… Would it prick? Would it nip my skin? And so, I made my way across the street As whispers bled into gasps! I loitered by the glass, stealing darkness… Until I was the only woman up there And the men? Dirtier… But I smiled, as I saw more of them…
Dealing Cards…
I steal the line of Mercury… I walk around the Sun, Rather, I trick it into walking around me… I paint my eyes in the colors of the galaxies, Some say…it named itself after me… I’ve always envied the mirror… I can never look into it… And so, I taught the world to look up at me… I talk in retrograde, I age away from history… I find the edges of the universe, Just to abandon it… Oh, I would stop! I really would stop! If only someone would say, I looked like the flower Narcissus… Oh my, what a horrendous color! Just leave it be… Catastrophe or jealousy? I finally look up at the mirror and say, Lust is never far away from envy…
Thank you to everyone who submitted to Literary Revelations Journal. We have received a great deal of submissions and are asking for your patience. We will respond as soon as we can. Enjoy the beauty of the season.
Dr. Linda Best Professor Emerita, writing/literature at Kean University, NJ, has written and published in many genres, from academic to fiction. She remains active in the field as an author, a writing coach, an editor, and an instructor of writing memoirs.
Read an exceptional excerpt from Antonio’s Story, Coming of Age on the Battlefields of WW II. For the purpose of this publication the excerpt was modified by its author.
The Tides of Change
Antonio’s greatest attribute was hidden, and it frightened him. He possessed a prescient sense of future images and scenes. From as early as he could remember, he foresaw events before they occurred with detail and clarity that disturbed him even as they served to protect him. As he braced for the next photograph, showing his grit, a thought flashed through his mind. At that moment he knew, with absolute certainty, he would never serve in Italian Forces to aid the raging tide in Europe.
And in the fullness of time, those visions and scenes came to be realized.
The chapel bells tolled in the small mountain town, causing Antonio to stir. His brain foggy after a night of revelry, he was not ready for the painful glare of a new sunrise. But his eyes opened the moment his torpor collided with a jarring reality—the day he and his family had discussed for months had come. Within twenty-four hours, he would be on his way to the Bay of Naples to board a ship to America.
An array of issues clouded his mind and wrestled with one another. Warm thoughts of his beloved Italy; his joy in working its fertile fields; the cypress trees in the distance, signposts to guide travelers on the unmarked local roads. His family—Mama, Papa, his brothers Salvatore and Mario, and his sister Francesca—the sources of light and kindheartedness in his life. But there was the country’s political environment, the factor that steeled his will. Its power thrust wholesome thoughts aside, replacing them with the darkness and anxiety spurred by the toxic Youth Group.
There is no going back, he thought. His eighteenth birthday looming before him, Antonio needed to carry out the plan devised to guard his future. Pondering those thoughts, he found peace in the sounds and scents surrounding him. They soothed his fears as though affirming the decision. The fragrant atmosphere then blanketed him, protecting him for what lay ahead. He would remember that feeling on another day in a different place.
On his final day in the country, Antonio planned to slip out of his family’s house in the quiet before dawn for a farewell walk through Settefrati, the medieval village where he lived, along the path he had strolled for close to eighteen years. He would weave through the hills to immerse himself in his surroundings and create memories for the months and years ahead. To outsiders, the sights along his path could appear ordinary, but to him they were the heart and soul of his identity. Antonio rose from his bed and was on his way within a half hour.
He exited his family’s village house, strolled through the piazza, and headed to the medieval tower and fortifications that date to 991 A.D. The alley alongside the tower was one of Antonio’s favorite spots for its historic value and view of the three-tiered landscaping surrounding and defining the village—Val di Camino, the deep valley that rolls down to Rome in the direction of the village; the village itself; and the soaring Apennines above it, where Monte La Meta, the highest point in the region reigns. After savoring that rapturous view, Antonio moved on.
An ornate structure, he thought, as he approached the small village chapel. Entering, Antonio admired the art and stained-glass windows as he walked into a pew, knelt, and placed his head in his hands, experiencing both peace and emptiness. Minutes passed before he rose and withdrew from the side door to enter the courtyard and cemetery. The scents of the lush flowers adorning the churchyard were heady, intoxicating. He ambled along, examining each of the headstones inscribed with his family name, Buzzeo [pronounced BooTSAYoh], and the photos affixed to them, every grave expected but for the one where his sister Maria lay. Born two years after him, she succumbed to an infection at the age of two. He stood back scanning the faces in the photographs. Peering into them, he connected with the souls of his forebears, experiencing an infusion of strength.
After visiting the cemetery, Antonio continued along the one road in his village. It turned upward sharply just beyond the chapel and then curved right. Positioned at that pass, Antonio began his ascent to the mountains. He reached midpoint and enjoyed the varied topography of the Abruzzi Mountains, where rolling hills lead to high peaks that in turn descend toward the Adriatic. That juncture offers magical views of the valley below the village and hints at what exists above.
Antonio paused for a break where he usually did, sat on one of the rocks, emptied his mind, and breathed the fresh air. In time, a wistful thought about Mama touched his heart. Her telling behavior belied the strength she hoped to demonstrate to help the family prepare for his departure. Her inner turmoil was transparent—the excessive cooking and cleaning, the massive pasta production earlier in the week when she called for his assistance, her ways for finding time for the two of them. He was only too happy to indulge her—and himself. Antonio was as anxious as she and could not bear the thought of days, thousands of days perhaps, without Mama. But when they worked together, knowingly or unknowingly, she bolstered Antonio with decades of warmth to sustain him while demonstrating how important and soothing routines can be.
Together, Mama and Antonio rolled and cut the pasta that afternoon. They worked with a soothing rhythm that re-created the feeling of being rocked like a baby, and Antonio would draw from those moments often in the years ahead. Antonio admired the generations-old rolling pin Mama used, asking about its stories, and she repeated many of the age-old tales about the hands that had held the hefty tool. Antonio delighted in hearing stories about the pin’s origins. He visualized his grandfather carving the extra-large dowel from a sturdy Italian maple tree and his grandmother using the tool to roll dough for pastas and breads or stir large vats of food.
Mama’s favorite story centered on her tiny mother, who used the huge pin to blend the heavy polenta meal that she smothered with sauce and meats before serving. There were, of course, many embroidered tales about the pin. It sometimes served as a multi-purpose household tool for loosening an item stored above or for chasing an interloper. From time to time, the dowel warned an unruly young one, and more than once an unmanageable child pulled the dowel out of the pantry with the goal of wreaking havoc. Antonio registered Mama’s sense of pride and humor as she recounted those family stories and made a place for herself in them.
They continued their work, Mama lovingly preparing the pasta for Antonio’s farewell dinner. Comfort and purpose flowed from their movements, and Antonio had to admit he had not felt so peaceful in days. They were ready to separate the strands of fettuccini pasta and place them on the drying racks when Papa arrived. He had to control his reaction when noticing the vast quantity of macaroni Mama and Antonio had produced. In his heart, he knew Mama’s preoccupation was harmless since the beautiful strands would keep for a long time as would the peaceful feelings that emanated from both Mama and her son. That afternoon was been momentous for young Antonio. The beautiful scene of Mama and him was now etched in his mind as a lifelong memory.
Antonio rose from his resting place, sighing with serenity. Slowly, he scanned the countryside, drilling down on details and framing what he saw. Below, beyond, and above lay the fertile land of Italy that sustained the local people. He heard the cows, their bells ringing, as they positioned themselves to meet the rising sun. The orchards, olive groves, and wild horses dotted the scene. Antonio reached out and picked his favorite fruit, a luscious ripe peach. Silence surrounded him as he continued his ascent to the highest accessible point.
At the peak, Antonio found himself surrounded by jagged rocks that rose above him. One might expect the area to be stark and empty, but that was not the case. There were remarkable signs of life at the summit. The soaring Monte La Meta dominates the scene and draws attention for its natural formations. Standing at the apex, Antonio stopped to admire the peak and ponder its life span while also taking in the appealing features at eye level—the entrance to a national park, the large Catholic Church and Shrine, and a cozy café consisting of a coffee bar and a dining area. The atmosphere was aromatic, filled with the scent of pine.
Then Antonio set his eyes on the vastness below. He stood and turned slowly, taking in the sweeping 360o panorama of the Abruzzo region. He rotated slowly, whispering the name of every one of the twenty-four towns perched within and above the valley. Breathtaking, he thought. He turned to another site with sentimental value, the National Park of Abruzzo, the oldest park in the country and the greenest region in Europe at the time.
Antonio’s earliest memory of the park was still vivid. He recalled sitting by Lake Ladito and also swimming in it, the water cool and refreshing. He was young, his eyes wide open as he noticed wildlife larger than he was. Those were peaceful days touched by the warmth of family. Over time he discovered and observed all the wildlife native to the area, from the brown bear, golden eagle, Apennine wolf, deer, otters, and chamois, and knew he would never forget any of them. Now years older, Antonio was more fond of the park than ever and stood ready at its entrance for a memorable good-bye stroll.
Although Antonio smiled and was warmed by his memories of the park, his good cheer was short lived. Dark clouds invaded his enjoyment, transporting him to the past. He was eight years old and in his first year of the Mussolini Youth Group, already learning to use weapons. It was understood that all boys from eight through eighteen would become active members of the Group. Now in his late teens looking back at those years, Antonio realized how disturbing the organization’s philosophy was.
The Youth Group’s regimentation of young boys and mission imperative to annihilate the enemy during maneuvers affected nearly every boy Antonio knew. The ten-year-long service robbed children not only of their childhoods but time with their families, the ability to concentrate on their studies, and the opportunity to envision a future other than the military. Over time, Antonio’s family became concerned about the prescribed direction for his life, and well before he was of age, they began serious conversations about altering his future. For his brothers, who were quite a bit younger than he, there was no threat or issue yet. But for Antonio, each year brought him closer to mandatory service in the Italian Army and the transition from theoretical training to the implementation of Mussolini’s plans. On his eighteenth birthday, Antonio would reach the point of no return for his future if he were not sailing to America.
Antonio was deep in thought about his past and his future as he walked. He recollected a conversation with his brother Salvatore that enabled Antonio to feel comfortable about leaving. He could never deny loving Italy and the village’s way of life, but something within told Antonio he could achieve more in a place where opportunities other than farming existed. One day he explained his view to his Salvatore by pointing out a small bush that grew along the countryside.
“My brother, here in Italy, I feel like one of those low-lying bushes in the fields that grows out rather than up. They do not respond to the sun, they bear nothing, and they don’t change much. What is their purpose? And I ask myself, what is my purpose? Some trees grow tall. Think of the beautiful fig trees in our orchards. They soar up and out, seeking the sun and soaking up its energy. The trees thrive in every way. They produce beautiful foliage, their deep emerald leaves broad and bright. They produce the succulent figs that fill our tables and provide our community with delicious cookies and biscuits, pastes and jellies, bruschetta, and fig bread. I want to be tall and productive as a fig tree is, taller and brighter than any tree around it.”
Salvatore is moved by his brother’s story. “Antonio, my brother and best friend, I have always known this ambitious side of you. I see it clearly, and it’s something most people cannot ignore. You are someone everyone can count on. You have ideas and solutions. You are grander than this small village. It brings tears to my eyes that you are leaving, but you have la grande forza, la volontà, e il coraggio [the great strength, the will, and the courage] to travel to the United States on your own. I envy you. I don’t know if I would have the courage to leave. You are the promise in our family, and you may well bring all of us to America in time.”
Antonio’s recollection of that day steadied him, and he felt strong. Then a distraction, a good one, came his way. Someone called to him from a distance. Walking briskly up the hill were Salvatore, Antonio’s youngest brother Mario, and several cousins. Antonio could sense their energy and excitement. Unlike him, they were singularly focused on the upcoming celebration. While he walked and pondered, they were on their way to the orchards to pick fresh ripe fruit for the feast that would begin in a few hours. The event would not only serve as Antonio’s send-off, but it would also celebrate his upcoming 18th birthday, which would occur on the ship.
Pulled back into the day by his brothers and cousins, Antonio picked up his pace. He walked briskly to town satisfied with the memories he was now carrying with him and fortified by the recollection of his conversation with Salvatore a few months ago. When the road curved, the village came into view and more signs of life were visible. The figures in the distance, the farmhands heading to the family’s pastures, orchards, and groves created a beautiful tableau of his land and the farm’s industry. He tucked that scene in his memories, too.
A Modified Excerpt from Antonio’s Story, Coming of Age on the Battlefields of WW II
It is with great please that our Literary Revelations Journal brings you the mesmerizing poetry and recitation of Swarn Gill. The power of Swarn’s metaphors, the aesthetics of his verses, and the philosophy behind them are fabulous. I hope you enjoy this feature.
First, let’s drill into his bio.
Swarn Gill was originally born in Edmonton, Canada. He came to the U.S. for graduate school to pursue his dream of being a meteorology professor. His passion for poetry and writing was rekindled during his PhD. when he realized he had been so focused on one thing that he had neglected other avenues of joy and creativity in his life. Writing enabled him to explore the human condition, reflect on his own life experiences, and capture the beauty of nature through poetry. Initially his journey into writing poetry came from a love of words. The way they dance, play, and flow and the way they sound when spoken aloud. So he began reciting his favorite poems.
Swarn’s writing is also very much informed by his scientific mind. He believes science and nature are constant sources of art and inspiration and it shows in his prose. He takes pride in weaving it into his poetry and prose when possible, braiding his two passions together. Swarn considers himself more of a storyteller than a poet, always favoring a first-person perspective when he writes. This lends his prose to offer his readers an adopted perspective which allows them journey through his evocative narrative as if it is their own. Though not formally trained in literature, Swarn attributes his growth in his writing ability to a strong, supporting writing community online. Swarn describes the community as “a place of truly remarkable people who have helped him improve his poetry skills greatly.” Swarn spends his days teaching, writing, going on walks in nature, and sharing those moments with his friends and family. Currently, he resides in southwest Pennsylvania with his wife and two sons where he is still very active in the local poetry community.
The Appetite of Time
I have a hunger I am taking your moments nothing you do goes unnoticed your memories sit in my belly, digesting you will never stop feeding me the happy, the sad it is all my nutrition
I have a hunger for your physical attrition My tongue slathering around your ligaments teeth gnawing on your bones my hands pulling down your skin your heart, gripped like a vice between fattened thighs
I have a hunger for the demise of all that’s been made it shall crack and crumble mountains will flatten to plains another extinction so delicious sorry evolution it’s the end of your revolution I shall have things my way
I have a hunger even the universe, my prey stars will blink out like city lights bereft of power I pull and stretch at the very fabric of existence all will be dark and lifeless then it will only be me full and content
In The Beginning…
daytime heat wanes an ape sees a rock red-orange beams soften its hardness
she turns around and for the first time in the existence of this unusual species she cannot communicate her eyes drink the sky and she sits. in silence
in the background she hears day-weary life scurrying to hide for a night’s rest
while simpler beasts prepare watchful eyes peering to take advantage of darkness’ boon
no creature but that ape is gazing at the sunset she knows that the world is both exactly the same and forever changed that there is something special. happening to her
oh, to be there at that moment at the inception of beauty
Eric Daniel Clarke is an Englishman, raised in the West Country close to Hardy’s Wessex. He’s lived his adult life near London, working as a scientist in the physical and life sciences, and is a Fellow of the Royal Society of Chemistry. In recent years he began writing poetry and prose. His first collection of poems ‘Shorts: A Take on Poetry’ was published in 2020 by Potter’s Grove Press. His work has appeared in anthologies, most notably two poems ‘Erin’ and ‘A Beginning of An End’ in ‘Wounds I Healed: The Poetry of Strong Women’ published in 2022 by Experiments in Fiction.
Eric writes contemporary poems on life and relationships in a simple yet thought provoking style. He is currently collating a second collection of poetry. His labor of love is the near completed novella ‘You Can Call Me Erin’ – the story of an online relationship told in verse through the voice of one – the titular Erin.
Notice how Eric’s economy of words enhances the beauty of his pieces. It makes them powerful. It makes them shine.
Today Literary Revelations brings you two poems by Eric and two examples to illustrate the poetry of his verse novella currently titled ‘You Can Call Me Erin.’
When Eyes Blink Images
Can you see a memory, sketch it and colour in, can you tell if daybreak, as shades of dark thin, can you be still, be present, when eyes blink images of where been, who with.
I’ll Ask You
The night we met, in truth I couldn’t tell, the night we first danced, time and place recall, less so the detail, of what said, how long we were in hold, I’ll ask you, you’re still dancing, my feet kind of moving, much as before.
You Can Call Me Erin: Verse Examples
# 1
Goodness, do you mean that? No, I don’t think you talk too much. Guys who reach out to me don’t use words the way you do.
I’ll not tell you much about me? What’s a girl to do, you’ve not asked me anything. Yes, you can get to know me, I like that you want to.
Hello Sam, you can call me Erin. I like a man who’s lived, your smile tells me you have, whoever took that photograph knows your angles well.
Yes, you’re the first man I’ve spoken to seriously on here, I got more than I bargained for when I messaged you. You got me asking, are you for real?
The things you say to me, it’s as if you know me. I feel at ease with you, I like your understated manner, you’re good at this aren’t you.
#2
I know that we need to meet, I want to, it’s not a case of having to, okay. We need to get the timing right, next week doesn’t work for me.
Excuse me, what am I supposed to have realised? You’re the one who needs to look. It feels to me as if you’re trying to tell me what to do, I don’t like it, Sam.
You may not think you’re having a dig, but it seems like it to me. It’s obviously not helping you going away again, it’s putting pressure on us both.
I appreciate you’re only asking for a coffee and a chat to begin with, I think it’s a good idea, but please can we sort this out when you get back. How long will it be?
A few weeks! I’d no idea you’d be away that long. My head is pounding, Sam. I can’t take all this in. I’m so unsure what to do. I can’t make sense of the feelings I’ve for you.
First thing Matt Taggart is going to tell you about himself is that he is a loving husband and father. His accomplishments as an author always come second. Taggart is an award winning American author. His piece, “Bodies in the Basement,” was selected publication of the year (non-poetic) at SpillWords Press in 2019. His poetry was published in several anthologies among which the #1 Bestselling Anthology, “Pain & Renewal,” Vita Brevis Press, and “Wounds I Healed: The Poetry of Strong Women,” Experiments in Fiction. His work was also published in various poetry journals and sites.
Why does Taggart start his bios with: “I am a loving loving husband and father?” I can only speculate. Perhaps because he always carries his childhood with him. Perhaps because as Graham Greene contended: “There is always one moment in childhood when the door opens and lets the future in.” Regardless, Taggart’s poetry is a poetry of high caliber. In the writings below the talent of maturity shines through the eyes of a child.
The Abandoned Dawn
He wished the door wouldn’t again open; knowing he’d be forced to become another version of himself. Placed unto him from a variation of life not meant to be seen, or felt, or lived. Now- the footsteps, so very light, unheard by the household so late at night, but felt by the boy, each and every vibration, knowing it would be soon time to close his eyes and beckon the rising moon to please take him along with its translucent majesty high above where his being felt the covers being lifted.
The Dawn
The ravine leading to the brook was steep and beautifully built by nature. The oaks, birch, pines, and maple trees did their best to provide cover from prying eyes. The path leading steeply downward was just on the right hand side of a mostly hidden oak tree and once passed the initial arms of the welcoming foliage, a peace settled inside his body, having started with sight but becoming deeply more while traveling through to his heart and mind. As he rushed, and slid, the young boy grimaced a grimace meant for the gurgling brook. Now, standing here, by the moving stream, he was alone, free, and well. And didn’t it seem that it was always this way.