I see that you write poetry in recognizable and named forms: haikus, rengas, and others. Why do you choose those forms? Does it depend on the poem?
There’s something self-fulfilling about Japanese poetry form to me; I easily identify with it, it makes me one with nature, hence I exist with utter independence with the fowls of the air, the flowers and trees, and the changing seasons of mankind. When I write I catch the spirit, thus I flow where the poems want me to go, I don’t choose.
Why do you choose to write in form at all? Some artists have broken away from traditional form, but why do you think form still has value for what you’re hoping to communicate?
I started off with free verse, and that form helps me flow with the natural rhythm, giving me the liberty to express myself, allowing sense of flexibility, creating a conversational and fluid feel. However, the japanese form have improved how I write free verse, if you’ve seen some of my current work, it is infused with tan-renga.
You write collaborative poetry with other artists. How did you meet Christina Chin and others with whom you write, and what does the collaborative process look like? Do you simply trade off and finish each other’s poems, or do you brainstorm a topic and direction first?
Collaborations help me see the world clearly for what it is: “the way you do a thing, is how you will do everything.” The process of collaborations introduces you to a new perspective, and a new way of thinking and approaching things. I love it! My teammate Christina Chin and I met at Lothlorien Poetry Journal where we were both published as per that time. We both write as it comes: I throw her a couple of verses, she finishes it up; she does the same as well. So, that is how we flow — no guidelines — no rules — nothing leads but the spirit of poetry!
What is the literary scene like in Nigeria? What sorts of poems do people enjoy there, and what has it been like to get published there?
I stand to be corrected — traditional form as Haiku, Renga don’t get published here; only free verse form. And as a result, you can see that being a Haiku poet here is highly challenging — and a disservice to one’s career. The literary scene in my homeland is a growing industry that’s in a dire need of government present and support to thrive well in this fast-pacing times — a country that is littered with amazing talents, thus if given the necessary programs and opportunities, these words bursting out of one’s veins will gain wings and flyaway.
What roles do you think poets, and poetry, play in modern global society? Do you have something you hope to accomplish by serving as a poet?
I will begin with Shelley’s idea in ‘The Defense Of Poetry’ 1821, “Poets are the unacknowledged legislators of the world.” The words and voices of poets have echoed through different times and ages, breaking hurdles and transcending barriers. Poetry can be a powerful teaching tool, that is necessary in enlightening the human body, mind, and spirit. Serving as a poet is a calling that I am magnifying greatly; I want to serve this war-torn world with words that carries beauty and truth. If this is achieved, I am fulfilled, and it will be my crown of laurels.
Who are some other poets or writers you admire, and why?
For the Japanese traditional form I think I admire Matsuo Bashō; I also admire the poet Christopher Ifekandu Okigbo because he died fighting for what he believed in, the independence of Biafra.
What are your next steps, where do you plan to go in the future with your writing?
I want to see the world for what it is. I want poetry to take me to strange places; I want to see different people, learn different languages and dialects and cultures — I want a baptism of full immersion in the only global faith: Poetry.
Uchechukwu Onyedikam is a Nigerian Photographer and, a well-published Poet based in Lagos, Nigeria. His poems have appeared in Amsterdam Quarterly, Brittle Paper, Poetic Africa, Hood Communists, The Hooghly Review, and in different themes of anthology both print and online. He and Christina Chin has co-written and published two poetry chapbooks — Pouring Light On The Hills (December 2022) and Clouds of Pink (March 2024).
He saw the kid who worked the checkout at the convenience store walking down the street, arm in arm, with a girl about his own age, maybe 17. He was a handsome kid. Compared to him, the girl was rather plain, he thought, wondering if people thought the same of him when he was dating his wife, or even now. She was a knockout, his wife. He never asked her if she had dated during their brief separation. He didn’t want to know what they looked like if she had. He wondered if they were sleeping together, the kid and the girl. If we were all contemporaries, he thought, and double dating, people would probably assume his wife, his future wife, was the one dating the checkout kid. He was probably being hard on himself. He was probably a cut above plain.
First Haircut
“The usual,” he told the barber, John.
“Remind me.”
“Number two blade.”
He’d remembered to wear a shirt with a collar. A collar provides a better vehicle than a crew neck for the paper thing they wrap around your neck to keep the hair from falling down your back.
An older man walked into the barbershop. He greeted all the barbers, “Angelo, Vinny, John,” with a nod of the head for each name.
“Have a seat, Tommy,” Vinny, who was available, said, “I’ll be with you in a minute.”
John asked him who he liked in the World Series. Since neither team was local, it wasn’t a big surprise that he and John had different ideas. Tommy chimed in, agreeing with John.
“Put on Sinatra,” Angelo, who was cutting a kid’s hair, yelled over to Vinny, who was at the CD player.
“Eyebrows?” John asked.
“Yeah.” He called them his Brezhnev eyebrows. The barbers were all old enough to get it.
Angelo started singing along with Sinatra, “Come fly with me, let’s fly, let’s fly away,” then said to the kid, “Betcha you never heard that one.” The kid said, “No,” and Angelo laughed.
“Ready to greet the world in style!” John said when the cut was done.
Out of the blue he was struck by a dim memory of his first haircut, his first barbershop haircut. Maybe it was the Sinatra. He remembered sitting in a kid’s barber chair in the form of an elevated red sports car. Or was it a fire truck? He remembered crying.
“What?” he asked John, holding back the tears.
College Days Full of Hope
Reading the obituaries, he discovered one of his favorite college professors had been a Nazi sympathizer. He made coffee, in a French press. As he sipped his coffee, Sumatra Mandheling, which he admired for its boldness, he also read about a man in Cambodia who had won a tarantula-eating contest, the first of its kind. The article conjectured it would become an annual event.
At work that day, he was asked to fill out a self-assessment, an oddly Maoist incursion into American corporate life. He wrote an unqualifiedly rave review of himself, refusing to give his bosses ammunition to use against him. After he had submitted the self-assessment, his thoughts turned to the dead professor. What was that course again? Oh yes, the theatre of cruelty seminar. Looking back, he couldn’t remember anything that hinted at Nazi sympathies.
Wistful for those college days full of hope, he stood up and surveyed a sea of cubicles in which he was but a speck.
Graziano MARRAFFA celebrates the centennial of the film icon Marcello Mastroianni
I was working with Federico Fellini in Cinecittà (Rome) and during a break I went to the bar of the legendary city of cinema and there was Marcello Mastroianni who was talking to some film producers.
I introduced myself.
I was a friend of his wife the actress Flora Carabella and his close friend Federico Fellini.
We talked about Hollywood and Rudolph Valentino, a relative of a dear friend of my mother.
Mastroianni was often compared to Valentino, having an extremely attractive Mediterranean beauty.
Tall, perfect physique, very regular face, calm, kind, natural, strong.
He dressed in a classic way, but often with a touch of “casual”.
A huge success of Mastroianni was the musical “Bye Rudy”, about Rudolph Valentino.
Mastroianni is one of the most popular iconic movie stars in the world.
His way of acting is never “passionate” or overwhelming, but filters impulses and emotions through a mask that appears perfectly natural, but since it is a mask, it gives the impression of being able to change from one minute to the next and therefore produces mystery.
An iconic image of Mastroianni is the one with Anita Ekberg in the enormous Trevi Fountain in Rome in the legendary film by Federico Fellini: “La Dolce Vita”.
Mastroianni garnering many international honors including two BAFTA Awards, two Best Actor awards at the Venice and Cannes film festivals, two Golden Globes, and three Academy Award nominations.
Last September, one of the most eminent Italian film critics Graziano MARRAFFA, on the occasion of Mastroianni 100, curated an exhibition of rare film posters of the icon Mastroianni, illustrating his figure and giving precious information on the birth of these films in relation to Mastroianni.
The writing of a film is linked to various types of factors, but the artistic relationship between the author, the director, the star or stars protagonists is fundamental.
MARRAFFA is president of the Historical Archive of Italian Cinema which has a very important collection of vintage films and unpublished material made by world-famous directors and we hope that in the near future exhibitions of vintage films can be held in synergy with other important archives such as the Pacific Film Archive in California.
“Marcello Mastroianni, one hundred years after his birth” is the title of the MARRAFFA event which opened, last September, in Marina of Ragusa, Sicily, the XXVIII Costaiblea Film Festival, artistic direction by Vito Zagarrio, with an introduction by Marraffa and Vincenzo Cascone, in the presence of the Mayor of Ragusa Giuseppe Cassì, while, in a continuous cycle, the film “Marcello Mastroianni” by Angelo Piccione was screened, made up of scenes from the main movies starring Mastroianni.
Ma Yongbo was born in 1964, Ph.D, representative of Chinese avant-garde poetry,and a leading scholar in Anglo-American poetry. He has published over eighty original works and translations since 1986 included 6 poetry collections. He focused on translating and teaching Anglo-American poetry and prose including the work of Dickinson, Whitman, Stevens, Pound, Williams and Ashbery. He recently published a complete translation of Moby Dick, which has sold over half a million copies. He teaches at Nanjing University of Science and Technology. The Collected Poems of Ma Yongbo (four volumes, Eastern Publishing Centre, 2024) comprising 1178 poems, celebrate 40 years of writing poetry.
Please share your thoughts about the future of literature.
As long as the human spirit remains alive, literature (poetry) will endure, serving as the most faithful companion to the soul. The power of poetry to console and uplift the human spirit will always remain indispensable.
When did you start writing?
I began writing poetry, plays, and novels in 1979 during my first year of high school. My works were officially published starting in 1986. Writing poetry is a form of spiritual practice for me; my goal is not to secure a place in literary history.
The Good and the Bad.
Nature is good; humans are bad.
Who is winning nowadays?
Petty people dominate in every field. Yet evil only prevails temporarily, for Christ has already overcome the world.
How many books have you written?
I have published six poetry collections (including The Complete Collection of Poetry, which comprises four volumes), two essay collections, three academic monographs, two biographies, and two prose-poetry collections.
And where can we find your books?
Most of my 80 original and translated works have been published in mainland China, with a few released in traditional Chinese editions in Taiwan. They are available on Dangdang, JD.com, and in physical bookstores. Public libraries worldwide also hold copies. My bilingual poetry collections with Indian poet Anand, my another bilingual poetry collections with Greek poet Eva and Mexican poet Jeanette are sold on Amazon. A select few works, such as my three-volume bilingual translation of John Ashbery’s selected poems, can also be found there.
The book: E-book or Hardcover book? What will be the future?
Physical books will become increasingly expensive, eventually turning into collectibles for a small minority. E-books aid dissemination and conserve energy.
A wish for 2025.
May my friends find peace and joy, and may they write poetry abundantly. I also hope to leverage my translation skills to introduce more outstanding poets from other languages into Chinese, building a rainbow bridge to overcome cultural barriers.
In March we will have a presence at the Association of Writing Programs conference in L.A. which will include an offsite reading at Chevalier’s Books on Saturday, March 29th at 6 pm. All are welcome to attend!
So far the lineup for our reading includes Asha Dore, Douglas Cole, Scott Ferry, Linda Michel-Cassidy, Aimee Suzara, Reverie Fey, Ava Homa, Michelle Gonzalez, Terry Tierney, Anisa Rahim, Katrina Byrd, and Cindy Rinne.
Author Justin Hamm is hosting a FREE online literary event the weekend of AWP, known as StayWP. This will include author talks, informative panels, book launches and networking!
Poet and essayist Abigail George, whom we’ve published many times, shares the fundraiser her book’s press has created for her. She’s seeking contributions for office supplies and resources to be able to serve as a speaker and advocate for others who have experienced trauma or deal with mental health issues.
Also, the Educational Bookshop in Jerusalem, a store that has the mission of peaceful dialogue and education, invites readers to donate new or gently used books (all genres) that have been meaningful to them, with a note enclosed for future readers about why the books were meaningful. (The books don’t have to be about peace or social justice or the Mideast, although they can be). Please send books here. US-based Interlink Publishing has also started a GoFundMe for the store.
Eva Petropoulou Lianou shares the Dylan Thomas poetry contest and her own poetry launched off to the Moon on the Artemis mission as part of a collection.
A new book, Poetry Mexico, China, Greece, a collection from contributors Jeannette Tiburcio Vasquez, Yongbo Ma, and Eva Petropoulou Lianou, has just been released.
Our April 1st issue will be crafted by co-editor Kahlil Crawford. He’s a poet, musician, and essayist who has put together previous issues on Latin Culture and Electronic Music.
********************************
This issue’s contributors seek balance and mental health by journeying into their pasts, the world’s pasts, into nature, into community, heritage, romantic, and family love. Others find Sanity Breaks in the subconscious, poetry, and art of various kinds.
Anna Keiko’s paintings bring a bit of off-kilter color and joy to nature and childhood. Kylian Cubilla Gomez’s photography presents joyful, colorful images of childhood play.
Brian Barbeito conveys the comfort and nostalgia of a small town that seems forgotten by time. Nilufar Anvarova remembers a joyful morning listening to roosters and smelling basil in a country village. Sayani Mukherjee also finds joy in moss, trees, and thatched roof cottages in her piece “Earth’s Song.” In another piece, Brian Barbeito shares intuitions and reflections from a day of walking his dogs in the snow.
Shukurillayeva Lazzatoy translates a poem from Alexander Faynberg about always searching for a distant shore, as well as another Faynberg work about finding hope and strength to continue a long journey.
Stephen Jarrell Williams speaks to the shared journey of finding meaning throughout one’s life. Grant Guy contributes musings on relationships and the passage of time as Daniel DeLucie reflects on how time marches relentlessly for us all.
Azamat Abdulatipov highlights how Uzbekistan pays national attention to youth issues through their student development programs. Gulnozaxon Xusanova reminds us to celebrate youthful achievements.
David Sapp draws upon classical art and music to trace a man’s journey towards maturity. Alan Catlin views art and landscapes through the eyes of a variety of well-known international artists. Norman J. Olson seeks out art old and new in London and Italy.
Joshua Martin evokes the subconscious behind-the-scenes consideration of thoughts and sensations in text that reads more like code than writing. Vernon Frazer clangs words together into a street corner symphony. Mark Young’s “geographies” intertwine color, shape, line, and form in unexpected ways. Peer Smits creates abstract images where thick lines and stamps color white canvases, and where posters blur and dance into rippled reflections.
Mark Murphy illuminates the power of art and imagination to inspire people to claim agency in a world where much seems historically inevitable. Jasmina Makhmasalayeva urges people to form their own self-concepts apart from societal pressure.
Jacques Fleury posits a “resume” for a Black street thug in a way that troubles and questions stereotypes. Isaac Aju presents a tale of a brave student who stands up to institutional disrespect.
Taylor Dibbert highlights the need to write creatively for joy, not for money. Ivan Pozzoni’s work speaks to the struggles of the creative artist in a society dampening creative urges and to romantic love between people not afraid to live fully embodied and present.
Alaina Hammond’s play dramatizes the struggle of a young woman choosing between a steady and comfortable family life and the promise of passionate love. Natalie Bisso’s poem illustrates a tender and intense romantic attraction. Yusufjonova O’gilkhan’s tender short story explores the love between a brother and sister.
Duane Vorhees takes a lexical flight of fancy through nature and romantic attraction. Isabel Gomez de Diego’s photos weave together nature, romantic and family love, and religious devotion. Eva Petropoulou Lianou honors mothers through a poem translated to Arabic by Egyptian poet Ahmed Farooq Baidoon. Musurmunova Gulshoda honors parents, friendship, country and heritage, and teachers. Eva Lianou Petropoulou celebrates friendship and mutual respect among women.
Poet Joseph C. Ogbonna references the love, comfort and solace he finds through his faith. French poet Timothee Bordenave speaks to his love for the faith-infused atmosphere of Paris.
Mesfakus Salahin speaks to a tender and poetic love, and also describes the joy of authentic love that does not match poetic expectations. Lilian Dipasupil Kunimasa also addresses true love as opposed to exploitation and how reaching maturity will help people figure out the difference, along with the need for universal compassion and empathy.
Kathleen Hellen highlights the fragility and tenuousness of the bonds that connect us. Bill Tope’s short story speculates on the many might-have-beens of a life cut tragically too short.
Mykyta Ryzhykh highlights the devastation of losing years of life to war and grief, blind but able to sense a tree losing leaves and a world that “still remembers the shape of our bodies.” Z.I. Mahmud analyzes the anti-war sentiment of Bertolt Brecht’s play Mother Courage and Her Children by showing how hardship and violence can change or flatten a person’s character and feelings. Umid Najjari’s poetry addresses war, love, loss, and grief.
Eva Petropoulou Lianou raises awareness of how domestic violence can start with control and possessiveness before physical assault. Mahbub Alam writes of his concern for his homeland of Bangladesh where women and girls face rape and assault. Linda S. Gunther’s short story deals with a woman recovering from and reclaiming her self-esteem after a breakup with a powerful man.
Orinbayeva Dildara reflects on how love has inspired her poetry, but not brought her happiness. Murodillayeva Mohinur expresses the rage and pain caused by betrayal. J.J. Campbell’s work captures ennui and frustration within lonely suburbs.
Poet Pat Doyne speaks to history’s cycles repeating in the modern world and how easy it is to lose hard-won liberties. Daniel De Culla lampoons and apes Donald Trump in a satirical romp.
Sharipov Dilshod Bakhshullayevich outlines how to maintain one’s sanity and civility in a world that can test your patience. Maja Milojkovic relates how she’s mindfully and carefully maintaining her wisdom and kindness and how she urges the world to do the same, as Mirta Liliana Ramirez shares how she’s choosing the most uplifting and thoughtful memories from all of her past to help her move forward to the future.
We hope that Synchronized Chaos, while challenging your mind and heart and broadening your horizons, also serves as a kind of sanity break.
