Visible, For Ellyn (Maybe?)

As I wait for our nearly ten hour conversation to upload

This poem is always already published in heaven

with respects to Patti Smith

“Oh wow”-Ellyn Maybe

“There’s something in the collective paw of the world”-also Ellyn (“Whiff of Wonder”)

So where do I begin

of all the

Encomiums pinned to the

goddess fold this is among

The flowers

the surface of the turf of the waves of the silver mine

The dramatic unfolding of the rose within the heart of matter melting into infinity

The remarkable steep climb down/up a very short/long limbed cliff

That makes the counterintuitive look like:

The breath of God

Or maybe the ear God scratches on its fins

Or maybe the…

Gosh

Golly

So yeah

so yeah

so yeah

(Giggles)

Wow, what a trip, right?

I agree

That was wild!!!

A really intense, pleasurable, purely innocent

walk on the moon’s moon

walk on the star’s spume

Walk along the

Hands of the

Golden clock walk in the

Shade of the garden of the

Fauns

and frankly, fuck

Adam and Eve

Nothing against them, but boy is that mythology

Begging for a reboot ‘

‘

Let’s let lapsarian swim some

Laps at the bottom of Rimbaud’s alchemy of the Word

L’alchemie du verbe

Let’s allow the glow to

Gather at our

Toes let’s

Freeze frame this desolate timeline for once and

All

Let’s make quantum theory look like Santa Claus

Flowing in and out of the chimney of God’s

Hair

Let’s make quantum computing look like if

Iceland

was really

Sweden was really

A

Forest of star-spangled

Elephant meerkats

Let’s turn over

First principles

Let’s unearth

the

Satellites we stole apparently Emily Dickinson

Let’s deface the astral mime-field of

Walt Whitman let’s and

Let’s and

Lettuce

See

What is at the end of

The final fork

Oh beauty of a dream of life, terrible and

wonderful and

throned in blood

Oh verite cinema complex where

dragons hit the

Snuff pipe of radiation

Oh Weimar complex where the

Dusseldorf vampire is doing bumps with

The Sno-cone nose of

Adolf Hister

Let’s turn over a new lava lump

and glow

glow

glow

Like

Fabulous

Opera…

Love is a multiple Folio William Shakespeare’s sonnets

paddled out through the

Desert of the waters of the

Future

Love is a pincushion made of

Elves in a

Sidereal blast you

jogged me at the

Elbow saying

In the end it will

be

Okay in the

End it was our communal landing strip where

Bob Dylan and

Dylan Thomas and

William Blake and

All the other

Rock and roll niggers were

Examining the

World’s largest

Tuning farce inside the

Grimdark nostrils of

the grumbling stones.

Photo credit: Alex S. Johnson, taken from a ten-hour zoom conversation Sunday March 23rd, 2025 or it was a minute.

DR LALIT MOHAN SHARMA ON DR JERNAIL SINGH ANAND ‘S EPIC POEM ‘FROM SIEGE TO SALVATION’

SEIZING THE ESSENCE

Dr. Lalit Mohan Sharma

Having harnessed a creative instinct to compare and contrast, Dr Jernail Singh Anand finds himself in the presence of a thesis, confronts the anti-thesis and arrives at a synthesis between the East and the West,  the ancient and the contemporary, the spiritual and the mundane, actualising in his poetry the conflicting claims of the sacred and the profane,  moral ethical and the narrow personal egotistical, the precious and the spurious. In the preface to the poetic drama, Dr Anand observes that ‘the siege of troy led to the exhibition of great personal  valour and national honorifics, while the Mahabharata shows us the way to immortality through righteous action’. In Invocation, the author juxtaposes the two events :

How the West revels in individual

And the East in a collective destiny for mankind. 

The thirteen Canto poem unravels through interaction between Chorus and Professor as they debate and deliberate in an argumentative manner on the ethical and human consequences of this juxtaposition. Other characters from the epic poems also mark with their appearance the progression in ‘Siege to Salvation’. Even as ‘an impersonal fate directs ‘unquestioning minds’ in terms of religious mythology, Anand has the Professor articulate how poor masses suffer ‘ not only mediaeval obscurity/ But also the identity stricken massacres of modern times’. Ancient time of  the epics or the contemporary scenario, the fate of common man is at the mercy of ‘ vain power’, for it is ‘not only siege of Troy/ But also the siege of human  will’. Professor wonders if ‘ Iliad has no moral framework’. Is it only to ‘settle personal jealousies, not epical issues’. Does Mahabharata concern itself not with victory only, but victory of ‘ good over evil’?  Only beauty of Helen is extolled, but doesn’t it ‘deny her individuality and personal will’ ?  Isn’t such freedom  ‘imparted to Cleopatra/ And other great women of epics/ Like Draupadi and Sita of Ramayana’?

During this juxtaposition between the great epics, Dr Anand raises a sequence of questions and erases a plethora of doubts about the celebrated happenings; 1184 BC events being the reflection of the heroic age Homer recounted in his epic poems, and the Mahabharata, the great Vyas, contemporary to the epic events serialised in his work!  How these great poems impacted Western literature and that of the  East is universally acknowledged. Dr Anand has taken over the audacious approach to access works of Homer and Vyas in a simultaneous gesture of looking at them  as a single imaginative canvas. Consequences are the lavish details Anand presents in this epic drama, leaving the reader with a freedom to arrive at his own conclusions  and reflections.

    Dr Lalit Mohan Sharma

Poet, Translator and Reviewer,

                      Dharmshala, HP.

Old Matmusa

Years later, Matmusa also

He got old like everyone else.

Gather your children for a while,

He also took the donkey.

Telling life one by one,

He remembered his youth.

A hero is a tandoor,

He remembered fondly.

There is beauty in your speech,

Ceramic pot, mill.

Harassment to the police,

There is no doubt about it.

You are a ready-made mold,

Matmusa said that.

You are a true and wise seeker,

Matmusa said that.

Regarding the organization,

It was difficult when I was a teenager.

In the roar of the lion,

He said I have a hand.

So that’s all

Set the event.

Sozlan is much more than that,

It made sense.

The sound of children

They look at each other.

Matmusavayo is waiting and exclaiming,

He combs his hair.

The main character is the end,

The conclusion is gone.

Sozi hit towards youth,

It’s good to remember the past.

My children, my tulips,

Don’t be curious, never.

Because now people

The broken heart is narrow!

Nilufar Anvarova, a student of the 8th grade of the creative school named after Erkin Vahidov, Margylan city

Our Jadid Grandpares!

Called for enlightenment,

Shone like the sun. 

He thought of the people, 

Our Jadid Grandpares! 

How to get to Olay, 

All are the popular hand. 

The words are close to the nearest, 

Our Jadid Grandpares!

Fitratu, Avloni

Cholponu, Kadyrids

Aqilu wise bii

Our Jadid Grandpares!

They are an ointment, 

It is as if the heart is treated. 

Stored in our hearts, 

Our Jadid Grandpares!

Fergana region

Margilan

Erkin Vahidov Shite of Creativity 

8th D class

Farzona Hoshimova

At dusk 

I undress my curtains 

The sun smiles at my bed

As I kisses the rays of hope 

The morning calls out my name 

Awakening with golf dimples 

Positive thoughts – river in my heart 

Flowing like a peaceful flood 

That is a mirror that reflects/shines future 

I spread myself 

spray my wings and fly 

As a smile hugs me

Every single day I rise after the short death

Please share your thoughts about the future of literature.

Literature, as a human expression, is in constant evolution. As we move toward a digital and globalized future, literature continues to expand its boundaries, adopting new formats like ebooks, interactive narratives, and virtual platforms. However, I believe its essence remains intact: to tell stories, express emotions, and share human experiences.

I think the future of literature will also be shaped by cultural diversity, the inclusion of previously marginalized voices, and accessible knowledge. While some fear that new technologies may overshadow the depth and rigor of traditional literature, I believe these tools can be used to bring literary works to a broader audience.

As both a poet and a translator, I feel that translation has a great impact on cultural exchange, and poetry around the world somehow preserves beauty and humanity in this chaotic and fast-paced world.

When did you start writing? 

I started writing poetry at the age of 15. I would jot down random images, describing what I saw and how I felt about it. At the time, these were merely disconnected images, but later, I began to give them more coherence. That was my process of creative discovery.

The Good and the Bad. Who is winning nowadays?

 Good and evil are complex and relative concepts that have coexisted since the beginning of humanity. The perception of who is winning depends on how and from where one observes. While acts of evil or injustice tend to be noticeable and visible, there are also countless acts of kindness, solidarity, and resilience that often go unnoticed.

Nowadays, we face global challenges such as wars, conflicts, and social inequalities, which might seem to give evil an upper hand. However, we are also witnessing inspiring movements that promote high values. I believe that instead of asking who is winning, it’s better to focus our energy on choosing to be agents of change within our own spheres of influence, no matter how small they might appear.

How many books have you written, and where can we find your books?

So far, I have written and published three poetry books:

El cuerpo de la duda (Editorial Publicarte, Caracas, Venezuela, 2013)

Transfigurar es un país que amas (Editorial Dos Islas, Miami, United States, 2020)

La larga noche de las jaurías (Editorial Nautilus, Spain, 2023)

I am currently working on a new book. Some of my books are available on Amazon: https://www.amazon.com/-/es/Transfigurar-pa%C3%ADs-que-amas-Editorial/dp/B08L8ZHHYH

 The book. E-book or Hardcover book. What will be the future?

I believe the future of books should not be seen as a competition between electronic and hardcover formats; I think both can coexist. E-books offer advantageous accessibility, while hardcover books provide a tactile and emotional experience that many readers (myself included) deeply appreciate. In my particular case, I value hardcover books immensely. They occupy a special place in my home and in my life; I treasure them as art objects, as part of a great historical and cultural heritage, and, of course, for the unique sensory experience they provide.

 A wish for 2025.

My wish for 2025 is for humanity to move toward a more just, equitable, and peaceful future. I hope we find more reasons to unite than to divide and that every person has the opportunity to achieve their dreams in peace and harmony. On a personal level, I also hope for a year of growth, creativity, and gratitude.

A phrase from your book:

“The hand in the shadow possesses almost everything,

but it will always thirst

 for what it cannot take from you.

 Your resistance, your love,

your unique fire,

unextinguishable.”

Mariela Cordero. Valencia, Venezuela. She is a lawyer, poet, writer, and translator, and has received several literary distinctions. She has published the poetry collections: El cuerpo de la duda (Editorial Publicarte, Caracas, Venezuela, 2013), Transfigurar es un país que amas (Editorial Dos Islas, Miami, United States, 2020), and La larga noche de las jaurías (Editorial Nautilus, Spain, 2023).

‘’’’’’’

+

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).