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Archive for April 2015

New Issue of BlazeVOX now online!! Happy Fifteenth Anniversary!

 IntroductionIntroduction

Hello and welcome to the Spring issue of BlazeVOX 15. Presenting fine works of poetry, fiction, text art, visual poetry and arresting works of creative non-fiction written by authors from around world. Also presented are previews of our newly released books of poetry and fiction. Do have a look through the links below or browse through the whole issue in our Scribd embedded PDF, which you can download for free and take it with you anywhere on any device. Hurray!
 

Happy Fifteenth Anniversary 
Hip Hip Hurray!:
 

I have been sitting at my desk typing away on my large screened apple computer dreading what I am about to write. BlazeVOX is now in its 15th year of operation. We have great moments to look back upon in our history, as well as some moments that bear careful consideration. It seems incredible to me that we are not merely still in operation we are vividly alive! 
 
The BlazeVOX journal developed out of a Daemen College arts journal that was published exclusively online; in 1999 that was a radical thing to do. But today happily, an online journal is the norm.
 
In 2000 BlazeVOX was born as an online journal from a computer that I used in the college computer lab. I did not have a PC in my home. After a summer of hard work, our first issue was released in the fall. We have had a continual run ever since. We have a full archive of all our back-issues on our webpage; so do spend some time flipping though the 15 years of BlazeVOX an.journal.of.voice. 
 
As I look back at the time that has passed I am enthusiastic, even though an irksome form of nostalgia bothers me. In an effort to alleviate these feelings I decided to create a mundane list poem to parse out what occurred during this time. I appropriated news headlines from the past fifteen years in order to make a small, easy-going poem to chuckle over. However, when the piece was complete, that poem turned into 70 pages of compelling half-memories, or I should say memories that provoked memories of things that I did experienced while news was happening around journalism. As we wrote poetry a lot of life happened. Have a look for yourself:
 
 
 
To commemorate who we are at 15 we plan to celebrate. We are planning to have some special events throughout the year. We plan to have readings, videos and even a party sometime in the fall. Keep an eye out for your invitation it will be a year to revel!
 

And before I go, I would like to thank you all for your wonderful support over the years. You are an important part this press and your help makes a real difference in getting innovative works by undervalued writers read worldwide. Your act of reading our work is incredibly helpful means so much to me but even more to BlazeVOX authors whose work might not see the light of day without your giving us a part of your time, a part of your day! We thank you a thousand times.

Rockets! Geoffrey Gatza, editor

Table of Contents
 
Poetry
 
 

 
Fiction 
 
 
Than Since When I Left by Jordana Meade
 
Rabbit Suit by Julia Lynn Rubin
 
Lake Luzern by Philip Bowne
 
Nothing Touches by Vincent Craig Wright
 
Sebastian's Suit by Nat Buchbinder
 
 
Crushin’ by Kyle A. Valenta
 
The Wrangler by Alex Neely
 
 
Disraeli Gears by Christopher Lyke
 
Colonial State of Mind by Madiha Kahn
 
 
 
Text Art
 
 
hiromi suzuki
 
 
three-piece text art series entitled 'un-brushed'
bruno neiva
 
 

 
Creative Non-Fiction & Reviews
 
Odd Ball by Adreyo Sen
 
Butterfly by Shailee Perry
 
 
Reviewed by Rich Murphy 
 
By Geoffrey Gatza
 
 
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The Sun & the Moon by Kristina Marie Darling Reviewed on New Pages

 

The Sun & The Moon

  • Image
  • Poetry
  •  Kristina Marie Darling
  • September 2014
  • ISBN-13: 978-1-60964-191-7
  • Paperback
  • 66pp
  • $16.00
  • Kimberly Ann
I just finished reading Shirley Jackson’s We Have Always Lived in the Castle, a novel in which the narrator desires that she and her sister resist the socio-economic structure of 1950s New England and reside, instead, on the moon. They finally do achieve this goal by converting their large house into a smaller living space, boarded-up and isolated from the outside world. In novels like Castle, women often reinterpret the boundaries of living spaces in their writing partly because traditional domestic contracts and spaces constrain emotion, creativity, and grief. In her book of poems titled The Sun & the Moon, Kristina Marie Darling contributes to this collective literary voice that unfetters domestic space as her speaker grieves and examines a past marital relationship. The Sun and the Moon, representing respectively a husband and wife, are always at opposite poles in this space that reels with cinematic flashes of memory and the ghosts that inhabit memory over time. 

Darling’s astrological house is inhabited with violent ghosts that “drag those cold stars behind them” and “(start) polishing the knives.” The poems unfold like a story as the first-person female speaker reminisces about ghost’s gradual possession of the domestic domain while the “sun” burns up and the “moon” fades away. Neither partner is able to escape the burdens and desires they drag into the marriage, creating a relational void that apocalyptically flares into violence and retreats behind closed doors, more than hinting at an abusive situation. 
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K: A 21st Century Canzoniere by I Goldfarb Now Available!

 Goldfarb makes Dante's platonic love sensible—his use of the Muse indispensable. If "Muse" is in both "amuse" and "museum," the work passes muster with both. The reader, not necessarily the Muse, ends up falling in love with this poet—with his gentle nature, his genteel old-fashioned wrestling with desire & insistence on feelings having presence & body—without flesh. Goldfarb makes the reader into a poetry-sensitive nymphette.

—Andrei Codrescu, author of So Recently Rent a World: New and Selected Poems


I Goldfarb celebrates an idealization of chaste love in K: A 21st Century Canzoniere, a sonnet storybook set on a contemporary campus where a beautiful student inspires an aging professor to fathom their relationship through devotional lyric. Written at the intersection between metaphysical spirit and psychological soul, K: A 21st Century Canzoniere tenderly lays on the line Goldfarb’s life-changing encounter with a student marvel radiant enough to morph into his Muse and as such to inspire 590 songs. Goldfarb’s model is, of course, The Canzoniere of the Italian poet Petrarch, who in the church of Saint Clare saw and fell in love with the young woman whom he called Laura. From Petrarch comes the lesson that a young woman’s image is the means for the poet to cultivate a transcendent perspective on his life and personality.

—Ken Warren, Author of Captain Poetry’s Sucker Punch


K: A 21st Century Canzoniere presents a future for poetry while embracing its historical arrangements. The specificity and attention of the language provides us a collection of contemporary sonnets through a music which is neither clichéd nor portentous. Goldfarb silhouettes his chosen form with precision and sparkle, and accentuates the poetic dynamics through which the sonnet can further display the depths of possibility and imagination. This is a book of rare intensity.

— Geoffrey Gatza, author of APOLLO


The Canzoniere of I Goldfarb is inspired. From the outset, with this title, it stakes its claim to the continuity of the Petrarchan tradition. It is inscribed in the rivalry of poets. The sonnet does not hide this. The held breath at the two modes of appearance of the beloved, her perception in beauty and her "image" in absence, scarcely is it "at an end" at the conclusion of a sonnet or sestina than it catches its breath, takes off again in poetry, both enslaved and free, grateful and inventive, dependent and emancipated, debt-ridden and prodigal, 590 times; an exploit, a resource, a pace both regular and surprising: the surprise is handled in the "conventional" form, the first all the more powerful as the second is more "classical."

I admire in I Goldfarb this copiousness of density, this fecundity of the sonnet form, invented eight centuries ago, and still giving of itself.

— Michel Deguy, prominent French poet


Born in the Bronx in 1940 and educated in the East, I Goldfarb spent most of his long professional career on the West Coast in preparation for a second career as a writer. A number of poems from the Canzoniere have appeared in Kenneth Warren's House Organ, beginning with issue 78 (Spring 2012).

Book Information:

· Paperback: 424 pages

· Binding: Perfect-Bound

· Publisher: BlazeVOX [books] 

· ISBN: 978-1-60964-139-9

$22

 
 
  

K: A 21st Century Canzoniere by I Goldfarb

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Photos on flickr