Archive for January, 2012


In Pursuit of the Juiciest Wine: Day 108 – Conn Creek Cabernet Sauvignon 2007 Napa Valley

Conn Creek Cabernet Sauvignon 2007 Napa ValleyTomorrow begins my second semester teaching Introduction to Creative Writing at SUNY Brockport, so I’m going to start the semester off in style with Conn Creek Cabernet Sauvignon 2007 Napa Valley. The wine is 100% Cabernet Sauvignon, and the Wine Enthusiast gave it 93 points, so I’m psyched. So let’s get to it.


It poured out bubbly. Maybe I held the decanter wrong. Anyway, it’s dark ruby in color and about 90% opaque.

The first thing I thought of when I smelled this was clear. Then I thought of a mountain stream with a bank of flowers. The nose is very gentle. It doesn’t smell big like a typical cab. I also pick up a hint of cantaloupe. But really it has almost no nose. Maybe it needs more time decanting. It’s been just over an hour, so you wouldn’t think it would, especially for an American wine. Or maybe it needs to age more. It’s probably the latter.

It’s thick and caramel-y in texture. I taste plums and cherries on the palate.

It finishes spicy and with dry, dark berries. On the long finish, there’s some smoke and nuts and wood, like cedar I guess. I’m not good with the wood, but I pictured cedar. Actually, I pictured the smooth top of a cedar desk. Something like:

Spanish Cedar Desk

Right now, this wine isn’t worth the $20 I paid for it, but I think it will be in a few years. I’d say pick up a bottle or two and store them for a few years. It’s just not ready, especially when there are so many good cabs at a less expensive price. Right now I give this like 88 points.

WAIT! Redux.

It’s been like an hour-and-a-half, and it’s finally opening. The nose has a body now and scents. There are still flowers, and my girlfriend says gardenias. I also get yellow plums and hint of chocolate.

The texture is more chalky now. The finish is less spicy, but nutty. On the palate there are purple plums and William Carlos Williams wife reading:

This Is Just to SayThis Is Just to Say

I have eaten
the plums
that were in
the icebox

and which
you were probably
for breakfast

Forgive me
they were delicious
so sweet
and so cold

Poor Florence Williams 😦

Still this wine needs some time aging. I’m still giving it 88 points.//


In Pursuit of the Juiciest Wine: day 107 – 337 Cabernet Sauvignon 2009

337 Cabernet Sauvignon 2009Tonight’s wine is 337 Cabernet Sauvignon 2009 from Lodi. I had this the other night, and I remember liking it, but I can’t remember what I liked. So it’s time to explore again.

First, here’s what the back of the bottle says:

BORN IN FRANCE … RAISED IN AMERICA. Not all wines are created equal. 337 is the most coveted Cabernet Sauvignon vine stock in Bordeaux, France. These rare vines are prized for their concentrated flavor and thrive in the red soils and cobblestones of our Lodi vineyard. The resulting wine exudes seductive aromas of mocha and dark cherry followed by intense flavors of ripe blackberry and spice. Enjoy with savory pasta, pot roast, thick steaks, and creamy cheeses.

The color is a dark purple that’s about 90% opaque.

The nose is fruity, dry, and spicy. There is also some chocolate and cherries and a woody coffee, like Costa Rican Tarrazu, and like a Costa Rican Tarrazu, there’s a hint of creaminess.

The taste has some black cherries and chocolate. I also pick up a bell pepper.

The finish is a bit tart but juicy with a spicy fruit. Maybe it’s a chocolate covered strawberry with whisp of pepper and cinnamon. The juicy finish makes my front, top gums drool with pleasure.

This would go good with chicken in some sort of red sauce. I keep picturing chicken picante whenever I sip it.

This is not your typical Cabernet Sauvignon, but it’s sure delicious. And for $10 – wow.

90 points, though it’s probably technically 89, but wuteffer.

To download the Noble Vines tasting notes, click 337 Cabernet Sauvignon 2009 Tasting Notes.//


in pursuit of juiciest wine: day 106 – Raymond Cabernet Sauvignon Reserve Selection 2008

So before we begin, I need to show you some seasonal gifts I received.

First there is:

Doctor Who and the Green Magots from The Green Death

Doctor Who and the Green Magots from The Green Death

The third Doctor is one my favorites. The tenth is obviously the best, and the fourth is pretty good, too. But here we have the third doctor with his sonic screwdriver levitating a bottle of Raymond Cabernet Sauvignon Reserve Selection 2008 as it is being attacked by green maggots. The third doctor also stands on some coasters my friend made. Actually, the bottle isn’t levitating, it’s suspended in the air by a magical wine rack my brother gave me. It’s pretty awesome. It continually astounds me.

Then there are these:

Decanter and Tour Glasses

Decanter and Tour Glasses

A decanter! I’ve been meaning to get one of these for so long. Luckily, another friend got me one. And yes, decanter’s do make a difference, as I’ve discovered. The two glasses are called tour glasses, at least at Crate and Barrel. They are modeled after Schott Zwiesel’s angled glasses, which are $62 to $72 at Amazon depending on the day. In the decanter above is a whole bottle of Raymond Cabernet Sauvignon Reserve Selection 2008.

Raymond Cabernet Sauvignon Reserve Selection 2008To the tasting.

But first a little background. Here’s another Cabernet Sauvignon that’s not all cab. According to the Raymond Vineyards website, this one is 89% Cabernet Sauvignon, 8% Merlot, and 3% Cabernet Franc, and it’s 14.5% alcohol. The list price is $35, but I picked it for $19.99 at Mahan’s. The people at Mahan’s said if I liked the Sebastini 2008 Cabernet Sauvignon that I’d love this, and I love the Sebastini, especially its jammy finish. Mmm.

Ok. To the wine. It’s not very opaque for a cab. It’s like 75% opaque. I can see through it.

The nose is big and musty with mushrooms, black currants, raspberries, anise, one bing cherry, and few grains of cinnamon. There’s a lot going on here. I hope it tastes a bit more simple.

There are big fruits, but they aren’t juicy. They are dry. There’s a hint of cherry, too.

The finish is spicy with white pepper plus the cinnamon. What a fun finish. It’s not jammy like the Sebastini, but it’s fun. I keep sipping it just for the finish. The long finish.

It so smooth and velvety, too. It’s damned delicious. 91 points.//


Happy 70th Birthday Muhammad Ali – A Tribute in Songs

Here are some tribute songs for The Greatest on his 70th.

Sir Mark Rice – Muhammad Ali

Trio Madjesi – 8ieme Round

Jorge Ben – Cassius Marcellus Clay

The People’s Choice – Best Ever & Muhammad Ali

Eddie Curtis – The Louisville Lip

Dennis Alcapone – Cassius Clay & Joe Frazier (Round 2)

Dermot Kelly – Muhammad Ali – The Ballad

The Alcoves – The Ballad of Muhammad Ali

Orchestra G.O. Malembo – Foreman Ali Welcome To Kinshasa

Big Youth – Foreman vs. Frazier

Don Convay – Rumble in the Jungle

Tom Russell – Rumble in the Jungle


The Quotes

David Jordan – “My Destiny” – A Tribute

Much of this can be found on Hits & Misses.//


On Amanda Auchter’s The Glass Crib

A version of this may appear in an upcoming issue of Redactions: Poetry & Poetics.

Amanda Auchter – The Glass CribZone 3 Press is a sneaky, awesome press. How many poets really know of this press? Zone 3 Press seems like it is flying under the radar. I mean, they only put out one or two titles each year, but, damn, each book is terrific. Copper Canyon, BOA, Graywolf, watch out. There’s another press delivering excellence, and Amanda Auchter‘s The Glass Crib is no exception.

So why the title The Glass Crib? Is it because it’s an intriguing image? Yes. Is it because it appears in the poems “The Threat” and “Offer It Up”? Yes. But it also occurs as an associative symbol. To me a glass crib sounds dangerous since it could shatter (and there are shattering glass images in the book). I mean, who would put their child in a glass crib? Though a glass crib also has a pristine feel about it, too. With the glass crib, you also get the feeling of a safe place for a baby – a crib – which is juxtaposed with the danger of glass and the sterility of being behind glass. When I first thumbed through these pages, I thought the book was going to be about being an adopted child, which it is in part. As an adopted child, I could relate to those glass-crib feelings, but can’t we all? Aren’t those the feelings an adopted child would have? The feeling of being in a safe place but among strangers. And when with strangers, don’t you feel a bit scrutinized and when in glass, perhaps, the child feels like a lab rat. This leads to the second side of the symbol – a glass crib is like a fish tank or a place to put hamsters or lab rats, but it’s not a place for a baby. An animal, yes. A baby, no. The glass crib image and the associations I just shared are the feelings and tones Auchter’s collection of poems present. That is, Auchter presents us with the delicacy and hopefulness that are present with pregnancy, birth, babies, and young children, and the terror and tragedy that can accompany the birth and or death of a young child. This book is about sorrow, pain, loss, and ascension.

The Glass Crib begins with the tender poem “Annunciation,” which is about the hope that accompanies pregnancy:

                                               My skin

   stretched and torn into the shape
   of a child's arm or a foot, and then

   a mouth, an eye. His incredible blue

The following five poems, however, present a  harsh tone that is aimed at the vodka-drinking birthmother who accidentally conceived the author. The shift begins slowly in the opening lines of second poem, “Possible Beginning”:

   My birthmother unties the strings of her bikini top

   on a striped beach towel, lights her cigarette,
   flicks her ashes into the muddy Gulf.

                                  When she wakes
   the next morning, brown skinned, hungover

   in bed with a man who brings her aspirin,
   tomato juice, his fingers to her lips,

   I am still the sand grain stuck inside her
   from the day before

This is how we are introduced to the birthmother. At first, the scene seems benign and innocent – a young lady is sunbathing and smoking cigarettes. Then it slowly turns. The birthmother has brown skin, which means she’s in the sun a lot, and she’s hungover, which means she drank a lot. Ok. That’s fine I suppose. But the more the detail the poem reveals the less benign this birthmother becomes, and then we learn that she is pregnant in the wonderful image “I am still the sand grain stuck insider her leg / from the day before.” This pregnancy is reinforced later with:

   the possible beginning of fingernails

   nostrils, knees. Of her name
   called over and over, his breath,

   her body on fire, the idea

   of face and knuckle, the small mouth
   she will push away.

The harshness and anger towards the birthmother grows, and then in “Gospel of the Unplanned Child,” we read a dialogue between the mother and the unborn child:

   You said I want my body back.
   I said your body is my body.
   You said I'll kill you with the stairs.
   You said I'll kill you I'll kill you.
   I said I'm still here.
   You said please don't tell –
   I told with my soccer kick.
   I told with my umbilical cord.

A few poems later in “Elegy with Photograph in Hand,” it seems the author will forgive the birthmother:


   my mouth runs the hemline of your teeth
   the thread of your pink tongue rising from
   my throat, or that whenever I catch myself

   singing, I owe all the notes to you.

This forgiveness, however, is short lived, if it is forgiveness at all as the tone of the final lines may not be in line with the actual sentiment. The harsh feelings and anger towards her birthmother continue in the following poems. Until we learn that the author is unable to bear children.

The first part of section “I. Possible Beginning” is to set up an anger at the irresponsibility of her birthmother and the accidental pregnancy, the vodka drinking during the pregnancy, and the attempt to kill the fetus. Then we get the irony of the author not being able to have a baby, and she would probably be a very caring mother, too, given all of her past experiences. All the author has been through creates a pain from absence, as expressed in “Tether”:

         How much we give up for this
unnameable thing: love without

face, without name. Love, a nest filled with bone, umbilicus,
             fingernails. Affliction.

The next section, “II. Without,” jumps from the careless mother and the baby that can never be conceived to the loss of siblings. In the second section we get some horrific images of car accidents and loss and death of siblings, such as this scene from “False Memory Syndrome”:

         Some days,

           there was an empty road, gravel, often

   rain. She forgets
        if the car was moving toward her
   or away, headlights or taillights, her face

       thrown through the wind-

                     shield, her body

       in the damp country field.

That’s a terrific line break in the middle with “wind- / shield.” Usually, I’m against line breaks on word breaks. They tend to be weak and not well thought out or more of a distraction than an enhancement. But here, I feel and get it. The lady is thrown through the wind as she flies out of her car to the “damp country field.” It’s like a movie accident. And then the line break to “shield.” Wham. When you read “shield,” you can see and feel and hear her slamming into the windshield. The impact is real. The causality, however, is a off. She should crash into the windshield, then fly through the wind to the “damp country field.” But this experience worked for me on the first readings. I wasn’t distracted. I was into it. (By the way, here is an instance of shattering glass – the glass crib breaking. This accident will also be revisited later in the book.)

There’s also the poem “Pyx,” which seems like the burial of an unborn child. Well, it did until I looked up “Pyx.” A pyx is is a small round container used in the Catholic churches to carry the consecrated host, or Eucharist, to the sick or invalid or to those who are unable to come to a church in order to receive Holy Communion. Even after you know what a pyx is, the scene is touching. And that’s what I like about these poems – they are emotionally involved. It’s hard to write directly about an experience and be emotional without being cheesy, overly sentimental, deliberately pulling the emotional cords, or just being down right clichéd, deliberate, and over the top. But Auchter succeeds. I envy that. I want to take classes with her to learn how to get genuine emotions into a poem instead of intellectualized emotions.

Saint Augustine by Philippe de Champaigne

Saint Augustine by Philippe de Champaigne

And it’s around here, where the running start begins to gain momentum from the leap from section “II. Without” to the section “III. Bring Splendor.” The leap from section II, which I see as an extension of section “I. Possible Beginning,” to section III is the leap from pain to the belief or acceptance in God. It’s as if the first two sections were a test by God. The leap is like The Confessions of St. Augustine. The leap, however, requires knowledge of some saints. But before I get to those saints, let’s get back to the running momentum, which also occurs in the beginning of section III.

I’m thinking specifically of the poem “Offer It Up,” which feels like it was the first poem written in the collection. The main moments in first two sections of The Glass Crib recur here. In fact, after reading “Offer It Up,” I feel like the first two sections were written in order to fill in all the spaces in this poem. While I like this poem, especially where it is placed, it doesn’t seem like it can stand on its own. It’s seems elliptical without the other poems. This may be why it is one of the few poems in the collection that wasn’t previously published in a journal. But here, in section III, it sings and it acts as a catapult into the following poems. The poem ends:

      For my sister who almost died,
   my brother that did. That each time I felt

   the loss of a letter or a person, I could
              my knees to the floor

   and give it all back to the God
       who asked me to bear it.

After these lines, the poems move to the saints that I mentioned above, some of whom are incorruptible saints. In fact, without a knowledge of these saints, you might get confused as to why there are the poems for these saints. I know I did, but I also knew based on the strong poems the preceded that there was a reason for the switch from the personal to the saints, from the secular to the religious. So why the leap? Is it because the previous sections were a test from God? Yes, in part. But really it’s about who the saints are and what they did. Once you know, you’ll see the similarities between them and the experiences of the first two sections. Many of these saints had difficult childhoods and witnessed the death of siblings and/or had poor relationships with their parents. I won’t point out all the parallels due to page limitations (which cost money to print [donations please]), but I’ll point out the main ones for each saint.

Saint Agatha

Saint Agatha

St. Agatha gave her life to God and would not have sex with any man, including the powerful Quintan, who then arrested her and put her in a whore house and then a jail. Her final prayer was:

Lord, my Creator, you have always protected me from the cradle. You have taken me from the love of the world and given me patience to suffer. Receive my soul.

Now if that doesn’t sum up the author’s experiences, I don’t know what does. St. Agatha’s breasts were also cutoff.

Saint Cecilia

Saint Cecilia

St. Cecilia is the first incorruptible saint. She refused sex with her husband on her wedding night because she was devoted to an angel who would appear if she were baptized. When she was finally baptized, the angel appeared with flaming wings and holding two crowns of roses and lilies. After the husband witnessed this, he was converted to Christianity. When the Romans tried to change her ways, they tried by drowning her in her bath, but this failed and so did the beheading. This parallels the baptism scene in “Limbo for the Miscarry” and, more importantly, the experiences in “Gospel of the Drowned Twin.”

Saint Catherine of Alexandria

Saint Catherine of Alexandria

The Catherine Wheel, which is the title of one of the poems in section “III. Bring Splendor,” is named after St. Catherine of Alexandria. The Catherine Wheel was a middle-age torture device that tore apart the legs and arms and then was lifted for vultures, crows, and whatever else to eat the living body. The death, obviously, was very painful and slow, and it was quite popular entertainment. Catherine was killed on one of these wheels in the 4th century by the Roman Emperor Maxentius. This saint seems to parallel the experience in “Pyx” as well as her brother’s death or her sister surviving a car accident and more specifically in “Gospel of the Organ Donor” and to some extent in “The Thundering” and the final poems of section “II. Without.”

Saint Catherine of Sienna

Saint Catherine of Sienna

Giacomo di Benincasa and a forty-year-old Lapa (who already had 22 children) gave birth to twins during the Black Death era. One daughter was St. Catherine of Siena and the other was Giovana. The latter, raised by a wet nurse, died, but Catherine, who was raised by her mother, Lapa, lived a more healthy life. At age five or six, she had a vision of a smiling Jesus Christ who blessed her. A year later she vowed herself to chastity, and when her parents forced her to marry she refused and fasted, and during times of trouble she would build a cell within her mind from which she could never flee. She lived her life trying to reject her family. Later Jesus told her to live a more public life in the world. This has parallels with the 42-year-old mother in “Poem for the Adoptive Mother” and the sister in “Without” and other poems.

Saint Bernadette

Saint Bernadette

St. Bernadette is also an incorruptible saint. Of her parents’ five children, she was the only one to survive infancy. Bernadette had visions of the Virgin Mary and repeated her words, including when Mary told Bernadette that she would not find happiness in this world but would find it in the next world. I see parallels to a number of places with this saint but especially in these lines from “Visiting Hour”:

                                this is how 

                       dying is, my breath 

        slipping under
   everywhere at once – see the balloon 

   you brought, how it lifts and sags,
   this is what I've become 

              on the other side.
Saint Theresa

Saint Theresa

St. Theresa is another incorruptible saint. She ran away from home at age seven with her brother in order to find martyrdom. She too had visions of Christ and angels. In one vision, an angel drove the fiery point of lance through her, or as she said:

I saw in his hand a long spear of gold, and at the iron’s point there seemed to be a little fire. He appeared to me to be thrusting it at times into my heart, and to pierce my very entrails; when he drew it out, he seemed to draw them out also, and to leave me all on fire with a great love of God. The pain was so great, that it made me moan; and yet so surpassing was the sweetness of this excessive pain, that I could not wish to be rid of it.

The story of St. Theresa has close parallels to “The Half-Brother” and especially with the final five lines of “Poem for the Adoptive Mother”:

   How when you said to me years later, "I knew
   when I saw you," I want to think of myself

   reaching for your bright mouth,
   your turquoise necklace,

   everything I could get my hands on.

Where I said “catapult” before in reference to “Offer It Up,” I should have said centripetal force as the poems have gone full circle from “Annunciation” to the secular world back to the religious world and launched off:

   To which the air fills
   with living, with sugar,

   with reviviscence. Go forth beauty, birds

   of blossoms, sweetness. Made of sky,
   bring stingers, the form of tongues

   of fire, bring dawn over stones, over
   the awakened heart. Bring splendor,

   the last rising breath. Every question
   of death, a desire:

   go forth a field, a dizzying cloud.

I know I mentioned there are some religious poems in here, but don’t run in fear. They are done well, and they aren’t specifically religious but have religious content. What I said of emotion above can be said of religion in these poems too. In the poems in Amanda Auchter‘s The Glass Crib, your mind will be moved as well as your heart, soul, and spirit, and what else could you want from poems?//


Rob Carney and Tom Holmes Poetry Reading (1-27-12)

Friday, January 27 at 7:30 p.m. –  Rob Carney (from Utah) and Tom Holmes at RIT Liberal Arts Faculty Commons (06-1251), right across from the Wallace Library.

That’s right I’ll be reading with Rob Carney. One of the three people to whom I dedicated Poems for an Church. So if you like my poetry, you’ll love his poetry even more. Plus, he’s an awesome reader. And if love mythic poems, this is a reading that shouldn’t be missed.

Rob CarneyRob Carney is the author of number of books, including Story Problems (Somondoco Press, 2011),  Weather Report (Somondoco P, 2006) and Boasts, Toasts, and Ghosts (Pinyon Press, 2003), winner of the Pinyon Press National Poetry Book Award — and two chapbooks, New Fables, Old Songs (Dream Horse Press, 2003) and This Is One Sexy Planet (Frank Cat Press, 2005). His work has appeared in Mid-American Review, Quarterly West, and dozens of other journals, as well as Flash Fiction Forward (W. W. Norton, 2006). He lives in Salt Lake City. To hear an interview with him, the Poet Laureate of Utah, Katharine Coles, and the editor at Sugar House Review, John Kippen, click here. He is also a former guest editor of Redactions: Poetry & Poetics.

Tom Holmes – Wine Never BlinksTom Holmes is the editor of Redactions: Poetry & Poetics ( He is also author of: Poems for an Empty Church (Palettes & Quills Press, 2011), which was nominated for The Pulitzer Prize; The Oldest Stone in the World (Amsterdam Press, 1-1-11, 12:00:00 a.m (the first book released in 2011)); Henri, Sophie, & the Hieratic Head of Ezra Pound: Poems Blasted from the Vortex (BlazeVOX Books, 2009); Pre-Dew Poems (FootHills Publishing, 2008); Negative Time (Pudding House, 2007); After Malagueña (FootHills Publishing, 2005), and Poetry Assignments: The Book (Sage Hill Press, forthcoming). And he has thrice been nominated for the Pushcart Prize.

This event is sponsored by RIT and Palettes & Quills.//


Palettes & Quills 3rd Biennial Poetry Chapbook Competition

Palettes & Quills logo

Palettes & Quills

3rd Biennial Poetry Chapbook Competition

with Judge J. P. Dancing Bear

Open to All Writers

Prize: A $200 cash award plus 50 copies of the published book. Additional copies will be available at an author’s discount. All finalists will receive one free copy of the published book. All contest entrants will be offered a special discount on the purchase price of the published book.

A complete submission should include:

  • Manuscript between 14-50 pages on 8 ½ x 1″ paper. Use a standard 12 pt font, such as Garamond or Times New Roman. Manuscripts should be in English and contain no illustrations.
  • A cover sheet with the contest name (The Palettes & Quills 3rd Biennial Chapbook Contest), your name, address, telephone, email, and the title of your manuscript. Your name should not appear anywhere else in the manuscript.
  • A title page with just the title of the manuscript.
  • An acknowledgements page. Poems included in your manuscript may be previously published, but please include an acknowledgements page listing specific publications.
  • A complete Table of Contents.
  • Payment of a $20.00 non-refundable entry fee (check or money order payable in U.S. dollars made out to Palettes & Quills). Please do not send cash. Multiple submissions are accepted, but we require a separate entry fee for each manuscript you submit.
  • Self-addressed stamped post card for confirmation of receipt and a self-addressed envelope stamped (please use a Forever Stamp) for announcement of the winners. (International submissions must include an IRC.)
  • You must also include a statement that all poems are your own original work.

Mail your entry to Donna M. Marbach, Palettes & Quills Chapbook Contest, 330 Knickerbocker Avenue, Rochester, NY 14615. Manuscripts will not be returned. No electronic or faxed submissions will be accepted. However, we will request an electronic copy of the winning manuscript.

Deadline: September 1, 2012. Manuscripts postmarked after September 1 will not be read.

Winners will be announced on the Palettes & Quills website in December 2012.

Manuscripts by multiple authors will not be accepted. Translations will not be accepted.

Simultaneous submissions are accepted. If your manuscript is accepted for publication elsewhere, you must immediately notify Palettes & Quills.

Palettes & Quills logo


JP Dancing BearJudging: Final judge is J. P. Dancing Bear. J. P. Dancing Bear is the author of nine collections of poetry, most recently, Inner Cities Of Gulls (2010, Salmon Poetry), winner of a PEN Oakland-Josephine Miles National Literary Awards. His next two books are: Family of Marsupial Centaurs, will be released by Iris Press; and Fish Singing Foxes, will be released by Salmon Poetry. He is editor for the American Poetry Journal and Dream Horse Press. Bear also hosts the weekly hour-long poetry show, OUT OF OUR MINDS, on public station, KKUP and available as podcasts.


To download a PDF of the guidelines, click here.//

The Cave (Winner of The Bitter Oleander Press Library of Poetry Book Award for 2013.)

The Cave

Poems for an Empty Church

Poems for an Empty Church

The Oldest Stone in the World

The Oldest Stone in the Wolrd

Henri, Sophie, & The Hieratic Head of Ezra Pound: Poems Blasted from the Vortex

Henri, Sophie, & The Hieratic Head of Ezra Pound: Poems Blasted from the Vortex

Pre-Dew Poems

Pre-Dew Poems

Negative Time

Negative Time

After Malagueña

After Malagueña

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January 2012


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