Poetic devices 17: Antithesis

An antithesis is the opposite to a thesis. A thesis is an idea, a theory, a concept - something that explains your world to you. The anthesis of good is evil. They are opposed. They are in opposition to each other. They are antithetical. 

In poetry antithesis is a device used to show how two objects or ideas are different to each other. Antithesis can also be used to reinforce the tempo of a poem. Let's explore how this works...

The 1920 poem Fire and Ice by Robert Frost is a classic example of antithesis: 

Some say the world will end in fire,
Some say in ice.
From what I’ve tasted of desire
I hold with those who favor fire.
But if it had to perish twice,
I think I know enough of hate
To say that for destruction ice
Is also great
And would suffice.

The juxtaposition of fire and ice as two opposing concepts has a dramatic effect on the reader. It creates a tension in the comparisons. It allows the poet to elaborate on the ideas, melding them into a metaphor for love and desire, and also as a device to express his observations on life. It's a rhythmic triumph in the use of antithesis.

Another well known example of antithesis can be found in Hamlet's soliloquy, from the classic play by William Shakespeare. In it, Hamlet is contemplating a perennial antithesis: the meaning of life and the finality of death.

To be or not to be, that is the question

Whether 'tis nobler in the mind

To suffer the slings and arrows of outrageous fortune

Or to take up arms against a sea of troubles.

Again, it's very dramatic, and as the soliloquy progresses, it reveals the turmoil present in Hamlet's mind as he battles with his conscience.

Another example of antithesis is present in a famous poem called If, by Rudyard Kipling.

If you can meet with triumph and disaster

And treat those two imposters just the same...

This is a rather interesting approach to antithesis, because the poet identifies several binaries - opposing ideas like triumph and disaster, and then tells the reader that in reality, they don't really matter - because the character of the person is much more important than the fate that befalls him. It's not so much what happens to you, but how you respond to it that is the key to your success. 

Steve Wheeler

Image used by Creative Commons licence from Flickr

Previous posts in this series:

1. Simile
2. Metaphor
3. Repetition and refrains
4. Alliteration
5. Assonance
6. End Rhymes
7. Internal Rhymes
8. Rhythm and Tempo
9. Enjambment

10. Allegory

11. Metonymy

12. Cacophony

13. Calligram

14. Personification

15. Paradox

16. Euphony

Behind The Scenes: Live Poets Society

Steve Wheeler’s Live Poets Society has become quite a hit on Facebook, and continues to draw a bigger audience each week. I have hosted a few shows, my favorites with fellow poet colleague and friend Brandon Adam Haven. Brandon being at the helm has given the show even more of a boost with his fluid talent and extensive, yet humble, expertise.

Together, we currently tackle the duties of putting on a quality video poetry broadcast for Invisible Poets, Steve’s show being the flagship of Live Poets Society. Steve named to title as a tongue in cheek nod to the Dead Poets Society movie with Robin Williams. 

Fellow Wheelsong author and alumni Charlene Phare has also enjoyed quite a following with her “No Holds Barred” program of similar tone and content. We can’t wait to see her at it again soon!

Reading of the poems lies within “performing” them… giving them all breath and life… with inflections on key words. 

Reading poems is only a small part of the effort to make this kind of show possible. It is the selection of poems that makes the job a challenge. It starts with allowing for a negligible size, format, and content as Steve pointed out in his last blog. Should you have an interest in being on the show you MUST  check it out in this link… 

 https://wheelsongbooks.blogspot.com/2024/01/how-to-get-your-poem-read-on-live-poets.html?m=1

Promoting the best poets is what we do… only next level poems make it on the show. With the growing number of Invisible Poets Group memebrs on Facebook, we’ve found that it takes two shows to do all the poets justice. I don’t believe any other group that I know of is doing two shows a week of this magnitude on social media. Invisible Poets is becoming a premiere poetry group!

Incorporating humor is also an essential element of this particular show… as Steve has his occasional “cleaners” dropping in… or poet dog barking up a soliloquy. For Brandon and I, it is our rap names of BDizzle and Big Stack, or aliens behind me, or whatever is happening around us. We love to be silly and serious both. It gives the show wings. 

I personally believe if the show is a joy to host, which it really is, then it will be a joy to watch, which it has been for poets and poetry admirers both. 

Please join Brandon and I live on Tuesdays at 8 PM UK & 3 PM USA Eastern Standard time… and catch the mothership with Steve on Fridays at the same respective times. Join us and hear quality poetry done up right.

Matt Elmore

How to get your poem read on Live Poets Society

Live Poets Society is an important element of the Invisible Poets group. It's a live show that goes out every Friday at 8pm (UK time; 3pm EST, US) and draws quite a few viewers. The USA version is hosted by Matt Elmore and Brandon Adam Haven at the same time on Tuesdays. Who knows if there will be other spin offs? 

Some editions of Live Poets Society have been known to attract upwards of 1000 views, and all the poems are selected exclusively from Invisible Poets by the hosts. Poets can gain live feedback from viewers on their work, and it's usually very positive! It's quite a hot ticket to get your poetry read out (actually performed) on one of the shows. Many people understandably ask how they get their Poems read on the shows.

Here are some words of advice:

1) You first need to be a member of Invisible Poets poetry group. Click this link to join us! 

2) Share you poem to the group using plain text. We don't read out poetry that's submitted as images or videos. They're just about impossible to transfer across to the system for reading.

3) Lengthy poems are less likely to be selected. The shows are only 30 minutes long, and we like to read as may as we can in the time available. Keep your poems short and punchy if you can. 

4) This last one is subjective, but important, so listen up. We tend to choose poems that are different and out of the ordinary. Quirky and strange is good, bland ad predictable not so much. If you want to catch our eye, write outside of your comfort zone, make your poetry stand out, make it unusual, and highly visible! Take some risks and see what happens. 

Do not try to circumvent the above by attempting to send your poetry direct to one of the presenters. We tend to ignore this approach. 

I hope this helps those who want their poetry showcased on the shows. We are always on the lookout to add to the playlist! 

NB: If you'd like to learn how to enhance and enliven your poetry, check it all of the instructional posts on this blog. There are plenty!

Steve Wheeler 

Image from PickPic

Using poetic devices

A poetic device is any form of literary feature that can be used when writing poetry. Poetic devices are often used to create effects or define different components in a poem. This includes verbal, visual, structural, rhythmic, metrical, grammatical elements. In short, this means just about anything that can be used in poetry to impact the reader. Furthermore, such poetic devices are tools that poets can use to augment the meaning of a poem, perhaps to make it rhythmically pleasing, or to intensify a core emotion, enhance the mood, or pique the look and feel of the poem.

In previous posts (all links listed below) I featured some of the more common poetic devices such as tempo, end rhyme and internal rhyme schemes, simile, metaphor and also several of the lesser known devices. I have also covered some of the commonly used forms in poetry, including villanelle, triolet and pantoum. 

In this new season my plan is to continue, but with the caveat that some of the upcoming blog posts might feature more complex or difficult to master ideas. We are heading into new territory, but if you dare to accompany me, I believe you'll learn a lot about how to take your poetry writing to the next level, and we'll have a lot of fun along the way. 

Please check out all of the previous posts in the series if you wish to either catch up on content you've missed, or simply to refresh your memory. 

Previous posts in this series

1. Simile
2. Metaphor
3. Repetition and refrains
4. Alliteration
5. Assonance
6. End Rhymes
7. Internal Rhymes
8. Rhythm and Tempo
9. Enjambment

10. Allegory

11. Metonymy

12. Cacophony

13. Calligram

14. Personification

15. Paradox

16. Euphony

Steve Wheeler

Image from Wikimedia Commons

Dysphemism: A Poetic device

Within the very vast landscape of poetry, words possess an extraordinary capacity to evoke emotions, challenge norms, and ignite profound contemplation. Poets have long explored an array of literary devices to shape their verses and create a lasting impact on their readers. Among these poetic devices lies the very potent tool of dysphemism, which ultimately allows poets to harness the raw energy of language. In this post, I want to help the reader delve into the art of effectively utilizing dysphemism as well as to explore its advantages to the poet and their articulations. 

Dysphemism is a linguistic phenomenon that involves the substitution of a harsh, offensive, or blunt term in place of a more neutral or positive one. It entails the use of words or phrases that convey negative, derogatory, or emotionally charged connotations. I myself use this technique often to intensity a variety of situations in my works. Through the deliberate application of dysphemism, poets can challenge societal norms, provoke introspection, and hopefully elicit a strong emotional response from their readers.

A few examples of Dysphemism

1. "The politician's promises melted like a rotting carcass in the sun."

   

In this example, the dysphemistic phrase "rotting carcass" is used to depict the politician's broken promises, evoking a sense of decay and dishonesty.

2. "The city streets breathed the stench of desperation and despair."

 

Here, the dysphemistic phrase "stench of desperation and despair" paints a vivid and unsettling image, emphasizing the grim atmosphere of the urban environment.

3. "The war machine devoured the innocence of the young, leaving behind a barren wasteland of shattered dreams."

   

This dysphemistic expression portrays the devastating impact of war by using the metaphorical imagery of a "war machine" and the bleak aftermath of "a barren wasteland of shattered dreams."

In conclusion Dysphemism, as a poetic device, grants poets a powerfully compelling technique to tap into the raw intensity of emotions, challenge conventional thinking, and provoke contemplation. By employing provocative language, poets can evoke authenticity and create emotional depth in their work. Dysphemism allows them to transcend linguistic boundaries, exploring the depths of human experience. However, it is crucial to use dysphemism judiciously, understanding its implications and keeping in mind the desired effect on the reader. Though when wielded skillfully, dysphemism becomes a powerful instrument in the poet's arsenal, leaving an indelible mark on the hearts and minds of their audience.

By: Brandon Adam Haven 

Picture used from FreePix 

Poetic devices 16: Euphony

Euphony is the opposite to cacophony. In cacophony, harsh, jarring, dischordent sounds are made, usually to draw attention to something unpleasant or dangerous. A siren wails to warn of impending danger. A harsh cry tells us something alarming is happening. In Euphony, rhythmic and harmonious sounds are made to draw attention to something pleasant or appealing. In movies, you'll note that mellow instruments such as flutes, strings or harps dominate music that illustrates a soothing, romantic or reassuring scene. 

In poetry or prose, a combination of words or a sequence of rhythmic sounds can achieve euphony. If they enjoy the sound texture or harmony, readers are more likely to enjoy the text of the poem too. The rhythm and tempo of the words in the lines is important. So too is the rhyme, whether internal or end placed. But not all poetry has to rhyme, so consonance and assonance are also important in creating euphony. Finally, repetition or refrain can also be used to create euphony. All of these have been described in previous blog posts in this series. Just click on the blue hyperlinks in the words to read those articles. 

To Autumn, by John Keats, features many of these devices to create a great euphonic poem:

Season of mists and mellow fruitfulness,
Close bosom-friend of the maturing sun;
Conspiring with him how to load and bless
With fruit the vines that round the thatch-eves run;
To bend with apples the moss'd cottage-trees,
And fill all fruit with ripeness to the core;
To swell the gourd, and plump the hazel shells
With a sweet kernel; to set budding more,
And still more, later flowers for the bees,
Until they think warm days will never cease,
For summer has o'er-brimm'd their clammy cells.

Notice how Keats uses regular repetition of stressed and unstressed syllables. There is also a very soothing end rhyme scheme in play. 

One of my all time favourite poems is Do Not Go Gentle by Dylan Thomas, which is presented in the form of a very pleasing, euphonic form known as a Villanelle. Here's the final stanza:

And you, my father, there on the sad height,
Curse, bless, me now with your fierce tears, I pray.
Do not go gentle into that good night.
Rage, rage against the dying of the light.

Note that in a Villanelle, some lines naturally repeat, but it is the poet's use of soft consonants (sad, gentle, fierce) and long vowel sounds (pray, rage and good) that really gives this poem its soothing euphony. 

Previous posts in this series

1. Simile
2. Metaphor
3. Repetition and refrains
4. Alliteration
5. Assonance
6. End Rhymes
7. Internal Rhymes
8. Rhythm and Tempo
9. Enjambment

10. Allegory

11. Metonymy

12. Cacophony

13. Calligram

14. Personification

15. Paradox

Steve Wheeler

Image by Pickpik using Creative Commons

Iteration

Albert Einstein once said: 'Insanity is doing the same thing over and over and expecting different results'. Well, firstly, it might not have been Einstein who said this. Secondly, if it was, in this case he didn't know what he was talking about; and thirdly, this statement clearly doesn't apply to art, and even if it did, many artists are insane anyway, so it doesn't matter. Take the case of Andy Warhol and his multiple pop art depictions of objects and famous people like the one of Marilyn Monroe above. Insane or genius? Warhol's technique wasn't so much repetition, but iteration.

Iteration is a word borrowed from mathematics and computing. Iteration is where the same process or formula is repeated again and again in order to achieve a closer approximation to the solution of a problem. Usually, for example in the coding of an AI model, a small change is made for each iteration to improve the outcome. In the real world we might say 'Try, try and try again...'

Let's face it, in poetry, we craft our art using nebulous and imperfect objects... words, phrases, sentences, rhymes, tempo, meaning. If anything outside of mathematics could possibly benefit from iteration, it would be poetry.

There are few, if any poets who can write a poem straight off the bat, with no edits or changes. Many would claim they can do it, but most are liars. I often write a draft, leave it, and then return an hour, a day or a week later, to iterate it. To polish it up, write more, remove a line or a verse. And then I thought... what if I can write several versions of the same poem, in different sequences, to see what effect that might have on my creative expression? 

Here's an example of that process of iteration, using the same words, in five different iterations... 

AT FEVER PITCH

At fever pitch
a muddy ditch
annoying twitch
a burning itch

I run a mile
a heavy trial
I try to smile
and all the while

I set the tone
pick up the phone
sink like a stone
I'm not alone

We talk for hours
we drink in bars
I send her flowers
the world is ours

NB: this version is fairly basic, simply four quatrains of end rhymes really. I wasn't happy with it as it felt a bit of a lazy effort.

•••••••••••••••••••••••••••••

AT FEVER PITCH (2)

At fever pitch
I run a mile

a muddy ditch
a heavy trial

annoying twitch
I try to smile

a burning itch
and all the while

Pick up the phone
We talk for hours

I set the tone
we drink in bars

sink like a stone
I send her flowers

I'm not alone
the world is ours

NB: Hmmm...not fully convinced by the structure of this. Do the couplets work? However, I've mixed up the lines to see what emerges, and it's an interesting development...

°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°

AT FEVER PITCH (3)

At fever pitch we talk for hours
a muddy ditch we drink in bars
annoying twitch I send her flowers
a burning itch the world is ours

I run a mile pick up the phone
a heavy trial I set the tone
I try to smile sink like a stone
and all the while I'm not alone

NB: This version  seems to flow well  and the end rhymes work well, but I was still not satisfied with the structure. 

•••••••••••••••••••••••••••••••••••••

AT FEVER PITCH (4)

At fever pitch we talk for hours
we drink in bars a muddy ditch
annoying twitch I send her flowers
the world is ours a burning itch

pick up the phone I run a mile
a heavy trial I set the tone
sink like a stone I try to smile
and all the while I'm not alone

NB: This version, I think, is better. It has a pleasant ABAB rhyme scheme, and the internal rhymes also align to provide line balance. It's not perfect though... one more iteration maybe...

°°°°°°°°°°°°°°°°°°°°°

AT FEVER PITCH (5)

We talk for hours at fever pitch
pick up the phone I run a mile
sink like a stone a muddy ditch
we drink in bars I try to smile
I send her flowers I set the tone
a heavy trial annoying twitch
the world is ours I'm not alone
and all the while a burning itch 

NB: Even this final version is imperfect. What art is? But it tells a story, it has a flow and it has enough intrigue perhaps to draw in some readers.

Steve Wheeler © 28 December, 2023

•••••••••••••••••••••••••

Which of these five versions do you prefer? On what are you basing your choice? Maybe you don't like any of them. Here's the key question for you: would this process of iteration or re-working of a poem offer you an improved creative expression for your writing? Have a go! I would love to see your results in the comments section below. 

Steve Wheeler 

Copyrighting Poems On Social Media

I’ve written a poem and posted it on Instagram and Facebook. I’ve put it out there, but want to make sure Copycat Carl don’t claim it as his own! Just how DOES copyright apply to poems that are posted on social media?

First of all… DON’T PANIC! If you have recorded a poem in writing, it is automatically protected by copyright as long as it is an original work. Simple enough.

Copyright itself gives you the exclusive right to distribute, reproduce, perform, license, and display ORIGINAL work, including poems, songs, etc… This ownership is limited to among other things, the “fair use doctrine”, which states that others CAN use your work in a limited way for uses related to criticism, commentary, news reporting, non-profit teaching, scholarship, or research.

Also, copyrights do not last forever! The moment you post on an unrestricted social media platform… your work is considered published. In the United States generally speaking, copy written writings created after 1977, will last for the life of the author (or last surviving author of a joint work) plus another 70 years. I’m other countries it varies, but generally copyright continues not less than 50 years from publication or from the death of the author. Some may even be 95 or 100 years according to the country of location.

Of course, you can formally apply for a copyright in the U.S. through www.copyright.gov., with the standard registration being $65. 

In the U.K. and other European countries, the form of instant copyright is also generally accepted. This universal protection is guaranteed with the presence of an author’s name or website name, or even the name of an organization, a business, or a corporate name, Also needed is a current year or year range, along with a statement of ownership such as “All Rights Reserved”. This is important: NAME, YEAR, and STATEMENT OF OWNERSHIP!

Also in most cases, poetry with published by a book publisher, the publisher administers the copyright for the author, but the author maintains their ownership rights. Those signing a publication agreement should check that carefully.

Jay Sizemore stated in a 2020 article that putting the “©️” symbol is a bit redundant. Placing “All Rights Reserved” with your work is better.

 If you share the work on social media, you are giving the social media platform the right to distribute the work for you. But you still are the owner. The date you post it will be considered the date of the copyright.

There is so much to copyright law… much more than a blog can handle. Just DON’T PANIC! As soon as you put it out there and no one else has, and you have name date and statement of ownership, you generally have what you need.

If I have missed anything, please feel free to add it to the comments below!! I do hope this has been helpful to you. Good luck and many successful postings to you!

Matt Elmore

Image by: Unsplash

Resources:

https://www.copyright.gov/

https://www.quora.com/Whats-the-difference-between-an-American-and-European-approach-to-copyright-law

https://medium.com/the-pom/a-message-to-online-poets-83c805c411f1

https://www.liveabout.com/copyrights-and-social-media-issues-397821

Writing Christmas Poems

 

Writing Christmas poems can be such a joy to those who look forward to this glorious time of year… when goodwill for all is at the top of many humble wish lists. Yet what goes into such holiday craftworks without the typical hubris? Consider the following poems…

Perhaps most popular to be read to little sparkling eyed tots on Christmas Eve before bedtime is “A Visit From St. Nicholas”, which become better known by its opening line “‘Twas The Night Before Christmas”. Written by  Clement C. Moore. It is the story of a visit by Santa Claus to a humble family awaiting the magic to arrive… 

"'Twas the night before Christmas, when all through the house/ Not a creature was stirring, not even a mouse;/ The stockings were hung by the chimney with care,/ In hopes that St. Nicholas soon would be there;/ The children were nestled all snug in their beds,/ While visions of sugar-plums danced in their heads;…”

Published anonymously in 1823, the loaded words and phrases attributed to the anticipation of Santa with gifts continue to excite children’s imaginations even today. Sugar plums dancing in their heads! What an image! It remains a poetry essential at Christmas!

 Henry Wadsworth Longfellow wrote of spreading goodwill through bells “wild and sweet” in “Christmas Bells“…only to end the ringing with “God is not dead/ Nor does he sleep…”… notice how he digs up the repeat of old familiar ESSENCE here… “I heard the bells on Christmas Day/ Their old, familiar carols play,/ And wild and sweet/ The words repeat/ Of peace on earth, good-will to men!”

In “Little Tree”, E.E. Cummings addressed our adoration of that decorated green rallying point set up in so many living rooms by comparing it to a flower to admire and beautify in this short excerpt …  “little tree/ little silent Christmas tree/ you are so little / you are more like a flower…”

“How The Grinch Stole Christmas” remains a  staple in my home…  Dr. Seuss wrote a “Christmas Carol” of sorts about an old hermit who finds the Christmas spirit and is redeemed. The incorporation of a little girl drives home a central theme of a holiday that is all about children’s smiles … “Then the Grinch thought of something he hadn't before!/ Maybe Christmas, he thought, doesn't come from a store/ Maybe Christmas… perhaps… means a little bit more!…”

Oh Holy Night remains my favorite Christmas song, but it was originally a poem by Placide Cappeau written in 1843, a divinely brilliant reflection of Christ’s reason within a season. Phrases such as “a soul felt it’s worth” and “the weary world rejoices” are perfect. A true masterpiece, the chorus praising Jesus is beyond beautiful… “Fall on your knees! O hear the angel voices!/ O night divine, O night when Christ was born;/ O night divine, O night, O night Divine…”

Many themes can be attributed to the Christmas season and are often reflected in Yuletide poetry. Gratuity, humility, spiritual redemption, trees, decorations, snow, gifts, family traditions, and the birth of a savior for all mankind are but a few!

Capturing the magic is done by investing into the mysteries of children, spirituality, brother and sisterhood, and an eventual peace on earth of forever silent nights. Evoke the holiday feeling!!  Create vibrant verbs to dance about holiday themes… with a reverberant message found at the end to ponder upon… as you wait for Christmas morning! 

Can you think of more Christmas poems that you love? Or attributed themes I may have missed? Please leave a comment below and let me know! In the meantime… Merry Christmas to all… and to all a good night…!

Matt Elmore

Wheelsong Books Review of 2023

2023 has been an amazing year for Wheelsong Books. I established the company in 2020 during the early months of the pandemic, basically for something to do. I set it up as a not-for-profit company to promote new and emerging voices in poetry, and also to raise much needed funds for Save the Children - a global relief charity. 

What did Wheelsong do in 2023? 

January saw the publication of the first book in the Symphoniya de Toska trilogy by American writer Marten Hoyle. Its January 19th publication coincided with the birthday of one of his favourite poets, Edgar Allen Poe. Marten's second publication was released on April 9th, the birthday of Charles Baudelaire, and the final instalment was published to coincide with the birthday of another of Marten's favourite dark writers, H. P. Lovecraft, on August 20th. How's that for symbolism?

In late February, together with my good friend Charlene Phare the Facebook group Invisible Poets was launched. The name was an ironic swipe at the fact that most poets go unnoticed and uncelebrated even though they may actually be quite brilliant (and in many cases better than those who are well-known, highly visible, published poets. The group quickly flourished, and now, at the time of writing this post, has reached 15,000 members. 

Also in February, Tunisian bard Rafik Romdhani released his third book, Vapour of the Mind through the Wheelsong Books label. As in previous books, Rafik excels in the use of rich imagery, metaphor and awesome insights into his life in North Africa. 

In March Wheelsong Books announced the call for poems for Wheelsong Poetry Anthology 2. The anthology was published in April with a stunning cover photograph (courtesy of Kerry Cole) and sold quite nicely, raising around £450 ($565) for Save the Children. As with all Wheelsong Books, it is still available on Amazon and other online outlets worldwide. In the same month I published a book called Nocturne, which featured a lot of poetry about the night, sleep and dreams, and darkness. 

In June, Matt Elmore's first poetry collection, the sublime Constellation Road was published and this was followed closely in July by Imelda Garcia's debut collection Beyond the Pyre for Wheelsong. Both books contain some stratospheric poetry, and both deserve a wide readership for their brilliance. 

September saw the publication of Wheelsong Poetry Anthology 3, which featured a stunning image by photographer Lynda Clifton. Containing over 200 poems from more than 100 poets, Anthology 3 has already sold 400 copies and continues to be available. We have so far donated £750 ($940) to Save the Children for their relief initiatives from the sales of this book.

December saw the publication of Brandon Adam Haven's second poetry book, This Broken Home, which is a darkly gothic collection of somewhat disturbing poetry and horror flash fiction. If you intend to read this book alone, I strongly advise you to keep all your lights on. 

We also relaunched Live Poets Society, which now goes out live twice each week, on Friday at 8pm (UK time) and on Tuesday at 3pm (US Eastern time). Viewing numbers have been on the increase, which this shows a healthy interest in the spoken word and live performance poetry.

The Wheelsong Books blog was also launched in the summer, with regular posts about poetry from me, alongside Matt Elmore, Brandon Adam Haven and Charlene Phare, alongside guest posts. It has so far attracted almost 30,000 views and there are some amazing, thought provoking posts on all aspects of poetry and creative writing. 

That was 2023. Let's raise a glass to the coming year and do our best to keep poetry remains alive and kicking. Wheelsong Books has a long list of publications waiting in the wings, including two more anthologies!

Steve Wheeler