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“There’s Only One Dance”, “Lonely Stars and Stripes” and “Placed on Pegasus!”

In Poetry Issue Seven by Michael O'BrienNovember 1, 2017

There is only the dance of poetic rhyme in O’Brien’s poetry, as embodied in the poem “Pegasus,” a moral tale unencumbered by abstraction or opaque allusions: “Rejoice and kick up/the dust/in your/every advance,” the poet commands.

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“Vertigo, NC”, “Wisp” and “To my daughter, sleeping in the back seat”

In Poetry Issue Seven by Katy McAllisterNovember 1, 2017

There is a subdued presence in McAllister’s poetry, as if she is whispering in your ear: feel the sensuous in “Vertigo, NC”; see the fox emerge from the trees in “Wisp”; and in “To My Daughter” know “a temple in the mountain.”

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“Shipwreck”, “No Going Back” and “A Book Like Mine”

In Poetry Issue Seven by Leslie SouleNovember 1, 2017

When a poet uses figurative language like Soule in “Shipwrecked,” you feel the extended metaphor or conceit alive in the paradox that the men on board will perish, “becoming pearls, their skin coral.” Ditto “A Book Like Mine” and quicksand.

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“unicorn”, “grass icon” and “Bradbury’s butterflies”

In Poetry Issue Seven by Dmitry BlizniukNovember 1, 2017

Translated from Russian, Blizniuk’s poetry is imbued with concrete images that place you within their parameters, and yet the abstract moves ever so closely to a Universe of billions where “someone has torn out a wire from the cable of the humanity.”

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“Prairie Summer”, “La Sabranenque” and “Leaves”

In Poetry Issue Seven by Sabrina L'HeureuxNovember 1, 2017

This is not easy, this telling a story through images that don’t miss a beat in the poetic line, and to tell it so completely, as L’Heureux “La Sabtranenque” and “Leaves” do through the perspective of “I” and the consistency in voice and mood.

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“The Raven and the Stone”, “Tea for the Taxman” and “Dolphin Song”

In Poetry Issue Seven by Rollin JewettNovember 1, 2017

To read “thee” and “thou” and “ne’er” and “‘tis” in “The Raven and the Stone” and “Dolphin Song” is like returning to the world of poetry in the 18th century. In Jewett’s hands, this poetic composition is simultaneously playful and dramatic.

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“Like Oleander”, “Navigating Silence” and “Tiresias, the Seer (a poem in 9 Tankas)”

In Poetry Issue Seven by Effie PasagiannisNovember 1, 2017

Read Pasagiannis poems quietly, as they offer you an opening to the ethereal and spiritual and mysterious. Each poem breathes its own poetic nuance in form and content, but they gather the difference in “Navigating Silence”: “just listen.”

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“The Bats in the Willow”, “Revenant Gloam” and “I Cannot Make Permanent Things”

In Poetry Issue Seven by Melissa MulvihillNovember 1, 2017

Bats, the revenant gloam, and impermanence are the subjects of Mulvihill’s poetry here. Yes, their commonality may not be obvious, but Mulviill’s storytelling marks her poetry—personal and unequivocally forthright. Her voice is her truth.

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“The Dedekind Cut”, “Triangles Reconstructed: Dad’s Last Hospitalization, Son Caught In The Middle” and “Laundromat 1, 2, 3…9”

In Poetry Issue Seven by Gerard SarnatNovember 1, 2017

Ever heard of the “Dedekind Cut?” Sarnat explains the second part as the “partitioning of philosophical arguments,” and goes on to reveal an ironic vulnerability in “Triangles Reconstructed: Dad’s Last Hospitalization . . . .”

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“Frankenstein, I love you”, “For Shilpa” and “Ash Wednesday”

In Poetry Issue Seven by Natalia ZverevaOctober 31, 2017

Reading Zvereva’s poetry is like entering a lush garden of words that find meaning in their juxtaposition, and the senses dominate while reason takes a back seat, if only for a little while. Feeling pulls you toward the understanding and not knowing.

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“The Millenials”, “he is no surprise” and “a Boxer’s beginning, at the end”

In Poetry Issue Seven by Komal KeshranOctober 31, 2017

Mindful of the philosophical and spiritual, Keshran gives readers an option: they can read at the surface of his poetry or they can move like “the current of the river” and choose “to seek what lies beyond this earth.” There is magic here.

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“Tiger Swallowtail”, “Bulbpulse” and “Flamingo”

In Poetry Issue Seven by Henry StantonOctober 31, 2017

Stanton’s poetry pulls beyond the words on the page. Is it a search for the “suchness” of things, the true self, the true reality? The poet refuses to be trapped in his corporeality to divine the “whatness” of self: “Tathāgata will be my next child.”

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“We Are, We Were”, “Think Tragedy, Feel Comedy” and “Are we equal yet?”

In Poetry Issue Seven by Samuel GriffinOctober 31, 2017

Metaphysics pervades Griffin’s poetry, as the references to Newton, Heraclitus, Isaac, and Spinoza’s famous Deus sive Natura are instructive. Pay attention to the titles: “We Are, We Were,” “Think Tragedy, Feel Comedy,” and “Are We Equal Yet?”

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“Dark Sun”, “confessing” and “nag, stone”

In Poetry Issue Seven by Frank HeatherOctober 31, 2017

An existential fear of unknowing in Heather’s poems is made most explicit in “Dark Sun,” but it is also present in “nag, stone” and “confessing,” irrespective of the irony. Named: “this terror towards time” and “the swirling chaotic mystery of my past.”

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“Drowning”, “Forms” and “Odysseus”

In Poetry Issue Seven by Theresa RyderOctober 31, 2017

The transient nature of life is nowhere more keenly perceived as in Ryder’s poem “Forms.” The irony is obvious: “When I die the world will stop spinning,” and then this: “I will be a form, a shape, a number, a colour, a sound.” A transitory traveller.

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