3 poems by Tuur Verheyde : “April in Exile” “May Meandering” “March in Ending”

April in Exile 

The Morrigan soars across emerald skies.
Devilry will only join in doom.
Madness mixes as much it can.
Harpies hover above my barren mount,
They shit tar and turpentine.
Depression and Delirium struggle to reign supreme.
Sloth, my deadliest sin, blasts them both.
It owns me now.

My cloven tongue licks its bloodied lips
An unshaven cheek peels away,
Its barren rotting skin.
This face may show decay,
For none who care shall look upon it.
My sluggish hands slowly get to work,
The cogs cough and moan, as dust rises
And cobwebs are torn by movement;
Black smoke rises from my nose.

Exile tastes of mouldy bread.
Envy projects scenes of joy,
I miss the play, the party-lights.
My nights glitter with the spectre of artillery fire.
I anger and confuse my former friends.
Forgive me, Jocasta. I am blinded by bitterness.
I am hollow.
I cannot join your merry nights
Without defiling them.
Forgive me, Medea, I will bleed for your craft.
Forgive me, Flowers. I will not disturb your bloom.
Forgive me, classicists, for leaving your velvet fold.
I am weak, but will return.

I am woken by battle cries.
The homestead shivering once again;
The ravings of an old Ogre,
Whose self-righteous mania
Makes even the dogs cringe with shame.
How cruel, for Dementia to curse this hold a second time.

Academia appears to me,
Her patience is running out.
Mild, she once was.
A golden Minerva for whom I knelt.
Sloth now stays my hand,
And she grows darker every empty day.
She is Nemesis, fuelled by the furies’ zest.
She will have my blood before summer.

May now crawls upon the stage,
A month before the horrid trial.
Academia and Sloth fight without an end.
Depression is a man-eater with crimson manes.
He tears my flesh,
Bit by bit.
In exile, I cannot bring pestilence upon the blissful.
In exile, I can diminish in desolate dreams.
As a beast peels off my skin with the utmost patience,
I await my doom.
The way is shut,
All paths will unravel soon.

May Meandering

This is the prologue to my obituary,
I write it while lashes ring in my ears.
No more scribbled shit will further burden
Your tired eyes, reader.
I stroll betwixt sand and storms,
Waiting for Damocles’ blade to be released.
Don’t worry, it won’t be long.

Maggots hollow out the flesh,
Carving caverns into bones,
Carving homes for bugs and beetles,
Rotted beneath the sun,
Rotted beneath the rain,
I lie slain in meadowsweet.
Destined to be a den
For crawling creatures of the night.
I slew myself for the greater good,
For shame, for honour and such toss.
Ajax-like I plunged a blade into my chest,
Oedipus-evoking I gouged out my eyes.
A hollow husk to house the gnawing ones
Is what became of me.
Blood spilled in idle crying,
Flows deep into the chasms of the earth.
Gaps and fissures open up to swallow me.
The black soil shows its teeth,
Its vampire-like grin.
‘Desde abajo te devora
Desde abajo te devora.’

And none around to bury me,
None to cover my bloody tears with gold.
None to take a scalp or a bone,
A token of death.
None to sprinkle lilies, to sprinkle blooming death,
None to mourn the eternal dead.
And I awake from a maddening dream,
To see death without a grave.
The earth vomits me back out,
And I rise in the moonlit night.
Claws and spikes grow from me,

And I remember how I passed.
I see faces I once loved,
Through the midnight hour
They glare, now unloving.
I sow the seeds of absence,
To reap hatred in return.


The miasmic mist mingles with humidity.
Mingled is our mind, our sense.
We close the soil and salt the earth.

War is waged on cyber fronts,
Digital domains raided again.
Chechnya drips into the mind,
Love is being murdered there,
Another silent genocide.
Eurovision slouches on the screen,
Gasp, laugh, gloat and applaud.
Trump whines and weeps,
The pustule always keep erupting.

We are walled in with cardboard boxes.
Wotan’s host crossed the border,
This time passing past the hills.
They tamed the salient and brought us rain;
Hooved stampedes and hissing iron.
The hammer falls,
And zealous floods spice the panting air.

The triple-faced Diane rises from the rain,
Hounds howling as she ascends.
Youngling’s blood flows as her libation.
She slides across a sleepless eve,
To show me white cliffs,
The Demeter landing on ravaged shores.
A beast disembarks,
Lashed limbs left in its wake.
Vapour crawls beneath your doors,
Lidless eyes pierce the skies,
They watch us as we sleep.
The worlds were poured
Through my waking hours.
In the night,
I am poured through them.

I return on the snake of steel,
The land is not what it was.
Sociability, a maze,
Crooked walls, cloaked in black,
Curling on the horizon’s hills,
Plunging in the valley’s depths.
The sky wears a scarf with violet tones.
Sighing in silence, I retreat.
This is no place for a pariah.
Forgiveness is a godly gift.
Unworthy fools must make way.

Forgive me, friends, for I have sinned.
I pay in unshed tears,
In absence and in cold.
In silent faces frowning.
In powerlessly texting first,
Against an ocean of silence.

My soul shows me deserts,
Earth cracked by drought,
Citrine skies blazing
With whirling clouds.
I see rusted metal ridding.
Rotting citadels of steel
Tower above ashen lands.
The furies pave our barren roads.
Skies are burning above our graves.
The killing of the world,
No future for the wicked.
Morpheus tells me to prepare,
Forsaken, I stand before an envoy of divinity.
The gods of godlessness have abandoned us,
The old alliances are fucked to bits.

The blade sways above me,
To fall
On Ascension Day.

March in Ending

March, in ending
Becomes the gravedigger of last year’s ambitions.
Spring is the true season of death.
For as Autumn and Winter peel away
The life in nature,
They do so gently.
The slowly balding head
Of Gaia
Does not provoke
A tear in time.

Spring, however, disrespectfully
Blasts its way through the gloom
We had become so familiar with.
The beauty of the blossom
Caresses the eye,
The explosion of colour shakes
The jaded soul into summer sentiment.
But in the tremors of rebirth
Lies the realisation of death.
How long since we gazed upon
March’s caressing sun.
How many things have died since then.
But unlike the flora,
Many of these things were not made for rebirth.

Time has passed, alas.
The sweet warmth of the sun,
Leaves the bitterness of loss
Upon our merry minds.
Thus March,
In its final days, covers
The lost with fertile earth,
And allows for new life
To grow upon them.
They disappear beneath
The carpet of colour
And sink in the soil
Of faded Memory.


March in ending,
Summons the hounds of hell.
Demons take a hold of me.
Not the paralysing
Not the self-loathing
No, Anarchy now inhabits me.
I cover Time with a cloth,
I turn of the power to the social leash,
I knowingly abstain from Duty’s emotional blackmail.
I answer to no one.
I renounced fancy and its tricks,
I renounced the grey pantomime of sociability,
I renounced it all.
Lectures on Woodrow Wilson’s great aunt’s aching toenail,
On anecdotes concerning curry and self-indulgent wank.
Seminars on the structuring of souls harvested from
Their now dreamless livestock.
Drunk on our blood, we are judged by the ivory towers
Of sycophantic sociability in the name of scholarship.

I am Judas to thy Christ.
I am Brutus to thy Caesar.
I am The Confederation to thy Union.
I must the betrayer to thy cause,
Serving a cause before which even you
Should kneel.

I lie,
With my thirty pieces of silver:
Buying books I have not the courage to read
Writing poems that will not be read,
Wasting my time with self-indulgence
That that sustains and destroys me.
Occasionally, I leave my row house cave.
I look at the world through coloured glasses—
Literally, not metaphorically—
March frees Persephone from Hades’ clutch,
March heralds Ostara of the Dawn,
And all those who resurrected by her.
March must be the season of war,
As old grievances bloom accompanied by flora,
As old hellish creatures screech next to songbirds.
All beasts do the dance of death
On blossoming meadows filled with life.
I dig the grave of my academic future,
And the guilt wains, day by day.
Day by day, a few hours of work
Undermine my self-sabotaging whims.

Cut the flesh and heal the wound,
Cut the flesh and heal the wound,
Not for pain,
Not for guilt,
But because we must.
If Sisyphus was happy,
Why not Tantalus?
Why not us?

In the end, it matters not.
Fulfilling duty or opposing it.
All seems equal.
All echoes with the same resonance,
The same fickle tremors.
Anarchy is master
When no one else is.


March in ending
May end me,
May end the me that was.
It tells me nothing,
Shows me nothing.
But the fickleness of time,
The treacherous nature
Of Nature.
Thus we end,
Like March
On a pointless
Sour confusing note,
As my anticipation of serendipity
Resembles a less brilliant
Less existential
Less poetic
Less humorous
Waiting for Godot.

Find Tuur on twitter @TuurVerheyde

https://t.co/GVL1jgRKQE?amp=1 for his website.

Left for Nothingness: Poem by Kushal Poddar

Statics cackle. An orchestra of insects
plays a leathery elytra music,
and the riverboat leaves the jetty
as the city becomes another kind of insect,
the one whose belly bags the soft fire in protest
against the darkness of the late springtime.
Leaving? Where to? I hold a paper ticket
to ticking oblivion. The insects dissect silence
and murmuring of the commuters alike, and then
there hum the machine, water, shadows.
The other Bank is nowhere to be seen.

Bio: An author and a father, Kushal Poddar, edited a magazine – ‘Words Surfacing’, authored seven volumes including ‘The Circus Came To My Island’, ‘A Place For Your Ghost Animals’, ‘Eternity Restoration Project- Selected and New Poems’ and ‘Herding My Thoughts To The Slaughterhouse-A Prequel’. His works have been translated in ten languages. Find and follow him at amazon.com/author/kushalpoddar_thepoet
AuthorFacebook- https://www.facebook.com/KushalTheWriter/Twitter- https://twitter.com/Kushalpoe

photo by Dylan Nolte

Poem by David L O’Nan : “New Disease Streets”

New Disease Streets

I cut a record in the trance of snaps
On a new disease street.
Watching them worship the homeless man’s defeat
They stole our dancing jewels,
And from that fame
The sandwich bag Madonnas grew.
The appetite for the bleak and the new.

Music breathes out of dead-end windows
Cockroach apartments smell better than –
The flesh that is sticky from these sweat bleeding streets.
Oh, the wet blades shine more when they’re silver.
An appetite for the starved and the view.

The alcoholics are stretching for a new fight.
Those dirty pigeons that sleep in the grass instead of the trees.
I bravely found a quarter in the storm drain,
It appears the acid has eaten away at George Washington’s face.

Nevertheless, I can ride in the rusted pink taxis –
That drives faster than quicksand.
It is lonely then sickly.
Huffing in graffiti paint fumes through the holes of a brown sack.

I’ve surmised that I’ve digested the whole city, and my stomach is –
Starting to rumble and splash in its own rivers.
Now, my existence has been debated for years.
But for now, you can call me Galileo –
Because I’m punching down the stars to the land.

We are just trying to give the dying one last light show.
With all the roses’ souls, I’ve ripped from the soil.
Before we all slip back into a coma
And dress back down to our dusty selves.

Wolfpack Contributor EIC Bios: David L O’Nan & HilLesha O’Nan

photo by Denis Agati

An Interview with James Diaz of Anti-Heroin Chic Magazine.

  1. What are the origins of Anti-Heroin Chic? When did you first decide to create a literary magazine?

James: I think, in a lot of ways, the origins for Anti-Heroin Chic were born out of a yearning for community. I didn’t necessarily feel part of one at that time, and sometimes the best thing you can do when you feel that way, is to just be the thing you feel is missing, in your life and in the world. My initial vision was for a literary journal that shared a very common core with 12 step recovery meetings, where people from very different walks of life could all sit, side by side, in a circle of caring and sharing. A place where, as a friend of mine used to say; “our differences make no damn difference.” And on the heels of my time spent in Occupy Wall Street, I also wanted to be able to mirror some of the egalitarian ways of being together that I found there, which is why I likened it to the spirit of a commune. You know, honestly, some days it feels like group therapy. It’s amazing how I can be going through something really intense in my own life and then I’ll receive a submission from someone who opens their heart to me in their cover letter, a stranger going through the same damn thing, and in their poem is their heart speaking to my heart, and in some inexplicable way that encounter seems to make a difference in the lives of two people who’ve never even met before. I feel extraordinarily lucky in that way. But I also know we only ever get what we put out on the table. That’s what I was looking for around 2016, and I am very happy to say I found it. It is community, but it feels like there should be another word for it also.

  1. How long have you been writing poetry? When did you become serious with writing and interest in helping in other writers?

James: I began writing poems when I was around 13. I remember I had come across some poems in a Rolling Stone Magazine, written by death row inmates, who had turned to poetry as a way to cope and make sense of their impossible situation. My household, and my neighborhood, were both very chaotic and violent, and I remember thinking; “if this thing could help them, maybe it could help me too.” And it has. Who can say for sure what saves us in the end, but my bet is that I would not have made it without poetry in my life. As to when I became serious about writing, well, I was institutionalized for two years when I was sixteen, it was a serious moment in my life, where I had little else but the poems, and I think that moment was do or die for me, really. The urge to help other writers began around 2016. But the urge to help people in general, that began in a jail cell at age 16, when I wrote a poem called “The turning of the tables,” and my cellmate cried reading it and copied it down so that he could carry it with him. Sadly, he didn’t make it, and ended up taking his own life. In so many ways I often feel like I’m still writing all of my poems to him. A little light, in a lot of darkness. But that was the moment I realized that I (or the poems, really) had the ability to touch lives, to help those in great pain feel understood and held in it.

  1. What do you find most rewarding when putting an issue together, what do you find most frustrating?

James: I put together a very special issue on grief and loss a couple of years ago, after my Grandmother died, (I had cared for her in hospice during her final days,) and was completely undone in my grief. Unanchored and adrift, I really didn’t know day from night then. All I knew was I didn’t want to be alone in it. My thought was that a lot of people probably yearned, just like I did, to share their grief as well in a community space. That issue was the most rewarding and meaningful issue I’ve ever curated. That was a real turning point for me as an editor. I realized then that what I was aiming for was a shared and collective healing process over all else. When that’s your focus, the frustrating parts kind of just roll off of you like water. Each issue feels very therapeutic to me, to our contributors, and to our readers. It’s hard work to put the issues together, of course, and before each launch, I am quite literally spent, but the joy, healing, and hope that gets spread around from it, my God, makes it all worth it.

  1. How often do you put issues out, and do you change thematically between issues?

James: We currently put out 6 issues a year, in the months of February, April, June, August, October and December. The themes are always guided by the contributors, but tend to be about addiction, mental illness, poverty, working class issues, trauma, abuse, recovery, and hope. My co-editors have a big hand in helping to shape each issue also, my main contribution is our poetry category, as I want my co-editors to feel they have complete autonomy in selecting what resonates with them. It’s really astounding, organically the issues seem to always be what they need to be. Often, I just have to get out of the way of whatever force brings all of that together.

  1. Tell us more about your own work? How often do you write, and tell us about your book/books.

James: Most of my work centers around many of the same themes explored in Anti-Heroin Chic. My first book, This Someone I Call Stranger, was a loosely autobiographical book of poems that delved into my childhood experiences around poverty, abuse, parental addiction, institutionalization, and the ways in which we find our “homes at the edge of the world,” how often our families of choice, much as we would have wanted them to be, are not always our families of origin. My second book, All Things Beautiful Are Bent, forthcoming from Alien Buddha Press soon, is a themed book of love poems which imagines two lovers with deep trauma in their lives, trying to sort out ways to love each other that unburden the past from the present, and go forward in new and more vulnerable ways. I imagine it as a book where two people’s inner children speak to the goodness we all once were, irregardless of all that may have gone wrong along the way. Another collection that I am still sending around to publishers, called Motel Prayers, is a very character driven work that tries to tell the slightly fictionalized stories, in poem form, of the people I have known, who, as Carson McCullers’ puts it; “found it hard to live and therefore had to live a little harder.” Most of my recent poems are centered around addiction, as my little brother battles an intense meth addiction and bouts of homelessness, the only thing that I have in my tool box that helps me move through the ‘living loss’ of that are poems that speak to the fact that, where there is life, there is hope.

  1. What authors, poets, musicians, artists have helped shape your mind & work?

James: Joyce Carol Oates was probably the first to impact me as a writer, along with the poet Jorie Graham. But long before I was a reader of books I was a reader of song lyrics. I was very lucky to come of age in a time when singer-songwriters ruled the air waves. I learned to write from them, really. Songwriters like Shawn Colvin, Mary Chapin Carpenter, Lucy Kaplansky, Dar Williams, Cheryl Wheeler, Julie Miller, John Gorka, Natalie Merchant, Paula Cole and so many more. Folk music is definitely the closest thing to poetry, I think, and having it in my life at such an early age really helped me to fall deeply in love with what words could do. In my early to mid 20’s, outlaw literature was my steady diet. Authors like Kathy Acker, William Burroughs, kathe Koja, Jack Micheline, Miguel Pinero, Samuel R. Delaney, Doug Rice, Lydia Lunch, Pierre Guyotat. My anger probably very much needed these authors to help find ways to ‘scream it out’ onto the page. Suffice it to say though I have mellowed out quite a bit in my late 30’s. I am back to where I started these days, reading mostly Joyce Carol Oates and Jorie Graham.

  1. What are some of your hobbies, what keeps you creative & interested in putting together poetry & mags?

James: Music and films are my biggest hobbies. I used to love going to live music shows back when the world was somewhat normal. I enjoy photography, though I am by no means a photographer, I do like to capture things that most people might ignore around the city. I began making art collages a few years ago, which I really enjoyed and allowed me to tap back into some of my early and darker influences. It helped me to deal with my depression in ways the poems couldn’t and they reflect just how dark my head was becoming. I’ve also enjoyed putting together interviews for Anti-Heroin Chic, which allowed me to learn a lot about things I didn’t really know beforehand, like the world of comedy and visual art. I was also able to find that I had a real knack for live conversation that I didn’t really know was there. I tend to be pretty introverted, but interviewing people, at least by phone, forced me to improvise and take risks. I learn a lot about myself through others. The interviews have been sort of therapeutic for me in that way as well. They keep me curious, which is probably the main ingredient in staying creative.

  1. What styles of writing do you prefer engaging in?

James: Confessional, I guess. I used to be much more experimental and Language poetry oriented, but it didn’t allow me to go deep enough really, or to the heart of the matter. Something Jorie Graham says about knowing when a poem is ready is that one should test it against one’s own pulse, and when it matches, there you go. Part of it is that I feel a lot more grounded in my own life today, thanks to a lot of therapy, and so I feel like I’m in this season of my life where I kind of know what I want to say in ways that weren’t always possible for me. I’m still learning what this strange expression known as poetry is. It’s like a conveyor belt of despair and hope. Most days you’re working with both. How do you make room for it? Well, I’m learning to invite it all in. Style is probably just listening to where we’ve been and telling that story.

  1. Have hometowns, vacations, people influenced your work?

James: Hometowns, definitely. I grew up in the south, in not so happy places. I try to tell the stories of the people I’ve known and been. The people that have influenced me the most though are less poets than they are the one’s in healing professions. Case workers, respite providers, therapists, psych ward staff, art therapists, special ed teachers and guidance counselors; I am a legacy of these people who held me up when I could not walk emotionally or psychically. They were the first people to take real, genuine interest in my writing and encourage me to not give up on it. The biggest debt in my heart goes out to them.

  1. How has the pandemic and lockdown effected your work?

James: Well, I got Covid last April and the long haul effects of the virus took a toll on me. I’m getting better, but I still have days of brain fog and weakness, and I have some other health issues that have stemmed from Covid that I’m still getting treatment for (but not much answers.) It can be hard to write when all these weird things are happening to your body that no one can seem to explain, but I’ve managed to write some things I’m proud of, despite it all. I just have to know there are days when I can’t function at full capacity.

  1. Please leave any promotions for your work, social media, blogs, etc.

James: I have a new book, All Things Beautiful Are Bent, coming out soon from Alien Buddha Press, you can follow them on Twitter @thealienbuddha. My first book, This Someone I Call Stranger, is available from Indolent Books and Amazon. You can follow me on Twitter @diaz_james and you can follow Anti-Heroin Chic @Heroin_Chic_Mag. Visit our website for the work that we do there, and my own personal website for more on my work.

Thank you so much David!

photo by James Diaz on his website https://jamesjdiaz.weebly.com

Bio: James Diaz is the author of This Someone I Call Stranger (Indolent Books, 2018) and All Things Beautiful Are Bent (Alien Buddha Press, 2021) as well as the founding editor of Anti-Heroin Chic. Their work has appeared in Line Rider Press, Resurrection Mag, Negative Capability Press and As It Ought To Be. They have never believed in anything as strongly as they do the power of poetry to help heal a shattered life.

Avalanches in Poetry 2 entries by Peter Hague : “I Did Not Want it Darker””Between Leonards” “Following Leonard”

I Did Not Want It Darker
(On the death of Leonard Cohen 2016)

When your song first idled in my head,
like something matured in careful words.
I was a student in my teens – exiled – un-said,
with no road for my drowning voice.

Your songs sang out of the influence of poems,
like a threading railway, forged in ruin –
rolling out your passion in Spanish chords
and the black brute of honest dread.

Lorca found his voice stifled by blood –
He, the designated hero of your noble campaign.
It was a blend of the stations of devotion and reason,
and all that lingers in songs and rooms.

You threw your baggage out onto the pavement –
into the anonymity of my least-walked streets.
And that day I saw a founding step –
a revolution, intertwining words and thoughts.

You sang above the abandon of amorous poets,
who closed their lips and proceeded to go blind.
While you, with your Kestrel eye
ranged the glories they vowed to overlook.

The implicit technicalities of love and being
were flicked away and left behind,
as they talked themselves naked, with the spoken word,
immersed in the self-sabotage of liberty’s dissent.

You elevated your poems on the wings of chords,
so a wider audience might comprehend
not only the unfathomed void of a broken heart
but the subtle things you had to sing to mend.

And they were each caught then, by the siren voice,
as all we disheartened sailors were.
And all soon fevered with a charming blend
of patience, love and rapturous doom.

It was the poems though, that spoke to my longing,
from the grey cities of smoke and gold –
out of an avalanche of hidden critics
who discussed your darkness in curtained rooms.

And with an inability to hear without eyes,
they made their own dark song to sing.
It rang in the certainty of eventual prose,
walking through pages of worn-out words.

In time, eased by the celibacy of your charm,
they smoothed themselves with forgiveness and love.
They found a shoe that fit better as a glove –
thus perceiving the so-called ‘Godfather of Gloom’.

It was a dagger through your triumphant heart –
a tenderly savage paper dart –
but washed off – like the crayons they used
to eventually scribble a favourable report.

Your poetry spoke into the mind and the heart –
and always with music, as it lent itself to you.
Always with a resonating chord or two,
strummed by a lost soul, reaching out.

If only for those troubling minor chords
that leave the soul vibrating on
with increased emotion and subdued doubt –
an attempt to set a few words free –

an attempt to capture truth, and smooth it out.
To push the sky beyond a pilgrim’s thoughts.
To stop the clock and make it wait –
to instigate – to celebrate –
those same words in perhaps a less apparent state.

Words we would never really need to own,
or reveal the joke inside their frown.
Or think of as correct, or right –
but simply called upon in the delicate night.

Such words once said, need never be recalled,
they move their meaning, where other’s take flight.
For they have already snapped their core, like flares –
and bathed us in a blesséd light.

Between Leonards
(On the Death of Leonard Cohen 2016)

I saw my son between Leonards –
the living and the darker one.
My son gave me a recording
of Leonard’s latest song.
He sang about leaving the table,
he sang himself out of the game.
He said if we want it darker,
he would extinguish the flame.
This was the light that lit my decades –
the light where perception first shone.
By the time I saw my son again
Leonard’s light was gone.

Following Leonard

This could be the darkness
written in your soul.
An elemental darkness,
without the element of control.
It’s been murder in the city –
there’s plague now, at the beach.
The only goal we truly have
disappoints the reach.

But there’s a crazy road to nowhere,
that branches from your heart.
And it’s a long, long way to get there –
better make a start.

Bio: Peter Hague has written and studied poetry for most of his life and apart from being published in magazines like ‘The Interpreter’s House’ he is now posting some of his work on Twitter. Two books of collected work are in production now and are expected in the coming weeks. He is also working on a new website, dedicated to his writing. He is also associated with the art name ‘e-brink’ and has a gallery of digital art at: http://www.e-brink.co.uk.