A Fevers of the Mind Quick-9 Interview with Tessa Foley

with Tessa Foley:

My social media: Twitter: @unhelpable Instagram: @tessafoleypoet

For Tessa’s new book: https://www.livecanon.co.uk/store/product/what-sort-of-bird-are-you-tessa-foley

Q1: When did you start writing and first influences?

Tessa: I messed about writing pidgin poetry when I was in primary school and a teacher, in a bid to help me lash it into something recognisable, lent me “Old Possum’s book of Practical Cats” by T. S. Eliot which I read until the copy fell to bits and my parents had to replace it. Other really early influences included Ian Dury and Dr Seuss who convinced me that language was something to really muck about with it, but later on Jill Murphy and Astrid Lindgren and then in my teens when I became more serious about writing, I was reading Plath and Angelou who opened so many doors in terms of content and direction. 

Q2: Who are your biggest influences today?

Tessa: There are some spectacular poets on the scene at the moment; Jenny Mitchell always creates such stirring poetry that I am always moved to hotpen after reading something by her. Maria Ferguson has also thoroughly inspired me to cover some more specific aspects of my life, for instance working as a bartender because as she demonstrates, there is miles of great material there. And also Rick Dove who does such clever things with language that you’re busy thinking ‘oooh how clever’ and you don’t spot the steel-tipped punchline that’s heading for your solar plexus.

Q3: Any pivotal moment when you knew you wanted to be a writer?

Tessa: When I was about 8 at Templefield School, a teacher gave the class a title for a story and I realised I could make this anything, but anything I wanted – I could create it all myself and be the boss. I got praise for the story but a slight telling off for using the phrase “I was knackered” in it. The title was “The Missing Clue”.

Q4: Who has helped you most with writing?

Tessa: The tremendous poet and playwright Glyn Maxwell was not only guest editor for my recent poetry collection, giving me tons of guidance and encouragement but he was also the judge for the Live Canon Competition in 2013, which I won. 

Equally, Helen Eastman who runs Live Canon which later became my publisher has always been an amazing champion, asking me to get involved in various events and projects. She is also an inspiration when it comes to hard work and enthusiasm – a great artist herself.
 
But most of all, my sister Anna has endured reading every draft, made edit suggestions which I didn’t always receive with good grace, sat through every performance and cheered louder than anyone, spent hours making publicity artwork, designed book covers. She’s always believed in me which is honestly the greatest asset you can have as an artist – a true believer. 


Q5: Where did you grow up and how did that influence your writing?

Tessa: Originally I came from Bedfordshire, but I think I did all of my growing up in Portsmouth, which as an island city has produced what I think is a circular, unending aspect to my work. Stories in Portsmouth are all linked and they spiral in on each other and those spirals pop up in my poetry.


Q6: What do you consider your most meaningful work you've done creatively so far to you?

Tessa: I would have to say that it’s my most recent collection “What Sort of Bird are You?”. There are a lot of skeletons that I dragged out and reassembled, sometimes upside down to write the book. 

Q7: Favorite activities to relax?

Tessa: Historically, I would have said the theatre but that’s been somewhat minimised in the last 18 months so pandemically speaking, it’s all been about dawn walks in the woods with my partner. We have a favourite yew grove in which some of the trees are 900 years old and you can feel the atmosphere change around them – scary but beautiful.

Q8: What is a favorite line/stanza from a poem/writing of yours or others?

Tessa:

The final words from “Sky and Sea”, a poem about myself and my sister included in “What Sort of Bird are You?”
Goes on the rain
Goes on the wave
They threw the bolts of weather and left two
The sky and sea is me and you

Q9: Any recent or forthcoming projects that you’d like to promote?

Tessa: “What Sort of Bird are You?” is available from Live Canon here https://www.livecanon.co.uk/store/product/what-sort-of-bird-are-you-tessa-foley

A Fevers of the Mind Quick-9 Interview with Roy Christopher

with Roy Christopher:

Q1: When did you start writing and first influences?

Roy:

I’ve been writing poetry since before I could write. I would shout them out in alliterative, repetitive, rhyming couplets, and my mom would take dictation. Once I started writing, I wrote poems, short stories, comic books, fake newspapers.

In high school, I took to making zines publicly and writing poems privately. Everyone I looked up to was a poet of some fashion. From the smart sense of Danny Elfman and David Byrne to the gothic verse of Robert Smith and Andrew Eldritch, from the street knowledge of Ice-T and KRS-One to the hardcore chants of Kevin Seconds and Ian MacKaye, poetry was the process, the worded frame for the world. So, I started writing my own again, stilted little stanzas of teen longing and angst, mostly designed to make me seem deep to my friends and interesting to girls.

The Master Cluster also deserves a special mention here. In a fundamental, foundational way, those three guys—Andy Jenkins, Spike Jonze, and Mark Lewman—are three of the reasons I do what I do. They used to ride BMX bicycles, skateboard, and run magazines and zines back when I did a few of those things and aspired to do the others. Their influence and inspiration are difficult to measure.

Q2: Who are your biggest influences today?

Roy: My partner, Lily Brewer, my peers, and my friends… Music is also still high on the list, but I couldn’t possibly name everyone. With my Follow for Now interview anthologies, I’ve tried to give back to many of my current influences. Volume 2 comes out soon from punctum books.

Q3: Any pivotal moment when you knew you wanted to be a writer?

Roy: It was a lot of little moments. I grew up with an artist mom, so I just always thought that’s what I’d be. Horrible art teachers all through school and college finally steered me elsewhere. BMX, skateboarding, and zine-making were the next turns. It’s difficult to overstate their importance in my development.

Q4: Who has helped you most with writing?

Roy:

I never did well on writing assignments in school. In spite of my placement in advanced classes, I scored poorly throughout high school on writing-related projects. I made C’s in both English 101 and 102 in college, but in my second-to-last semester of undergrad, one of my instructors complimented my writing. We had done several in-class essays in her Abnormal Psychology class, and one day she pulled me aside and told me what a good writer I was. This came as a surprise, given my previous track record and the fact that I’d been an Art major for the first three years of college. Regardless, it stuck with me. I took a class on writing for social science research the next semester, and though I barely made a B, I felt more at home researching and writing than I ever had trying to do traditional art. I give the credit for my newfound confidence to my Abnormal Psychology teacher.

The list of people that have helped me since would be incomplete no matter how hard I try. I have a network of mentors that I regularly bother for feedback on my work. They are the models, the people whose work I aspire to.

Q5: Where did you grow up and how did that influence your writing & did any travels away from home influence your work?

Roy: I grew up in the Southeast United States: Georgia, Alabama, Mississippi, Tennessee, and Florida. We moved every 2 years. The day after my last final in undergrad, I moved to Seattle. I’ve since lived in San Francisco, San Diego (twice), Seattle 3 more times, Athens, Atlanta, Austin, Chicago, and now I live in Savannah. All of these places show up in my writing in one way or another.

Q6: What do you consider your most meaningful work you’ve done creatively so far to you?

Roy: The one that’s available is Dead Precedents: How Hip-Hop Defines the Future (Repeater Books, 2019). I put everything into that project. But my book-in-progress The Medium Picture is my baby. It’s a genre-crossing Gen-X music fan’s media-memoir, if anyone is interested.

Q7: Favorite activities to relax?

Roy: Reading and riding my bikes are probably the first two things I go for. Rock climbing is a great head-clearing activity. Like anyone else, I watch a lot of movies and TV shows. I also find writing to be relaxing. I’m always working on several projects at once, so if I get stuck on one, I just switch to another.

Q8: What is a favorite line/stanza from a poem/writing of yours or others?

Roy: I am a sucker for two things: extremely economical or aphoristic lines and multiple multisyllable rhymes.

For the first, I always use this couplet by Talib Qweli from Black Star’s “Respiration” as an example:

Killers born naturally like Mickey and Mallory
Not knowing their ways’ll get you capped like an NBA salary

I love lines that pop but pile on the references, lines that seem simple until you peel their layers. I tried to do something similar with my tagline, “I marshal the middle between Mathers and McLuhan.”

For the second, there’s the obvious, Inspectah Deck’s opening verse on Wu-Tang Clan’s “Triumph,” or AZ’s first verse on “Never Change” off his 2005 record A.W.O.L.:

You know the happenings, homies just yappin’ and
Hand shaking, laughing, and exchangin’ all they math again
You usually lose touch when you travelin’
A few dudes bruised up in the battlin’
Parked on Madison across from the Radisson
We talked about the tattlin’ some did in Maryland
Plus discussed old homicides unravelin’
I asked, was he dabblin’, he laughed and said he managin’
His Carti frames was as clear as a camera lens
He hardly changed, I was near in comparison…

He just goes on and on…

And of course, vivid, solid storytelling always wins. Ghostface Killah’s verse on Wu-Tang’s “Impossible” makes me cry every time I hear it. He puts you right there.

Q9: Any recent or forthcoming projects that you’d like to promote?

Roy:

Abandoned Accounts, my first collection of poetry, came out on July 30th and Fender the Fall, my first published work of fiction, came out on August 11th from Alien Buddha Press.

Up next are Boogie Down Predictions: Hip-Hop, Time, and Afrofuturism, an edited collection for Strange Attractor Press, Follow for Now, Vol. 2: More Interviews with Friends and Heroes for punctum books, and Post-Self: Journeys Beyond the Human Body for Repeater Books. I also have a short story called “Hayseed, Inc.” in the forthcoming Cinnabar Moth anthology, A Cold Christmas and the Darkest of Winters, “Dutch” for an as-yet-unnamed anthology from Malarkey Books, and a new zine project called “Discontents.” Stay up!

Roy Christopher (he/him)

Website: http://roychristopher.com

Twitter: @RoyChristopher

Books:

Follow for Now (interview anthology): http://www.followfornow.com

Dead Precedents: How Hip-Hop Defines the Future: https://roychristopher.com/dead-precedents.html

Abandoned Accounts (poems): https://www.amazon.com/gp/product/B09B8B4HQJ/

Fender the Fall (sci-fi novelette): https://roychristopher.com/fender-the-fall.html

Follow for Now, Vol. 2 (interview anthology): https://punctumbooks.com/titles/follow-for-now-vol-2-more-interviews-with-friends-and-heroes/

Boogie Down Predictions: Hip-Hop, Time, and Afrofuturism (edited collection): https://mitpress.mit.edu/books/boogie-down-predictions

Post-Self: Journeys Beyond the Human Body: https://roychristopher.com/post-self.html

A Fevers of the Mind Quick-9 Interview with Kevin Bertolero

with Kevin Bertolero:

Q1: When did you start writing and first influences?

Kevin:

I didn’t start seriously writing until around my junior year of high school. I was fortunate enough to work with poet Peter Mishler in a couple creative writing classes and he was an early mentor of mine who was very encouraging. My work was terrible back then, as most high school writing is, but he was the first person to really engage with my writing in a critical way and that kind of attention was invigorating to me. I participated in more workshops when I was an undergrad at Potsdam college, I started attending the Colgate Writers’ Conference each summer, and I started reaching out to other writers online… I was seeking these kinds of conversations wherever I could find them. This was one of the primary reasons I started Ghost City Press, as an attempt to build a larger community of poets and artists.

In terms of my own work, I found myself drawn to the New York School poets very early on. Frank O’Hara has had a huge influence on my work, and of course that led me to Schuyler and others. I was also drawn to the queerness of these works, too, and Oliver Baez Bendorf was another poet who really spoke to me in this way. He had this video online for his poem “The Ice” which really inspired me, just the conversational tone he was using. His poems focused a lot on the nature of Wisconsin which he wrote about with such care, the same way I was writing about the Adirondack Mountains. Gary Snyder was another early influence in this way, which lead me to Diane di Prima, and so on. There’s a quality to all of these poets which is shared, but difficult to articulate. They’re from different schools of poetry, but they’re all trying to get at the same kind of personal feeling, very centered on place.

Q2: Who are your biggest influences today?

Kevin: O’Hara, Schuyler, Bendorf, di Prima, and Snyder are all still very important to me. I would also say that Jameson Fitzpatrick, Tim Dlugos, Jack Gilbert, Robert Lax, Ron Schreiber, Aaron Smith, and James Wright have had a significant impact on my writing in the years since I finished undergrad, all writers who, again, are very focused on place in their writing. I recently have found myself enamored with the work of Robert Bly and William Stafford as well. There’s something about the Minnesota poets that really appeals to me, I guess.

I came across Ron Schreiber’s poetry not too long ago as well and he’s a poet I feel an almost spiritual connection to. I was wandering around Books and Melodies in Syracuse a couple years ago (the best used bookstore in the city) and I found all six of Schreiber’s collections on the shelf. I bought one, went home, read it and fell in love with it immediately. I went back the next day to buy the other five books.

Schreiber was a member of the Good Gay Poets collective (who published a collection by another mentor and friend of mine, the late Native American poet Maurice Kenny). In addition to his poetry, though, Schreiber was—like me—also a publisher who ran Calamus Books out of Ithaca, New York. Schreiber and I seem to share a similar aesthetic within our work which was what initially attracted me to his poems. Upon further reading though, I realized that him and I share a similar perspective; We both have backgrounds in publishing, we both write about place within our work—especially about New Hampshire, Buffalo, Ithaca, Boston, even Saranac Lake—and we both write personally about our past relationships and boyfriends.

For me, Schreiber is a poet who writes about gay domestic life in a way that I haven’t seen from many other queer poets. This is a quality I greatly admire in his poems. His collection Living Space (1974) feels to me like a revelation regarding the gay domestic setting. Tomorrow Will Really Be Sunday (1984) shows how sensually gay sex can be examined on the page without venturing too far into the erotic (almost in opposition to a poet like Aaron Smith who fully embraces the erotic). Moving to a New Place (1974) is a book about a breakup, a life in transition, stuck in a queer liminality that feels very familiar to me. And finally, his book John (1989) is about the last few months in the life of his longtime boyfriend who is dying from complications related to AIDS. It traces their relationship from the first hospital visit to John’s funeral and is one of the most devastating collections I’ve ever read. Schreiber has been completely overlooked and I’ve kind of made it my personal mission to recommend and share his writing with as many people as possible. He’s brilliant.

Q3: Any pivotal moment when you knew you wanted to be a writer?

Kevin:

All throughout high school, and even through senior year, I had planned on going to college for music. I wanted to be a high school band teacher. I had played percussion since elementary school—my main instrument was the marimba—and I was really passionate about this for the longest time. But then I found poetry and it was affecting me in a way that music hadn’t, I just couldn’t get enough of it. And when I started touring colleges, I went to Potsdam first because they’re known for their music school. The school was entirely underground though (literally, not metaphorically) and was actually a really depressing space. I couldn’t imagine spending four years down there locked in some practice room with poor lighting. It’s a great school, don’t get me wrong, but I just wasn’t passionate enough about my instrument, I guess.

While we toured the rest of the campus, though, we stopped in the English dept where I had a lovely conversation with some of the faculty there, and it was in this beautiful old brick building covered in lush ivy… I knew right then that this was where I wanted to spend my time. I majored in literature with minors in philosophy and art history (it sounds pretentious, I know), and I overloaded on credits every semester and took in as much as I could. All these classes came together thematically and ideologically for me in these interesting ways which really influenced my poetry over the next few years. There was also a significant queer community at the school as well and there were several boys who were a part of my life which influenced what I was writing about as well. It was a productive, important time for me.

Q4: Who has helped you most with writing?

Kevin:

Oh gosh, there are so many people. As I said, Peter Mishler has been there cheering me on since the beginning. I studied with Rebecca Lehman at Potsdam who was wonderful (she was mad that I wasn’t studying in the creative writing department). I was an editorial assistant for Maurice Kenny in the final months of his life and he was a terrific friend and mentor. I met Bruce Smith, Kathleen Ossip, and Peter Balakian through the Colgate Conference, I worked with Christopher Citro and Georgia Popoff at the Downtown Writers Center in Syracuse (and there was a really great, inspiring group of poets there who gave me a community at that time). At New England College I’ve been fortunate enough to work with Paige Ackerson-Kiely, Chen Chen and Andrew Morgan, all of whom have helped me grow in different ways. I owe so much to all these people.

And then of course there are my friends. Jack Bachmann is my first reader and one of my closest friends and I trust his opinion above all else. I think we’re both careful readers of each other’s work. He’s seen my poems change through time and is often able to articulate these differences before I even realize they are happening. I always hope that I can give his poems the same level of attention and care that he gives to mine. I would do anything for him.

Q5: Where did you grow up and how did that influence your writing & did any travels away from influence your work?

Kevin:

I grew up in the suburbs of Syracuse which was fine, nothing really dramatic happened and I had a pretty quiet childhood. Being in the closet was probably the most notable thing from that period of time. My writing wasn’t very good when I was living there either, so I don’t really credit Syracuse too much as being an important part of my work. It’s where the name Ghost City came from, so it’s significant in that regard. It wasn’t until I went up into the North Country for college that (I think) my writing was really worth anything. That landscape really influenced my work, and if you look at my first two collections, From the Estuary to the Offing and Soft Boy, those were both written primarily at Potsdam and are very much products of that region.

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When I moved to New Hampshire for grad school after I left Potsdam, things changed in my writing. My lines were becoming much longer and my subjects were growing more abstract. I was writing more prose poems and as a result of living on the seacoast, a lot of the imagery in my poems was being affected by the region. The kinds of art and literature I was researching were influential to me around this time, as were the people I was interacting with and hanging out with on the weekends, all of whom were much more intellectual than the people I was friends with at Potsdam. And this is not to speak down on anyone, I just mean that people’s priorities were different at the University of New Hampshire and the other students in my cohort were very dedicated to their studies and were passionate about their own research interests in a way that was refreshing. They shared the kind of dedication I felt at the time for more academic work. This all played a significant role in how my chapbook Love Poems turned out.  

Q6: What do you consider your most meaningful work you’ve done creatively so far to you?

Kevin: I’m most proud of the new work I’ve been producing over the past couple years. Jack has pointed out a pretty significant syntactical shift in my newer poems and they’re much different than any of the stuff included in my other books. I’m doing a lot more with punctuation and white space than I have before. I’m very proud of how Love Poems turned out and am incredibly thankful to Bottlecap press for all their support in putting it out. But yeah, I think I’m always going to be the most excited about what I’m currently working on and the directions I’m heading in creatively. I think now that I’ve spent more time in New Hampshire and have had time to explore the areas surrounding, whether down in Massachusetts, up the coastline of Maine, or even into some more rural areas of Vermont, New England is very much finding its way into my poems (oftentimes without me even consciously attempting to do so). It’s mysterious to me, but very exciting.

Q7: Favorite activities to relax?

Kevin: I have spent A LOT of time at the beach this summer. The school I’m currently teaching at is only five or ten minutes from the beach, so it’s been easy to head over there after work most days just to read for a few hours. I’ve gotten a lot of writing done that way.

I also really love visiting with friends when I can. I’ve spent some wonderful evenings up in Portland, ME recently. There’s so much great food up there and they have a very vibrant arts scene (and it’s also super gay, which is nice). I think these conversations and visits I have with friends are the most generative events for my poems. I find so much love in these quiet, late-night conversations, and it’s always interesting to find out what other people are reading and thinking about. That’s important to me, to have those experiences and interactions.

Q8: What is a favorite line/stanza from a poem/writing of yours or others?

Kevin:

I don’t know if I’m ready to share anything from my new work yet, I’m still playing around with most of it, but I have been obsessed with this poem by Jack Gilbert recently. I actually came across it for the first time several summers ago, but I’ve been teaching it in one of my classes recently, so it’s been on my mind. The poem is called “Married” and it’s about the death of Gilbert’s late wife, Michiko. He writes,

I came back from the funeral and crawled
around the apartment, crying hard,
searching for my wife’s hair.
For two months got the from the drain,
from the vacuum cleaner, under the refrigerator,
and off the clothes in the closet.
But after other Japanese women came,
there was no way to be sure which were
hers, and I stopped. A year later,
repotting Michiko’s avocado, I find
a long black hair tangled in the dirt.

It’s one of the best love poems I’ve ever read. All my friends tell me it’s a sad poem, but I truly don’t think it is.

Q9: Any recent or forthcoming projects that you’d like to promote?

Kevin: I’m currently in the process of putting together a new collection of poems, but before that happens, I actually have a nonfiction book coming out this fall with Another New Calligraphy. It’s called Forever in Transition: Queer Futurist Aesthetics in Gay Cinema. It was born out of the research I did for my masters thesis at UNH and is a combination of academic work and personal essay. I’m really proud of it and it’s the longest work I’ve ever written. It felt nice to get away from poetry for a little bit—but it’s also very nice to return to poetry after some time away.

Bio: Kevin Bertolero (he/him) is the founding editor of Ghost City Press and is the associate director of the Kettle Pond Writers’ Conference. He is the author of three collections of poetry, most recently Love Poems (Bottlecap Press, 2020) and his nonfiction book on gay cinema, Forever in Transition, is forthcoming in 2021 with Another New Calligraphy. He is currently studying in the MFA program at New England College and lives on the New Hampshire seacoast where he teaches English at a residential school for at-risk youth. You can follow him on Twitter @KevinBertolero or visit kevinbertolero.net for more info.

Poem “What Lies Beyond” by Z.R. Ghani

photo by Andrew Neel

What Lies Beyond

The sound of brawling crows
that the rustle of London
leaves unbroken

ravages my attention. I put down
my book and gaze at the mist
beyond the white frame of my window.

If only the familiar trees were visible,
as if easy to fold away like cut-outs
for a scrapbook, never used. 
In my mind, the trees can be scraped 
back like hair to reveal a window.

If only I could wipe away what I see:
the woman-shaped abyss behind
the glass, black flies – deranged blades – 
snipping at potted mint on the sill. 
Her hesitant mouth opens then shuts;  
I wait for wisdom that never comes.

Bio: Z. R. Ghani is a ‘Best of the Net’-nominated poet from North London, UK. She has a BA in Creative Writing from Bath Spa University. Zaina’s poems have appeared in Magma Poetry, Black Bough Poetry, The Willowherb Review, Square Wheel Press, Bind Collective, Hazel Press, and The Adriatic. —
Z.R. GhaniAuthor and poetBA Creative Writing (Hons), BA Creative Arts (Hons)Instagram: @z.r.ghani

3 poems by Michael Igoe: “Bright Eyes” “Fun Lovers” “Bible Story”

Antique 1860-80 Ecclesiastical Bible Study Chart, Adam, Eve, Satan, Grim  Reaper by OldBeaverAntiques on Etsy https://ww… | Biblical art, Adam and eve,  Spiritual art

Bright Eyes

The first one in open water                                                                                                                                    patrols the lonesome beach.                                                                                                                                                                 Grateful for stillness                                                                                                                                                to serve as the filter                                                                                                                                                           held in nimble hands.                                                                                                                                                             The inescapable skies                                                                                                                                                              above muddy reaches                                                                                                                                                                                 found rooted in sands.                                                                                                                                                                       Four winds can’t obey                                                                                                                                                       the ton of deadweight                                                                                                                                                                  that calls itself human.                                                                                                                                                                                                                                                                                                                              To have and to hold                                                                                                                                                                     without distractions.                                                                                                                                                                                                                                                                                                               Taking off my jacket                                                                                                                                                      I find my house keys.                                                                                                                                                                                       The new kid sold                                                                                                                                                                his lures and tackle.                                                                                                                                                                    Box tops will buy them                                                                                                                                                                                                                                                                                                                    if you sink on one knee.     

Fun Lovers                

I grasped finally                                                                                                                                                          when I last ate                                                                                                                                   valentine candy.                                                                                                                                                   In its heart shape,                                                                                                                                        with tender script.                                                                                                                                                                The blue one                                                                                                                                             dyes wombs                                                                                                                                                                                                                                         of new friends.                                                                                                                                                                          The same ones,                                                                                                                                          I at first adored.                                                                                                                                                                                    Then it turned out,                                                                                                                                                              they’re friends like                                                                                                                                                         stooges or footmen.                                                                                                                                                                                           Reaping the same,                                                                                                                                                as we always have                                                                                                                                                                    we watch together                                                                                                                                                                incipient breathing.                                                                                                                                                           We waited to see ourselves                                                                                                                                            over by the coffee machine.                                                                                                                                                                             Dropping poker chips                                                                                                                                 after losing everything.                                                                                                                                                                                                                                                                                                                                                                              We can’t quite place                                                                                                                                   all the young dudes.                                                                                                                                 They wear No. 2 clothes,                                                                                                                                                                                                                                                                        at the evening pony rides.     

 Bible Story              

We popped a bubble,                                                                                                                                      it made us wide eyed.                                                                                                                                                        Soon we’re dead set                                                                                                                                against every slander                                                                                                                                                   Adam and Eve,                                                                                                                                      willingly precede,                                                                                                                                                          in separate gardens.                                                                                                                                              They remain blessed                                                                                                                                        by a stoplight’s peril.                                                                                                                                                   They smile the smile,                                                                                                                                            belonging to winners.                                                                                                                                                              Our hero of the moment,                                                                                                                                                   is restrained in his efforts                                                                                                                       he mimics only cool ones;                                                                                                                                                                                            he thinks he’ll hit the target.       


Bio:  Michael Igoe, neurodiverse city boy, Chicago now Boston, recovery staff at Boston University Center For Psych Rehab. Many works appear in journals online and print. Recent: Spare Change News(Cambridge MA), thebluenib.com, minerallit.com. Avalanches In Poetry Anthology@amazon.com. National Library Of Poetry Editor's Choice For 1997. Twitter: MichaelIgoe5. poetryinmotion416254859.wordpress.com. Urban Realism, Surrealism. I like the Night.                                                                         
                                                  


2 Poems False Prophet & Violet Contact by Michael Igoe