1) Who is John C. Mannone?
I suppose I could list the biographical blend of my literary, professional and hobby life, but I would want to hold your attention for at least a few minutes (laughing). Instead, I'll blend those things as we go along and at the end of the questionnaire, I'll provide a list of some a wide cross-section of my work (not just speculative fiction) that is published online that you can access. But you should know up front that I am a Renaissance man of sorts. I am a scientist, an engineer, a writer, a scholar, a student of life, and a Christian.
I am Sicilian by heritage, first generation not born in Italy, but born a US citizen in Montevideo, Uruguay, went through my toddler years in Buenos Aires, Argentina, and grew up in Baltimore, MD after I came to this country. I haven't been back to South America since I was four and a half. So the Italian blood and Latin culture might explain my intense passions, which often come out in my writing. Most of my work is poetry, but I enjoy flash fiction writing (which, in my case, is often poetical).
Professionally, I am a nuclear consultant and an adjunct professor of physics, chemistry and astronomy in area colleges, an active member of the Knoxville Writers Guild and the Senior Editor of the Journal of the Society of Amateur Radio Astronomers. I also serve as one of the five hundred NASA/JPL Solar System Ambassadors (Tennessee 2008).
2) The term "liquid imagination" denotes imagination that liquefies, that fits the need of the moment, becoming exactly what is needed at that specific moment in time. It can be a horror story, a love story, or perhaps a humorous article. Can you explain how creativity initially sparks for you? From the moment inspiration hits, to getting the story written, and finally working that story into a polished piece of fiction that makes you proud-how does it work for you?
These are particularly such important questions that I am going to expound on them, but I am going to modify my response for poetry and flash fiction since I do not write short stories (let alone anything longer). However, the logic in general is the same for these longer works that would concentrate on character, setting, plot, conflict, and resolution. These particular elements might show up in part in my narrative poetry, prose poetry or some flash fiction, but the context is wholly different. I am also going to extend the question to include taking the work to publication.
What initially sparks creativity in me can be just about anything: a sound of a bird, the gurgling stream, the rustling leaves, a song, a radio commentator's remark, an expletive; a sunset in the mountains, the "hobbit's glen" on a hike in the woods, the glitter of a thousand silversides on an underwater dive, a patch of pumpkins decorating a bumper-crop field from three thousand feet; a child's smile; the smell of honeysuckle, the scent of my lover's hair, a baby's face, the incense of earth, the smell of death; the taste of merlot, catfish with the flavor reminiscent of the pond, the sweetness of corn, and Oh-my-God plums; the texture of her lips (on mine); my hidden thoughts. Can I explain how it happens? No, but I can only guess. Something triggers a past memory/experience and is brought into sharp focus. And it is that thing which often sets the mood of the poem or becomes the metaphor for the heart of it. When I first started writing seriously (May 2004), I used to think that inspiration was divine. Well, I still think it is divinely inspired, but not in the same way as waiting for an epiphany. The inspiration comes through much more subtly and often through associations among words, images, experiences.
Once an idea or just a line that grabbed me is jotted down (and I mean on paper - napkins, envelope backs, whatever is available whenever the thought comes... often when I'm driving), I have a brainstorming session as soon as it is safe, even if I have to pull off the side of the road. Other thoughts are scribbled (literally) and themes begin to emerge. Ladies and gentlemen, we have the genesis of a poem! Usually, I would continue the thought process at a place away from my computer or my home for that matter. It is might be surprising that I don't have a "writing studio" in light of my continuing success in writing and publishing poetry. I find working at home in this critical phase of writing to be too distracting. I need a new environment or at least a different one from my house. I do not know why; maybe it's Pavlovian, but whatever it is, it works for me. If alone, I often will head to a casual restaurant or comfortable lounge and enjoy the writing challenge during and/or after a meal. (This not only applies to my first draft, but to subsequent revisions, too, but the revisions I can do anywhere.) The important thing is to get a semblance of a draft written longhand. Later (and not too much later for fear of not being able to read my own handwriting!), I type the first draft on a computer and label it just that (draft or rev 0), which I then log in an Excel spreadsheet. Once the critically important part of the poem - its heart - is captured on paper, then and only then do I begin the difficult, but is incredibly important revision process. Why? Because writing the poem from the heart is accomplished mostly through the right side of the brain, while the left side of the brain mostly dominates the editing and all the creative writing skills to craft the poem.
During the revision process, I might do a little research to get the facts right. It might be a simple question or confirmation of, say, the flower name mentioned in the poem. Is it the right one for that season and location? It is dangerous to rely on poetic license willy-nilly for things that can be readily resolved. If credibility is compromised anywhere in the poem, then the poem might be doomed to failure. Sometimes, the question or information needed is more difficult or complex. I am often rewarded for my diligence in these investigations with stuff to flesh-out the poem, the learning of new vocabulary, and the numerous "rabbit trails" that will lead to ideas for other poems.
When I have a very good draft or a revision that I am happy with (at least at that moment), I will then seek out input from my writing peers (occasionally from others for technical accuracy or from readers who don't write for interpretation and for their impressions of impact). Online resources, like American Zoetrope, can be very helpful, but there is no substitute for small group dynamics in a face-to-face workshop setting. I recommend you, the writer, to get involved with your "local" writers guild. If one is not nearby, then try to form your own critique group, ideally with three folks, but no more than four, that trust and respect each other and are at approximately the same writing level (don't worry if you're all beginners, you can learn together). Open mics are very important (besides giving self-confidence) because reading work aloud in public will quickly reveal flaws in rhythm, awkward constructions, and other errors not normally picked-up. It is easy to fool ourselves. So I include these venues in my revision process. Sadly, there aren't enough of these events or gatherings to keep up with all my writing, but I these forums are valuable to me and I highly recommend them, especially before the piece is submitted for publication.
Each major revision gets labeled and saved. I know, you are probably thinking I am a "pack rat" and you would be right about that, but there is a very good reason I save my revisions. Though rare, it is possible I can "revise the life out" of the poem. I might have excised a phrase after I had forgotten how important it was. At the same time, we writers must not be revision-resistant and we should learn to take Faulkner's advice seriously concerning revision. Paraphrasing him, sometimes we must kill our little darlings. Or to be less graphic, adopt them out to another family (poem or story). It is important to give the poem some settling-in time. I let it gel; distance myself from it for a few days to a few weeks (yes, it varies greatly, each piece has it's own personality). We are often too close to our own work (even subconsciously) to rush it off for review (let alone for press). So, in my opinion, unless you're a Pablo Neruda who won the Nobel Prize for Literature in the 1971 and who must have written flawlessly to have the sheer volume of published quality poetry, then sit on it, then revise it, and revise it and..!
Once a poem is in good shape, I do market research to find a good match. This time-intensive process can be frustrating, but essential. I want to pair my works with the right venues to maximize my chances of getting to the next level. (Regardless where one is at, I imagine that if there is a publication motive, he/she should strive to get published in progressively diverse and better venues. I don't expect this to happen from one poem to the next, but I do from one batch of poems to another, and certainly over the period of a year.) Notice I didn't say to maximize my chances of getting published. If that were so, I would just submit to easy markets. I have documented some strategies I use in my market search in a separate attachment. If you contact me, I am sure I can get it to you.
I like to send my work out in batches. Sometimes submission deadlines happen to fall that way for many of the magazines and journal I submit work to, but I like to stagger them anyway. Nothing is guaranteed except some rejections, and I assure you, they will come, but so will the acceptances. It is good to have good news come in the midst of rejections to help maintain writing momentum. (A positive "yippee" attitude helps defray the feeling of dejection, too.) But I try to minimize the rejections by savvy choices and by being compliant. I ALWAYS follow the editors' submission requirements and try to accommodate their preferences. It's their publication. If I didn't care whether my work gets published there or if I like collecting rejection slips, then I would shotgun poorly revised stuff without even spell checking the cover letter (or the email).
It always feels good to have work published, read and enjoyed by others. So drop a line to the author and to the editor!
3) People wear "social masks" in our society today, brought on by social conditioning-trying to be the loyal son, the ultimate lover, the crazy friend or tough guy. A priest enters a room and the teenagers stop talking about sex, putting on their "church masks" (if they're religious). That's just one example, but there are others, such as you giving a "plastic smile" to a co-worker when you're late for a lunch date with someone important to you. What "personas" or masks do you wear? What fictional character have you created that best shows these differing personas?
I am not sure I understand exactly what you're asking. I try not to wear any mask. And since I don't create characters as one would in writing short fiction in the same sense as storywriters would (see earlier discussion), I don't have alter egos. However, in fairness, I must say that in my opinion every writer is disclosing something of himself/herself, whether it is through a fictionalized character or, as in my case, the voice in the poem. Some of my poetry is indeed confessional and Appalachian (which lends itself well to confessional forms), but please, do not confuse confessional poets with those who are emotionally disturbed. Sadly, some precedents have been made (the brilliant, but troubled Anne Sexton is a case in point). And confessional poetry is not cathartic either, though I imagine it could be (but if it were, then I wouldn't expect to see much publication potential in today's literary market). An example of confessional poetry is Keeping Warm (American Diversity Report, January 2009).
Okay, so who is the voice behind my poems that might be a social mask? I would say that some of my pieces have deep layers of emotional hurt. For example, I might consciously write about a disaster such as the sinking of the Titanic or a plane crash, and on the subconscious level, see nuances of my wrecked marriage. And when I am conscious of this tie, I do not erase it from the poem, but leave it as a subtle or latent impression.
4) Have you "the Writer" managed to bring all your "selves" (masks/personalities) together, integrating them into one cohesive and harmonious person?
Basic English Writing 101 teaches about us about unity, harmony and coherence. My poetry is not exempt from this writing paradigm. Otherwise my work would be a memo, a personal journal entry, a rant or something other than what it should be if I plan to share it with the reading world. And I do.
5) What work of art still has an impact on you (any art, novel, short story, prose, or poem)? Do you feel it has embedded into your subconscious, becoming a framework you unconsciously build upon without thinking about it? Or does your art flow out of you without any undo influence from outside yourself?
This is another interesting, yet difficult question to answer. It is difficult because it calls for something specific yet something fundamental, underlying and general, at the same time. But there is. The Christian ethic and the Holy Scriptures (still a best seller last time I checked) have a profound effect, yes, even in my horror and fantasy writing. Though this is another subject for another time, but suffice it to say that writing dark pieces is not necessarily inconsistent with the Scriptures; respectfully, I posit that they are full of dark movements, too. A couple of examples are The Unforgiven (Liquid Imagination, Issue 3, Summer 2009) and The Deluge (Sonar4, August 2008 debut issue)
So, yes, it is embedded into my subconscious, becoming a framework that I unconsciously build upon, but I build on it consciously as well or when the subconscious element is revealed. However, I do not think that the art flowing out of me cannot be precipitated by an influence external to myself; in other words, I do not think being driven by a Christian ethic, even subconsciously, mutually excludes an external influence. In fact, I am often influenced by external sources, but they are tempered with Christian sensibilities before the art flows out unto the paper. For example, Just Before Morning (not yet submitted) might seem like a poem about light and dark, but has numerous allusions to the Scriptures for an underlying subtheme. I was not conscious of this when I started, but refined it when I became aware of the theological implications.
6) Compare all your stories. Are there repetitive themes? Similar characters? Plots or monsters? What are they?
Comparing all my poetry, I do find recurrent themes, but fortunately, there are many themes so that the poems do not become boring or become their own clichés. But I think this would be true of any author. Some of these themes are universal, like love, relationships, destruction, social injustice, good and evil. Others are more specific embracing philosophical, theological, metaphysical, biblical, speculative, astronomy-related, and a host of others.
7) Is there a spiritual element to your writing? Not a "religious" element (such as writing what your church or religion believes), but a spiritual element to what you create?
There is a spiritual element in my writing - a Christian view to be specific already identified above. I do not write dogma, legalism, didactic or homiletic verse, but what I do write would not be inconsistent with a scholarly interpretation of the Scriptures (but might be in contradistinction to what some churches might teach, for example, Even the Vineyards Cried [previously very short-listed for Relief, a top quality journal of Christian expression], addresses the rape of Noah's wife by her son, Ham). I try to respect all religions in my writing; I can include other religions without personally endorsing pluralism.
Some of my poetry, together with Biblical commentary, is often used in Christian outreach, PoeticWord Ministries
8) Do you tune into music, and if so... what songs have recently inspired you? What have you been listening to lately that might have had an effect upon your writing? What is your playlist.
Music is often very good to have, most of the time I am struck with an idea for a poem, I am not in a comfortable stereo setting. However, if I had my choice, classical music, soft jazz, and some Christian rock creates an atmosphere conducive to my poetry. But much to some people's surprise, I have generated some powerful poems from more aggressive music (viz. Black Sabbath's title cut with the same name as one reads The Unforgiven and Jethro Tull's Locomotive Breath for a poem with the same name; there are several others).
Capturing the B-flat keys for a melancholy feeling is accomplished with consonantal rhyme (I rarely write end rhyme poetry, so I am talking about incorporating this as internal rhymes).
Music can help in setting the mood for the poem, just as weather can. I plan to study the Jazz and Blues poets more carefully.
9) While writing styles and templates change, what about a writer's voice? As the writer grows and evolves through the years, does his narrative voice change? What about yours?
(I cannot comment on templates, except to say I abhor them. I do believe that various genre fiction - Romance, Western, Erotica or even some Speculative Fiction - that might use templates would fair much better than they do if the template was crumbled in a wad and eighty-six'd! Then again who is to say I am right? Pulp fiction, for example, have tremendous sales! Okay, seriously, writing for entertainment is a good thing because those writers are filling a niche the public wants. All of my comments are directed toward writers listening to the beat of a different drummer - perhaps literary, whatever that is, or something that might be used as an example of great writing in an upper level university English class! All of these genres have a potential to be so much more than what they are; however, I am very hopeful for speculative fiction. There are new things to explore here: writing styles, techniques and voices. This is why it has grabbed my attention. This is what I like to blend literary fiction with; where it is most liquid for me.)
As writing styles change, so can a writer's voice, but not necessarily. Early on, my style did change, but my voice might remain the same. However, as I grew as a writer, maturing in my craft and not just getting comfortable with a couple techniques and styles, my voice became more clear and confident. It has evolved to accommodate several voices. The narrative voice is just one of those voices I have developed, but I don't always do narrative. When I do, then a narrative poem, prose poem, or flash fiction are my favorite forms for that.
10) Do you agonize over scenes in your stories? Perhaps the scenes depict rape or child abuse, or murder or a very sad scenario, but they're necessary because they're integral to the plot? What do you feel as you write these tough scenes?
It might not be called a "scene" in poetry, but I completely understand. At first, I wanted to dismiss this question because I don't agonize over contents, but that would make me a liar. Naturally, I am emotionally invested in any poem I write, especially if I expect my reader to feel the same pathos and have them experience the full blunt force of the emotion I strive to impact them with. The first level of agony, sympathy and empathy, is endured whenever I write about the loss of human life, the loss of a parent, the loss of a relationship. The second level of agony occurs with emotionally sensitive subject matter. Not only do I want to be sensitive, but also respectful concerning controversial philosophical, religious, social, political and cultural issues, such as when I write about heavily charged subjects of social injustice and racial bigotry, abortion, environmental abuse or natural disaster, the concept of evolution, even rape and murder in the most delicate way. I agonize not so much whether I will offend someone, that is almost a given, someone will always be offended, but rather that I will do justice to the subject, that I have done it with sufficient respect, while at the same time, instill rage. Yes, I agonize and often to the point of tears. Ted Kooser, a former US Poet Laureate, wrote in the opening pages of his book, "The Poetry Home Repair Manual," on why we write poetry. I'll paraphrase and adapt it to myself: I write poetry not because I want to say something, but because something needs to be said. (Okay, thanks to JAM, I have the original quote: You don't write because you want to say something' you write because you've got something to say ~ F. Scott Fitzgerald)
11) Do you write your own stories? Or do the stories write themselves? And do you have to get out of the way of the story wanting to be told, or do you feel you need to master your muse and force inspiration to obey?
Do I write my own stories or do the stories write themselves? I think I understand- this is one of those right-brain, left-brain questions isn't it? LOL. Let the right side have its way, get it on paper, whatever technique you use - some folks like stream of consciousness writing or free fall as others would call it. Just write it unencumbered, caring less about diction, grammar or punctuation; others might journal. I don't do either, but the closest thing to this that I might use is brainstorming, which isn't so much writing continuously, but jotting things on a piece of paper as they come and not worry about the theme or anything about crafting. And the thoughts can come fast. The important thing is to capture them. If you want to call this "the story writes itself" then okay, I'll buy the terminology. As discussed above, once I've captured the story/poem, the heart of it, then I fully engage the left-brain and take complete control and craft the story/poem. Getting out of the way (right-brain), mastering the Muse (left-brain) and forcing inspiration to obey (left-brain) have been already addressed indirectly.
12) What is your greatest triumph with your art (writing, artwork, painting, poetry, film, etc.)? What is your greatest failure?
My greatest poetic triumph is very difficult to pin to a single event. I don't have a Pushcart to brag about yet or publication in a top tier poetry journal (I am not an established voice, but a rapidly emergent one). But my triumphs can be portioned out to several things happening in recent months: my poetry is beginning to appear in several excellent journals (Aethlon, MO: Writings from the River, Main Channel Voices, et al), the rate of acceptance has increased dramatically in one year, I've won some national recognition (Hauntings - Inglis House Poetry Contest) and contests in the very promising urban fantasy ezine, Liquid Imagination (Raven-Black Dreams - Raven's Brew Contest [Poetry] in Issue 2, Drenching Rains - Troll Contest [Poetry] forthcoming in Issue 4) along with other limited venue or regional distinctions), my poetry made an excellent showing in the Older Writers Speculative Fiction Grant (The Deluge, mentioned earlier, nearly got honorable mention; it's only deficiency was that the reviewer wished it were longer), and a recent rejection (yes, you heard correctly) from Fifth Wednesday Journal, The Pines of Maunabo, made it to the final round (equally remarkable is that it's a love poem). Had it been accepted, I would have had the honor of being published in the same issue with the 2009 Pulitzer Prize winning poet and fiction writer, Elizabeth Strout (see Appendix), who I believe to have met in Charlotte in my formative writing years.) Also, this year I have successfully penetrated the Speculative Fiction market with numerous publications in new subgenres of horror, fantasy, magical realism, and others using slipstream techniques. Collectively, this year has been very prolific and that must be my triumph. (See some examples at the end.)
My greatest disappointment was the recent rejection of some of the strongest poetry I have written: First, my not winning the Poets & Writers Maureen Egin Poetry Contest for Tennessee writers, and second, my twice failing to get into Agni, the very fine publication of Boston University. I see them as stepping-stones to my becoming established... I will find another stone to balance on while I try to get to that shore.
13) The state of the economy affects everything including entertainment and book sales. Have you been affected? Has your writing been affected and/or influenced by the world and current times (past or present)?
Well, yes, the economy has had an effect. I am not able to purchase as many sample journal issues that I would like or chapbooks of poetry. Though I do support other excellent poets in my immediate circle as best I can, I don't buy many collected works of established voices, except for the very best. Perhaps there is less wine and more radio music for when I write at home, but there has been no real impact on my writing. Well, maybe a little depression now and then will undoubtedly carry through into a melancholy piece. As far as productivity levels, I haven't noticed an effect. As far as content, the impact has been minimal, but nevertheless, has produced some poignant pieces about family during tough Depression times; one has been accepted, the other undoubtedly will (Working the Wood [Aethlon, January 2010], Bread & Butter Pickles).
14) The small press and online magazines are folding faster than ever before. Good quality magazines are having a tough go of it, and their editors are trying to raise the money to send those quality publications to print. What do you think the future holds for the publishing world? Not just the big boy publishers, but small press and online magazines (ezines).
I wish I knew, but I don't know, but I feel that the electronic journal is in a far better position than print journals simply because of the expense and the rather small readership of poetry. (Short stories, Novellas, and particularly Novels, have a much better future, especially with the growing popularity of e-books and Kimball readers.)
But this I do know, I will continue to support the small presses and ezines that publish good quality poetry. At he same time, I will continue to support new publications provided I see growth, first in the level of quality of poetry/flash, and second treat their contributors with first class citizens. Poor or inconsistent quality and/or arrogance will lead to their demise in the current publishing atmosphere, but at the very least, will lose my support. That's my opinion, right or wrong.
15) What projects are you working on now?
I have been working on several chapbooks and other literary projects that are in various stages of completion. These are tentatively entitled: A Moon I Can Only Feel; Shards of Space: A Poetic Tour of the Universe and Poiema: A Collection of Biblical Narrative Poetry, as well as the light conservation project, Nightsongs, which a collection of poems, images and commentary on PowerPoint. The slow step has been my patiently waiting to have more of the individual pieces separately published. But after talking with some small press publishers, the old school wisdom of having 50-80% of the work previously published before compiling a chapbook of poetry might not be followed by many anymore. In that case, I will be actively looking for quality presses to consider my work!
More recent projects are publishing a book of poetry in Braille and an accompanying CD with voice recordings, while at the same time, having the poetry on PowerPoint with images for enhanced visual experience for the hearing impaired, as well as in Standard English print poetry book of romance. I am also putting together a speculative fiction poetry collection as well as collaborating with visual artists and musicians on some innovative projects.
16) It is amazing that a writer, poet, artist takes the blank page or blank canvas and creates value where none existed before. Imagine the blank typing paper that went into Stephen King's latest novel. Imagine the typing paper that went into your greatest work. Do you feel that work has value? And, if so, how are you able to transfer the value that YOU feel for that work into the minds of your readers/viewers?
There is value already there on the blank page- a sea, which on the surface seems featureless, but dive down, below the blue ink and discover your treasure hiding there- in the sunken recess of you mind, half buried in ocean sand and hidden by swaying sea fans, in that magic bottle tugged by the surge, by the tide, carrying a message to the surface, bobbing just below the surface for a while until it washes ashore. And in that bottle you uncork and read the words that you had been trying to find the whole time.
Yes, it has great value; it merely has to be discovered, first by you, the writer, and then by your readers.
I transfer that value to my reader by immediately trying to draw them into my world, where imagination is liquid, soothing or violent, but tenacious as a drop clings to the surface of a leaf.
Appendix
3rd Person Literary Bio
Since he has started writing seriously in the spring of 2004, over seventy poetic works have been widely published in mainstream and speculative fiction journals. He has won first prize in national competitions for the Inglis House Poetry Contest (Wordgathering 2009) and first prize in the Raven's Brew Poetry Contest (Liquid Imagination 2008). He has also received regional merits for his poetry entered in poetry slams in Chattanooga, TN (2005-2007) (Rhyme N Chatt and The Gospel Mailbox) and the Bat Creek Poetry Literary Festival in Madisonville, TN (2007). He also has been awarded funding from Sweetwater Valley of the Arts to conduct poetry workshops for the Sweetwater High School English classes (2006). In addition, he has led poetry workshops (2009) as a special guest to Farragut Middle School, Authors Days.
His poetry appears (or has been accepted) in the Iodine Poetry Journal, Thrift Poetic Arts Journal, MO: Writings From the River, Aethlon: The Journal of Sport Literature, Main Channel Voices: A Dam Fine Literary Magazine, Wordgathering: The Journal of Disability Poetry, Linnet's Wings (Ireland), Bat Creek Journal, American Diversity Report, Liquid Imagination, Silver Blade, House of Horror (UK), Mirror Magazine, Frontage Road, The Reflector (publication of The Astronomy League), Swiss American Historical Society Review Journal, International Dark-Sky Association Newsletter, Static Movement, Sonar 4, Chain Reaction (Karns HS Literary Magazine), Astronomical Calendar 2007, the prestigious publication by Guy Ottewell, Proceedings of the Society of Amateur Radio Astronomers, The Barnard Star, and Astropoetica: Mapping the Stars through Poetry. His work also appears in various anthologies, such as Poetic Praise (2005 Anthology of Rhyme N Chatt), A Knoxville Christmas 2008 (Greyhound Books, October 2008), 90th Birthday Commemorative Book (tribute to the celebrated sidewalk astronomer, John Dobson), Bleeding Hearts: Selected Poems from the Poetry Workshop of the Knoxville Writers Guild (limited printing, Iris Press, June 2009), Mausoleum Memoirs (House of Horrors, Lulu Press, June 2009) and eVokability: The Walking Project.
Consistent with his philosophy that literary quality poetry umbrellas all poetry, regardless of genre, he embraces the task of writing literary quality speculative fiction poetry (and some flash fiction). (Speculative fiction includes various sub-genres of science fiction, fantasy, horror, magical realism, surrealism, etc., as well as a blend of any of these, including with literary fiction.)
Selected Poetry Links
Hauntings (6th annual Inglis House Poetry Contest winner, Wordgathering, June 2009)
A Sweet Kind of Blindness and Leaving Shadows (written for the lovely Wanda Liz Diaz-Merced) (Wordgathering, December 2008)
The Smell of Bubbles (Linnet's Wings, Summer 2009)
Sleeping with the Monkfish: An Execution (Linnet's Wing's, Yule Issue, 2008)
Reflection on the Charles (American Diversity Report, July2009)
Fly Me to the Moon (American Diversity Report, June/July2009)
Aftershocks (The American Diversity Report, April 2009)
Keeping Warm (The American Diversity Report, January 2009)
Midnight Mass (The American Diversity Report, December 2008)
Coyote and Painting Myself into a Corner (Silver Blade, Summer 2009)
Raven-Black Dreams, Little Red Riding Hood Beware and Nightshade (Liquid Imagination, Winter 2008)
The Unforgiven and The Magical Realism of Astrology (Liquid Imagination, Summer 2009)
Nephillium, Stardust in the Gold and Tabukari (Static Movement, Invitation Only Issue, featured Poet, February 2007)
Pearls in Galactic Oysters (Astropoetica: Mapping the Stars through Poetry, Spring/Summer 2007)
The Final Fling (Astropoetica: Mapping the Stars through Poetry, Spring 2006)
Sheer Lunacy (House of Horror, Issue 1, June 2009)
The Languishing (House of Horror, Issue 2, July 2009)
Counterfeit (Mirror Magazine, see Pride section July 2009)
Elizabeth Strout
