Poetry ZOne Archives - ZO Magazine https://zomagazine.com/category/poetry/ Thu, 21 Apr 2022 16:58:02 +0000 en-US hourly 1 https://wordpress.org/?v=6.1.3 https://i0.wp.com/zomagazine.com/wp-content/uploads/2019/01/Separator-circle-w.jpg?fit=32%2C32&ssl=1 Poetry ZOne Archives - ZO Magazine https://zomagazine.com/category/poetry/ 32 32 65979187 The Mutations of Mickey Leigh https://zomagazine.com/mickey-leigh-interview/ Mon, 14 Feb 2022 06:00:16 +0000 http://zomagazine.com/?p=22923 Photo Credit: Gregory Berg For much of his life, Mickey Leigh had been part of a group, and it served […]

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For much of his life, Mickey Leigh had been part of a group, and it served him well through a childhood that was so fascinating a book had to be written about it to the ‘70s in the depths of New York City’s booming music scene. Now the music vet is focusing on the next chapter of his journey by riding alone for his debut, solo album. We talked about the February 2022 release, ‘Variants Of Vibe,’ the importance of mutating with time, and the exciting things on his horizon.

Kendra: Musicians often have two foundations…they either come from a family that has zero artistry or their talent is biological in a way. You seem to be the latter. You detail as much in your memoir ‘I Slept with Joey Ramone: A Family Memoir,’ about you and your brother, the late great Joey Ramone. With that, I want to know what initially guided you towards music? Was it a song, an artist, a performance, a relative?

Mickey Leigh: Well, it’s a little embarrassing to admit this publicly, but, since I’m the only one here at the moment, I suppose I’m only admitting it privately. Either way, it happened naturally, innocently, and rapidly. When I was very young, around 2 or 3, my mom sang me a song. I was fascinated by the first feeling of a rhythm being brought to life inside my body. The mesmerizing melody made me happy, giddy, and euphoric. My mom gave me one dose of “Twinkle Twinkle Little Star,” and I became addicted to music. I fell in love with it. Then, my grandma bought me a little ukulele, and the marriage was consummated.

Kendra: Once you got older you spent a great deal of time in the NYC scene back in the ‘70, and I recently spoke to another artist who said we often romanticize that time in music history. How do you feel looking back on it as someone who was there as well?

Mickey Leigh: …old.

Kendra: From then to now, it goes hand in hand with something you said, “…music is perpetually re-adapting itself in order to survive = mutating.” As someone who has been ingrained in the industry for a handful of decades and has seen firsthand how it’s had to evolve, what would you say have been some of the most eye-opening mutations over the years?

Mickey Leigh: Hmmm…the most eye-opening mutations in the industry… I haven’t seen it, but I’m gonna say that would be the Buddy Holly and Roy Orbison hologram concert. Definitely an eye-opener, despite the fact that they look the same as they did – or, so I hear.

But, to be serious (and I’m not an expert or an authority on this subject), when things “mutate” it’s not like a caterpillar-to-butterfly type of metamorphosis. It’s so subtle, you barely notice that it’s mutated, or that it’s mutating – just that something seems the same, yet is somehow different at the same time because it’s actually something old but becoming “new” – I know…That’s deep stuff.

Kendra: Again, you’ve been making music for a long time but you’ve always done it in a band setting. This year you’re mutating yourself and stepping out for the first time with your debut solo record, ‘Variants Of Vibe.’ Did you learn anything new approaching an album solo?

Mickey Leigh: I learned that I could save 15% by switching to Geico.

Sorry, I joke because I get nervous doing interviews. I DID learn something (though I was already aware of it) – that when I write the songs, produce the recordings, and play every instrument other than the drums – played by my dear friend and drummer of 25 years, Sir Lord Duke the Honorable Patrick “the carpenter” Carpenter – it goes really fast and is extremely economical. It’s less stressful in a way because I know what I want to hear. And sometimes it’s easier to lay the track down yourself, rather than to teach it to someone.

But, now that I have my “brudda” and former bandmate Wes Crawford with me, I feel it’s better for him to take part in the studio experience by playing the bass parts and singing the same parts he would be playing live, during the recordings. And I’m always open to all ideas throughout the process.

But, the greatest thing I gained from making my own record was confidence. I mean, I know when something’s good and when it sucks. But, when someone like Stevie Van Zandt deems five of my tracks “Coolest Songs in the World” on his radio program, Little Steven’s Underground Garage, it’s certainly a nice confirmation.

Kendra: So the past few years have been hard, especially on musicians with live events being one of the first things to get cut in 2020. With that, a lot of musicians have struggled and found making music “No Fun Anymore.” Being that you’ve had such an admirable career, what advice do you have for artists struggling right now with creating and focusing?

Mickey Leigh: Wow, that’s kind of a psychological issue; and would probably be a question for someone like Dr. Phil could answer – Except he’s not an artist or a doctor!

My advice would be this: there’s ALWAYS going to be a struggle in life. There might be a few breaks in the action, but life is a series of struggles of one kind or another. The various hardships we’re all currently enduring loom larger than in any other period in my lifetime. I can’t deny the sense of confusion and apathy prevailing, but those things can be as inspiring as they are disturbing. I see these things as ammunition for song slingers. There’s always going to be turmoil on this planet. Get used to it, and say what you have to say about it, whatever that is. …I don’t know if that was helpful advice but it’s the same advice I give myself.

Kendra: A bit of a side note…being that it’s February, I’m asking every artist this month to share their favorite love song…

Mickey Leigh: Oh man…I hate trying to pick my favorite song when there are so many to choose from. I can tell you that it’s one of these, and probably the first one:

“I Was Made To Love Her” – Little Stevie Wonder
“Happier Than The Morning Sun” – Stevie Wonder

Kendra: Lastly, with ‘Variants Of Vibe’ out this month, what else can fans both new and old be on the lookout from you as we continue to get through this first part of 2022?

Mickey Leigh: Why do I feel like I’d be bragging answering that question? …I’ll get over it.
Well, this could be a biggie, I wrote a book that’s been optioned to be adapted for film. It’s very close to going into production. I’m not really big on talking about things that haven’t gone into production yet, but it’s looking pretty good at the moment.

I’ve already written some new songs that we began recording in February of 2020. I’ll never forget walking out of Mercy Studio on 14th St & Ave B in Manhattan on March 13th, 2020. The streets were empty and the city was dead quiet, except for ambulance sirens. The lockdown began that night. I’m anxious to finish the songs we were recording at that time, and the others taxiing on the runway behind ’em.

There’s another book, or two – whose pages I’m hoping to put words on – that currently reside either in my head or sheets of printer paper. Despite the pandemonium, I have no shortage of projects and ideas for more of them.

I guess some artists thrive when they’re struggling.

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]]> 22923 ALLITERATION https://zomagazine.com/katch-campbell-alliteration/ Fri, 10 May 2019 01:24:15 +0000 http://zomagazine.com/?p=5135 The post ALLITERATION appeared first on ZO Magazine.

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ALLITERATION and CADENCE | Ellen Bryant Voigt’s “GROUNDHOG”

KATCH CAMPBELL

Gregory Orr in his essay “Four Temperaments and the Forms of Poetry” describes a poet’s innate temperament(s) as being story, structure, music, and imagination. Ellen Bryant Voigt’s poetry suggests a possession of equal gifting within these four classifications. Her recent publication in 2013, “Headwaters”, is a showcase for her mastery of syntactical manipulation. The entire book is without punctuation though each poem has its own rhythm and musicality. The following paragraphs discuss how one stanza of GROUNDHOG within “Headwaters” uses a variety of poetic tools to create a unique cadence and, more specifically, the use of alliteration in this way.

Alliteration, a phonic echoing device, is the repeated use of an initial consonant sound or consonant cluster in the stressed syllables of words close enough to each other to affect the reader’s hearing. Alliteration has the ability to create cadence, to act as a pseudo structure for meter, as to make the line move in a musical fashion.

Wasser Marsch! by Gaucha Berlin

The final stanza of GROUNDHOG:

in Vermont natives scornful of greyhounds from the city

self-appoint themselves woodchucks unkempt hairy macho

who would shoot on sight an actual fatso shy mild marmot radiant

as the hog-nosed skunk in the squirrel trap both cleaner than sheep

what we’re called words shape the thought don’t say

rodent and ruin everything

Before beginning to explore Voigt’s use of alliteration and its effect on cadence, it is important to note that this poem is done in syllabic verse that also effects cadence. In fact, Voigt uses a multitude of poetic devices to effect rhythm. All but the last two lines of this stanza are between 13 and 15 syllabic beats. The final two lines are 9 and 7 syllabic beats, respectively.

The first two lines of this stanza do not employ alliteration but do offer some rhythmic effect in the rhyme of ‘natives’ and ‘greyhound’. Throughout the stanza Voigt uses dissonant lineation or enjambment to effect cadence. In the first line the final word “city” creates a slowing with the ‘s’ and then ‘ty’ sounds, as it is similar to the word stop, and offers an additional sonic break beyond the line itself. The second line uses repetition with the words “self-appoint themselves”, sliding the cadence into the clunky sound of “woodchucks”. This compound word and its harsh ‘ch’ and ‘ck’ create a medial caesura within the line before going on to “unkempt hairy macho”. The next five lines are where alliteration and its effect on cadence are most prominent. In line three, Voigt expertly uses what could be considered a tongue-tie (possibly slowing the cadence) in such an exacting fashion that the words zip along increasing the cadence. The ‘w’s of “who would”, the ‘s’ sounds of “shoot on sight” and “actual fatso shy”, and finally the ‘m’s of “mild marmot” move the reading quickly in a rising tempo. The phrases “who would shoot” and “an actual fatso”, both in triple meter, are connected by the short dimeter phrase of “on sight”. Voigt ends this line with the “mild marmot”: a triad of ‘m’s to rush toward the lines final word, “radiant”, where the ‘t’ of ‘radiant’ creates its own sonic stop. The fourth line uses alliteration with “skunk” and “squirrel” and finally “sheep” (the sh being an off-alliteration). The triple meter of “hog-nosed skunk” skips along into these easy ‘s’ sounds, offering a natural cadence and leads into the fifth line where the ‘f’ sounds of “fur fluffy” are not as simple, therefore slowing the cadence. Voigt again uses caesura after “maybe he is a she/ it”. This play on pronouns, their rhyme scheme, and their subsequent brain teasing effect creates a stop at “it” and allows the cadence to slow for Voigt’s final conceit. This ‘it pause’ allows the reader to break the final two lines into syntactical chunks.

As mentioned above, the last two lines of this stanza (and the poem) are syllabically shorter. These shorter lines along with the alliteration of “what we’re called words” slows the cadence and allow the reader to digest the conceit. I would argue that the ‘ought’ sound of “thought” at the end of the sixth line can be tied sonically into this ‘w pattern’ as the reader’s mouth moves similarly (and so their brain feels) the continuation of the alliteration pattern. The reader moves smoothly into the final line from the use of “say”. The alliterative uses of ‘r’ in “rodent and ruin” are a playful end to a sobering conceit.

Ellen Bryant Voigt renders magic with a musical baton in “Headwaters”. Her mastery of poetic devices offers each poem an individual melody and, when presented together, a cohesive score that is the entire work of “Headwaters”. If one stanza of one poem offers such lessons, one should consider a reading of the whole work.

REFERENCES:

Orr, Gregory, Ed., Voigt,Ellen Bryant, Ed.,. Poets Teaching Poets: Self and the World. University of Michigan Press, P.O. Box 1104, Ann Arbor, MI 48106; (paperback: ISBN-0-472-06621-8, $17.95; hardcover: ISBN-0-472-09621-4)., 1996. Print.

Preminger, Alex., Brogan,T.V.F.,. The New Princeton Encyclopedia of Poetry and Poetics. Princeton, N.J.: Princeton University Press, 1993. Print.

Voigt,Ellen Bryant,,. The Art of Syntax : Rhythm of Thought, Rhythm of Song. Saint Paul, MN: Graywolf Press, 2009. Print.

—. Headwaters : Poems., 2013. Print.

Please connect with Katch Campbell on Twitter.

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]]> 5135 2018 Teen Media TOP 11 POETRY FINALISTS https://zomagazine.com/teenmediapoetry2018/ Sat, 27 Apr 2019 17:58:24 +0000 http://zomagazine.com/?p=4299 The post 2018 Teen Media TOP 11 POETRY FINALISTS appeared first on ZO Magazine.

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THIS PAGE CONTAINED OUR TOP 11 POETRY FINALISTS
FOR CRITIQUE AND THE JUDGES FINAL VOTING

And the Winners Are!

1st Place Gold — SARAH LAO for “Seascape”
2nd Place Silver — MAXIMILIAN LLOYD for “Night itch”
3rd Place Pearl — GRACE TRAN for “the moon and me”

CONGRATULATIONS EVERYONE!
EXCELLENT — CLEVER — THOUGHT-PROVOKING WORK

JULIA TEFFT

Circle of Life

Hearing people’s regrets,
Is all I’ve ever known,
But they all had their chances,
They all could’ve shone.
You see, everyone has regrets,
Things they wish they’d done,
Whether they wish they’d been more serious,
Or they wish they’d had more fun.
The circle of life,
Is more than a cliche,
It’s made up of people’s stories,
And we choose what ours will say.
Unfortunately, not everyone takes advantage.
As they curve around the bend,
Some people never realize,
Life comes to an end.
Others eventually mature,
But in the time they were young and dumb,
They made poor decisions,
And tainted their books with scum.
This philosophical dilemma,
Has been around a long time,
But now we must realize:

We get to choose whether our book is shiny,
Or filled to the brim with grime.
We need to teach this to our children,
Just like my parents did to me,
Or we’ll continue in this circle,
And it’s all we’ll ever be.

CAMILLE DIAS

Carousel of Love

I asked my mother
How do you describe
These anxious twirls
Of fluttering butterflies?

She told me, Dear
That’s anticipation
Flittery and flowy
Waiting for more

I asked my father
How do you describe
These perky somersaults
Of a hidden gymnast?

He told me, Sugar
That’s exhilaration
Racing and exciting
Captivating the world

I asked my brother
How do you describe
These dizzying twirls
Of an erratic top?

He told me, Sis
That’s confusion
Loopy and weakening
Entrapping your mind

I asked my sister
How do you describe
These uneasy pirouettes
Of my internal dance?

She told me, Kitten
That’s growing up
Bewildering and fleet
Meeting someone new

My confusion was apparent
Still seeing through a haze
Their pity was palpable
They explained it once more

They told me, Child
These spinning feelings?
Twisting your reality
Rolling your tongue?

That, my baby
Is the carousel of love

MAXIMILIAN LLOYD

Night itch

The tiny bed of someone
who has given up on being loved
is full. Here we are,
together. I uncoil
hairs on your belly, watch them retreat
into rings upon rings, the way a lover would,
while you sleep. You are dreaming of lovers
now. You are preparing to wake up alone
with the fan on but, my love, it is too cold for me.

MADDISON HATANAKA

Your Circle

My heart speaks
It speaks the language of life
It’s a circle, forever round, but also changing
In the end, it’s one whole

Life is constantly changing and moving around
A roller coaster, ups and downs
Not stopping for anyone
No openings for anyone

It’s a cycle
Filled with experiences of a lifetime
Learning experiences
That could change us, change the world

We’ve got one life, one circle
Make it the best
Nothing’s for granted, especially not people
Make YOUR life YOURS

GRACE TRAN

the moon and me

the moon curves inward and inward and inward;
…..trapping stars and meteors
in her swooping arches, pale
face bleeding through the wispy clouds

rough skin, round as a peach
she spirals endlessly.

far beneath, waves toss and turn,
sweeping across the empty beaches and
…..old rocking fishing boats
like cradles.

night screams silently
while grandmother places child in bed, blankets up to her
…..tiny chin.
and then she is child and child is grandmother and
they are one and the same and
…..different, all rolled into a
translucent skin that catches the light and drinks it up.

the moon is the moon is the moon is
cut like a wheel, slices
…..of silver steel surveying the stars.

a ladder inches its way up to the moon
…..encircling the earth,
fat droplets of water dripping from its
rungs like tears that
hold the world in their glassy spheres.

we are the moon and the moon
lives in us, our eyes bearing the black soul
…..of its mysterious face.

CHRIS LIM

Auburn Leaves and Danpung Trees

The last time we walked together was
last autumn,
just me and halmeoni.
Our bodies coated
by a skin of fallen leaves.
I brushed them off
her graying hair.
Scents of cider and decay
blanketed the husky air.
A horde of tall danpung trees
surrounded us,
slowly shedding auburn leaves.
I hear her voice
half eaten by the wind,
struggling to shape her lips into words
“My sonju, you’ve gotten so big.”
The blue skies turn to gold
and I hear a whisper:
“It’s getting late my dear.
we should head home.”
I took her hand, hers with the roughness
of leather, and headed back home.
That autumn
was the last time
I felt small again.

JORDAN COTTRILL

Photo: Diane Labombarbe for Getty Images

Where Are All the Moons

It makes me wonder, how many have I met
these men with the moon
hung so low I’m afraid it pulls their blood
in and back,
down and around,
until they’re dizzy from their toes
up to their eyes
and toss their moon back up to the treetops.
Does it follow them
and weigh heavy on their shoulders?
I see these men, reflected in the water,
bringing with them moths
and smiles brighter than any ocean their gravity could move.
Their mothers made them this way
so they would be spacious
not intruding, but enough to be.
They sometimes pass by us so quickly
we can see the light of their tails
from the corner of our eyes.
It must be hard to sleep
with such a brilliance
always.
I’m worried if they know what the Moon has to say
about everyone they pass.
Does it whisper into their ears,
the way a lover might,
how the woman passing by
smells like the leaves on a dogwood?
Is it loud and abrasive
or does it speak with a mouse’s voice,
so you and only you can hear it?
There’s men with these moons
revolving around them
bigger than themselves,
and inside is another.
They have many moons

BRIANA GONZALEZ

EYES OF ONE

Her mind braved nothing
but medallion absurdity.
Shades and affection,
which for her was a world to unearth.

Her eyes saw it all,
They absorbed the thick crystalized beauty
in the everything of everything.
They saw all the good,
And sometimes too much good.

That was the weakness that brought her to her knees.
That sunk her smile, demolished it
And came back when it needed to.

Jogasaki coast

SARAH LAO

Seascape

LILY BARMOHA

So Much Better

Engraved in my back are the vulgar words,
that pierced my skin with javelin spears,
a part of me they’ll always be-
stinging in the rain of tears
that pang against my spine-
yet behind me they remain,
covered,
fading.

Five years from today,
the ink on this page will go from black to blue,
the block letters, stamped into me, shall have risen.

Ten years from today,
these pages might be lost,
tucked away in the bathroom drawer,
and barebacked I’ll turn in bed
no longer burning from the friction of hurt against time.


.

JESSALYN CALI

The Absence of Water

Commend the cactus.

In the absence of water, she has learned to thrive,
Has built up a thorny temple which holds the fragile drops that nourish her.

Don’t take it so personally.

Remember that she was not created for you
Remember that she too is tangled up in struggles of her own
Remember that you are a tiny part of a big world
Remember that you are the child of stardust and that somebody cares for you and that in the
absence of water, there are other ways to quench your thirst.

Get drunk on stardust.
Open your hands and your mouth and your eyes,
Attempt to take it all in, in big gulps and swallows.

Remember that the mountain and the arch and the canyon are the children of sand
Remember that this place was not sculpted for your approval
Remember that the the rain will come
Remember that the moon controls the tides and that you control nothing but yourself and that in the absence of water the cactus is doing the best she can.

Hold the mother of the mountain in the palm of your hand.
Breathe.
Get drunk on stardust.
Commend the cactus, and try to understand.

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]]> 4299 WHAT GRASS? Highlights & ARCHIVE https://zomagazine.com/what-grass-archive/ Fri, 19 Apr 2019 19:09:57 +0000 http://zomagazine.com/?p=3488 The post WHAT GRASS? Highlights & ARCHIVE appeared first on ZO Magazine.

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What is the GRASS? Highlights & ARCHIVES

POETRY COLLECTION

All Those Little Things — Joe Bruzzese

WHAT IS THE GRASS?

Photo: © Emiley Smith — “Earth Greens” 

Schedule of Exposé POETRY

PoetryZOne

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]]> 3488 PRECIPITATION Highlights & ARCHIVE https://zomagazine.com/precipitation-archive/ Fri, 19 Apr 2019 18:45:47 +0000 http://zomagazine.com/?p=3481 The post PRECIPITATION Highlights & ARCHIVE appeared first on ZO Magazine.

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Atarxia — Philomell

PRECIPITATION Highlights & ARCHIVE

POETRY COLLECTION

PRECIPITATION

Schedule of Exposé POETRY

PoetryZOne

The post PRECIPITATION Highlights & ARCHIVE appeared first on ZO Magazine.

]]> 3481 What Cloud Highlights & ARCHIVES https://zomagazine.com/what-cloud-archives/ Fri, 19 Apr 2019 18:19:17 +0000 http://zomagazine.com/?p=3475 The post What Cloud Highlights & ARCHIVES appeared first on ZO Magazine.

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Mulholland Drive — Richard Zeier

WHAT CLOUD? Highlights & ARCHIVE

POETRY COLLECTION

What Cloud Are You On?

Schedule of Exposé POETRY

PoetryZOne

The post What Cloud Highlights & ARCHIVES appeared first on ZO Magazine.

]]> 3475 The OCEAN — Highlights & ARCHIVE https://zomagazine.com/ocean-archive/ Wed, 17 Apr 2019 00:28:25 +0000 http://zomagazine.com/?p=3386 The post The OCEAN — Highlights & ARCHIVE appeared first on ZO Magazine.

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Ancient Guardians — Kevin Kern

The OCEAN Highlights & ARCHIVE

POETRY COLLECTION

The OCEAN Main Page

Schedule of Exposé POETRY

Poetry ZOne

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]]> 3386 What Is The Grass? https://zomagazine.com/what-grass/ Tue, 16 Apr 2019 14:32:03 +0000 http://zomagazine.com/?p=3335 The post What Is The Grass? appeared first on ZO Magazine.

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Cloudpainter — Richard Zeier

WHAT IS THE GRASS?

POETRY COLLECTION

Walt Whitman has no answer, and then too many answers to this essential question in regard to poetic and literary endeavors. We further continue our poetic journey with postulations of life because all of us are in a continual transcendence of our own revelations. That is the nature of growth. Eventually, we hope to pick up where Whitman left off in our discussion on the nature of reading, writing, and appreciating literary arts. Is the reason we write to clear our conscience? Or perhaps it is to escape it? While many poets have written on the subject, we would like to postulate with a contemporary consciousness, the essential question of why we write literature, why we read literature, and ultimately, what literature can achieve for our fellows and ourselves.

What Is the Grass? ARCHIVE

Schedule of Exposé POETRY

PoetryZOne

POEMS

MORE FROM THE POETRY ZONE

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]]> 3335 What Cloud Are You On? https://zomagazine.com/what-cloud/ Mon, 15 Apr 2019 18:33:28 +0000 http://zomagazine.com/?p=3311 The post What Cloud Are You On? appeared first on ZO Magazine.

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WHAT CLOUD ARE YOU ON?

POETRY COLLECTION

My Heart — Oystein Sevåg

In an effort to explore, attract, and exposit new and exciting works of poetic art, this space is dedicated to the publication of a curated collection of traditional, avant-garde, and revolutionary poetic works from those who submit to us. Our goal is to eventually update this page weekly with our editors’ selections from ZO’s increasing artistic network. The aim in publishing thoughtful poetic contributions is to spur us all to consistently ask ourselves to reevaluate our position in this world in relation to art — in a sense asking: “What Cloud Are You On?”

What Cloud Are You On? ARCHIVE

Schedule of Exposé POETRY

Poetry ZOne

POEMS

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]]> 3311 Precipitation https://zomagazine.com/precipitation/ Mon, 15 Apr 2019 13:47:13 +0000 http://zomagazine.com/?p=3292 The post Precipitation appeared first on ZO Magazine.

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Photo above: Sława Kładoczna-Gryta Photography

Raccoglici Insieme Dai 4 Angoli del Mondo — Allesandra Celletti

PRECIPITATION

POETRY COLLECTION

Rarely do clouds accumulate and cover without contributing their holdings to the ground below. Thus, while endeavoring to exposit our curated gallery of work, we invite criticism and commentary to deepen our understanding, appreciation, and knowledge of (to follow through with the metaphor) our culture’s clouds. They give shape to our day and define what is to come. We intend that this Precipitation page will be one of continuing poetic distillation; and in the future feature articles on individual works, collections, poets, as well as a diverse array of general and enlightened aesthetic discussion.

Precipitation ARCHIVE

Schedule of Exposé POETRY

Poetry ZOne

POEMS

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