Call for subs - LGBT spec poetry

I'm guest editing the next issue of the SFPA's quarterly webzine Eye to the Telescope. Eye to the Telescope publishes speculative (SF/fantasy/horror) poetry and each issue has a different guest editor and a different theme. The theme this issue is speculative poetry with a LGBT theme.

For more details, here is what I have on the submission page of the site:

I am looking for LGBT as well as gender-neutral and intersexual themed speculative poems for Issue #5 of Eye to the Telescope. As this can be a touchy subject matter for some, I’m not interested in poetry that is either overtly didactic or—this should go without saying—that perpetuates stereotypes (and although sensual poetry is fine, pure erotica will be a hard sell). That said, I am open to dark humor and poetry that provokes (I’ll trust the poets to figure out the fine line between didactic and provocative and between sensual and erotic).

I would prefer that the LGBT aspect of the poetry be subtle and organic to the poem. As I'd love to highlight as diverse a variety of poetry possible, I’m open to everything from formal/classical forms (haiku, sonnets, etc.) to concrete, Dadaism, abstract, postmodernism, avant-garde, surrealism, bizzaro, or whatever else you have to offer, just as long as the poem is speculative (see definition below) and includes the LGBT theme in some way.

For complete guidelines visit Eye to the Telescope: http://eyetothetelescope.com/submit.html

Pay is .03 a word/$25 max. The deadline is June 15th.

Doorways' Interview w/Corrine De Winter

This is my final poet's interview from the final issue of Doorways Magazine (#8):

Interview with Corrine De Winter

 

Corrine De Winter's poetry, fiction, and nonfiction have appeared worldwide in publications such as Poet's Market, The New York Quarterly, Imago, Phoebe, Plainsongs, Yankee, Sacred Journey, Interim, The Chrysalis Reader, The Lucid Stone, Fate, Modern Poetry, Bless the Day, Heal Your Soul, Heal the World, Get Well Wishes, Essential Love, The Language of Prayer, Mothers And Daughters, Bedside Prayers (now in its 18th printing) and over 900 other publications. She's had four Pushcart Prize nominations and received The Esme Bradberry Award, The Madeline Sadin Award, The Rhysling Award, and the Bram Stoker Award as well as honors from Triton College of Arts & Sciences and Writer's Digest. Some of De Winter's 9 collections of poetry & prose include Like Eve, The Half Moon Hotel, Touching The Wound, The Women At The Funeral, and Tango In The 9th Circle (Dark Regions Press). Ms. De Winter is a member of HWA (Horror Writer's Association) and a resident of Western Massachusetts. Her latest release is Virgin of the Apocalypse (Sam's Dot Publishing).

 

STEPHEN M. WILSON: First off, I would like to thank you for being one of the guest judges of Doorways Magazine's annual poetry competition.

CORRINE DE WINTER: You're welcome. It was good to read some of the new work circulating, and tough to choose the winners!


WILSON: Do you remember your first exposure to poetry?

DE WINTER: I was in high school and was really into the 60's culture- a wanna-be hippy, wearing black bell bottoms, mirrored shirts and painting my nails black. So, Dylan Thomas was one of the first poetry books I sought out in the library. I'm embarrassed to say that I tore pages out of the book, "Wild Child" was one of them, I had a huge crush on the long dead Jim Morrison. The lyrics I was into were like poems to me. I then discovered Auden and Conrad Aiken and other more modern poets. Other modern influences include Warren Ellis and Nick Cave.


WILSON: To horror?

DE WINTER: I don't know what exactly inspired me about the horror world at first, but I remember writing a ghost story in 4th grade, and doing all my book reports on witchcraft and the paranormal. I loved to read old horror comics and was fascinated by a trip to Salem when I was little, and the mock trial at the museum. I liked old B&W horror movies, how gothic they were, and romantic too. I would help my brothers build those models of Frankenstein and the Mummy, and we would put on little shows in the cellar. My mother was really into séances and the Ouija board. I was a teenager when I saw Rebecca, a Hitchcock movie written from Daphne Du Maurier's book of the same name. Her work really inspired me to write.


WILSON: You seem to be well read in the classics; What were some of transformative writings which inspired you to want to write?

DE WINTER: Well, all of Du Maurier's books, the poetry of Auden and James Merrill, among others. Oscar Wilde's Picture of Dorian Grey had a profound effect on me- I felt I was learning some dark, supernatural lessons about life and it was a little frightening. Those characters are still hanging around me.


WILSON: That's a favorite of mine, too, and one you don't hear mentioned often.

DE WINTER: Yeah, I'm always surprised when other writers & people I talk to haven't read it. But I think a lot of the new writers haven't read things like Dracula or Frankenstein.


WILSON: Who are some of your contemporaries that you like to read?

DE WINTER: I love Patrick McGrath, Asylum in particular. I just read Lisa Mannetti's The Gentling Box, and it was fantastic! I really admire Charlee Jacob, Neil Gaiman, lots of the new comic book writers, F. Paul Wilson, Peter Straub, Bruce Boston, D.F. Lewis.


WILSON: What are your thoughts on God?

DE WINTER: I think The Bible is full of great horror stories and supernatural anecdotes. I don't know what God is, if it is everything around us or one being. I do believe that there are spirits and angels, and I believe Jesus was here and was crucified. I don't profess a certain faith, but I'm highly intrigued by Christian art, and the stories of the saints.


WILSON: The supernatural?

DE WINTER: The supernatural is half of what we are here on earth. Denying it, and trying to scientifically prove it doesn't exist I think is just ignorant.


WILSON: Extraterrestrial life?

DE WINTER: Again, if you think that we are the only living beings in the universe, it's ridiculous. Alien abductions are really the scariest thing to me- I believe they happen, and often. I think there's a correlation to angels, aliens, gods. Like prayers and spells being the same thing really.


WILSON: What is your writing process like? Do you have any "writing rituals"?

DE WINTER: Unfortunately I count on found inspiration, which doesn't always work. I find the best thing for writing is to read good books. I know if I don't make time to write, nothing is going to come out. Even if I write a bunch of babble, there will be something I can glean from it.


WILSON: Do you consider yourself a Gothic writer? What do you think of the label?

DE WINTER: The label has taken on a tawdry, too common connotation, I think. Gothic of the past was much more interesting, and I still do consider myself a gothic writer in many ways, but I just don't like being thought of as a modern "goth." It's like when there were punks in the 70s, and punks now- 2 very different things.


WILSON: You have some short stories available on your website: (http://www.corrinedewinter.com/index.htm), have you had any fiction published, and if so, where are some of the place readers can find it?

DE WINTER: I have a story upcoming in the anthology Terrible Beauty, Fearful Symmetry by Dark Hart Press. I've had fiction in Space & Time Magazine, the antho Octoberland, Penny Dreadful magazine, and others. I'm looking for a publisher for my novella "The End of Desire." It's a kind of diary about a girl dealing with living between the supernatural world and reality.


WILSON: Good luck with placing "The End of Desire" (any publishers reading this, feel free to contact Corrine). Thank you for taking the time to chat with me.

DE WINTER: Oh, thank you! I love your magazine!

American Requiem

This poem first appeared in Wicked Karnival Magazine in Sept. 2005 and received a Rhysling Award nomination the following year.

American Requiem
by Stephen M. Wilson

I try to think not of twins or towers

Nor of love’s teardrops that cleared my blind eyes

Try to forget my family’s last sighs

Quash my kingdom’s vertiginous powers

So long soporific now it cowers

Because in the end even magic dies

 

Old Mother Gothel created this bane

Never more to have days of halcyon

O’ cursed be the craving for rampion

It’s enough to drive any man insane

This quest for happiness, always in vain

I tried to be my sweet bride’s champion

 

But one morning the sky opened up

And rained fire on the verdure

Creating this now pernicious war

I dare not drink of this cruel cup

My grim, starling pain it will interrupt

As I tarry at insanity’s door

 

So quietly I turn from them in despair

Those ash covered tombstones with dead flowers

Dim and dreary I count down the hours

And try to forget her now brittle hair

To settle and close the whole sad affair

And walk away from those cherished towers

 

But no sooner am I fairly astray

When I pause to cast one last backwards glance

For I hear a soft voice, her ghost perchance

Calling out my name, pleading that I stay

No it’s just the mournful wind’s howling bay

Reality’s grip has lost its last chance

 

One final time I cry out in despair:

“Rupunzel, Rupunzel, let down thy hair!”

microcosms debut


In honor of National Poetry Month, I debuted my new Twitterzine, microcosms, today. The first poem is by Joanne Merriam.

If you have an interest is haiku-length spec (SF/F/H) poetry please follow. If you don't have a Twitter account, it's both free and easy to sign up. The link to microcosms is: http://twitter.com/microcosms

Enjoy.

Best,
Stephen
  • Current Mood
    cheerful cheerful

My interview with Jane Yolen

I usually post these interviews as soon as the next issue of Doorways Magazine is out. This time around, I was blindsided when I found out that I had "squamous cell" cancer in my sinus when I went to the dentist for a tooth ache this Feb.. I have subsequently undergone two major surgeries (the first to remove the cancer where I lost  most of my upper bone, all of my upper teeth and my left eye). The second surgery was reconstructive. I still have six weeks of radiation to look forward to in the coming weeks. Enough about me.

This interview is one that I'm particularly proud of because I have been a fan of Jane Yolen's amazing imagination for years and it was a real honor that she allowed me, not only to interview her, but to touch on some very personal subjects. I hope you all enjoy it.


Doorways’ Interview with Jane Yolen

 

Jane Yolen, often called "the Hans Christian Andersen of America," admits to actually being the Hans Jewish Andersen of America. She is the author of almost 300 books, ranging from picture books and baby board books, through middle grade fiction, poetry collections, nonfiction, novels, graphic novels, and story collections. Her books and stories have won many awards, including two Nebulas, a World Fantasy Award, a Caldecott, the Golden Kite, three Mythopoeic awards, two Christopher Medals, nomination for the National Book Award, and Jewish Book Award. She also won the Kerlan Award and the Catholic Library's Regina Medal. Six colleges and universities have given her honorary doctorates. Her website is: www.janeyolen.com

 

Stephen M. Wilson: You write in a wide variety of genres—everything from poetry to children's & YA fiction to science fiction and Jewish literature. Do you derive the same satisfaction from each or are you drawn to a specific genre more often?

 

Jane Yolen: I love writing, and when a piece comes right, I am absolutely delighted. It really doesn’t matter to me if it’s a poem or a story or a novel. (Though I write a lot of speeches/essays, I have to say they are not as high on my Happy Index.) So the distinction for me is not the satisfaction per genre but rather when something surprises me, or catches in my throat, or makes me laugh/cry/gasp/sigh. I am, after all, the first reader of anything I write.

 

 

Wilson: You've written many things that could easily be categorized as dark fantasy; have you written anything that would be considered straight horror? If not, is that something that you might try at some point in your career?

 

Yolen: A couple of short stories might be considered horror. Two in fact made it into Years Best Horror. Some poems. But they are horror with a frisson, not a torn-apart body count. Though I have to admit, I have killed off folks in my books, and some with quite a bit of panache and dispatch.

 

 

Wilson: Speaking of genres, what does the term "Interstitial" mean to you and do you consider yourself and interstitial writer?

 

Yolen: Well, since I cross genre all the time--write songs into some of my novels, have books with pictures, done a novel as a script, written the life of Marc Chagall in poems, have done symphonic storytelling, had ballets made from my stories, and artwork from my poems for starters--I am probably as interstitial as you can get.

 

 

Wilson: Two of my personal favorite pieces of fiction that you've penned, The Devil's Arithmetic and Briar Rose, deal with the Holocaust in somewhat fantastical ways. If there is one lesson that you want people to take from these dark fantasies steeped in historical fact, what is it? Have you ever thought about tackling the subject sans the fantasy elements?

 

Yolen: For me, using fantasy elements makes the Holocaust approachable. It was a time so rife with horror, drama, and bizarre deaths, with astonishing acts of heroism and martyrdom, that telling it in a straight-forward for me (though not for other writers) is impossible.

 

 

Wilson: I'm not sure if people are always aware of how devastatingly thorough the Nazis were in their cleansing. One thing I personally think is important about Briar Rose is that it mentions some of the other "groups" that were affected by the Nazis such as gypsies, Jehovah’s Witnesses, Catholics and homosexuals—the prince who awakens the sleeping beauty in your version is, in fact, gay.

 

Yolen: Before I began Briar Rose, I didn’t know Count Potoki was gay. I learned at the same time my heroine, Becca, learned. What a surprise! At that point I had to stop writing and learn as much as I could about the infamous (but rarely written about then) Pink Triangle Camps that warehoused and killed homosexuals, mostly men. Afterwards, a gay friend said, “Of course he was gay—he was the fairy godmother character in the book!” Ah, the subconscious is a terrible thing to waste.

 

 

Wilson: The film version of The Devil's Arithmetic was nominated for several Emmys and won the award for both its director and the screenwriter. Were you on the set while they filmed? What was it like to have such Hollywood royalty as Dustin Hoffman and Louise Fletcher involved with the film?

 

Yolen: I read the script and gave some notes, but was otherwise uninvolved with the film. But my husband and I were brought to Hollywood for the opening and made to feel a part of it then. In fact, Dustin Hoffman said from the podium, introducing the film to the 800 invited guests, “Jane, I hope you feel we did your beautiful novel proud.”

 

 

Wilson: Its star Kirsten Dunst has been a vocal fan of yours. Do the two of you keep in touch?

 

Yolen: Alas, no, though her lawyer tried to take out a free option on Briar Rose.

 

 

Wilson: What do you think it is about fairy tales, or märchen as the Germans call them, which still make them both fascinating and relevant to today's readers?

 

Yolen: They are talking about real emotions, telling true stories, through the medium of metaphor. People used to understand metaphor better than I think we do now. But these stories are so potent, they refuse to die.

 

 

Wilson: You mention in the introduction to your poetry collection, The Radiation Sonnets, that you had "always been wary of the poetry of personal pain, leery of self-exposure." At the time you penned those sonnets, your husband David Stemple was battling cancer. How much did writing help you get through those days?

 

Yolen: It was the ONLY thing that got me through that awful time. I did no other writing, just tended to him and at night, after he was—finally—asleep, I would creep upstairs to my attic writing room and write down the poem that I’d been thinking about all day. Making sense of that single day, and not any other. Living really in the moment.

 

 

Wilson: You wrote in the afterword to that collection that David had chosen "wisely" not to read the sonnets. Did he ever do so before his death in 2006?

 

Yolen: He read a few of them, not all. Not even a majority of them. And of course he read none of the poems that I wrote in the three months that he was dying. Though ironically, he was writing his own poems then, though he was not a poet, and I got to read and critique all of them. He worked and worked on them because they helped him make sense of his own anger, denial, and I think his writing led him eventually into acceptance. That and his amazing protean mind which encompassed so much. The children and nieces and nephews called him “The Man Who Knew Everything,” which is on his gravestone. He was an astonishing man. The world fascinated him.

 

 

Wilson: Much of the poetry that you've written in the past few years address both your mourning and the healing process and also deals with the subject of aging. In your opinion, what is it about poetry which lends itself so well to this kind of emotional catharsis?

 

Yolen: In fiction, the characters have their own lives. They may start as a gloss on the author’s life, but they move on from there. In poetry, especially confessional poetry but in other poetry as well, the poet is not writing characters so much as emotional truth wrapped in metaphor. Bam! Pow! A shot to the gut.

 

 

Wilson: What are your thoughts and opinions on the supernatural? On God? Have those changed in any way since losing your husband?

 

Yolen: I am really a living here-and-now kind of person. Not a heaven-expecter. However, there have been so many of what we in the family have called “David moments” that it is startling.  And I don’t know how to fit those into my world view.

 

 

Wilson: You’ve collaborated with all of your children; what is that process like with someone that you are so close to?

 

Yolen: The first time I collaborated with each of them, it was a bit fraught. Could I critique them without making them feel Mommy is saying bad things? Could they critique me when I had already such a reputation? We got through that nonsense pretty quickly. And now we trust one another implicitly—and listen carefully to one another all the time. (Though I am still faster than all of them!)

 

 

Wilson: Even with your success as a writer—the best-sellers, the awards, the honorary doctorates, the films—you still belong to a writing group. Explain the importance of these kinds of groups to both you personally and to writers in general at whatever level they might be.

 

Yolen: My writing group is 8 professional women writers. We are strong-minded and yet vulnerable (as all writers seem to be), spread across the genres, and totally committed to one another, both as friends and as writers. So we can be very carefully sharp about critiquing and at the same time absolutely assuring as to our

appreciation of the writing abilities on display. Quite simply, these women hold my back.

 

 

Wilson: What do have in the works right now?

 

Yolen: Whosh. That’s a long list. I have 40 books under contract, all but 10 already totally written. The new books I worked on this summer include: the copyedited DRAGON’S HEART, 4th book in the Pit Dragon Chronicles; a book of farm poems for children with poet friend Rebecca Kai Dotlich); a book of poems about the life of artist Marc Chagall (with poet friend J. Patrick Lewis); a short fantasy novel called TRASH MOUNTAIN; a novella with son Adam about dragons and the Russian Revolution; first third of an adult fantasy novel written with friend Midori Snyder called EXCPT THE QUEEN; first third of a children’s fantasy novel with Adam called BUG; finishing a picture book of poems AN EGRET’S DAY with photographer son Jason; finished a picture book with daughter Heidi called NOT ALL PRINCESSES DRESS IN PINK; and half of a comic book picture book with friend Bob Harris called PRAMAZON & THE DIAPERS OF DOOM. Of these, the ones sold are: DRAGON’S HEART, Russian Revolution dragons, EXCEPT THE QUEEN, BUG, EGRET’S DAY, and PRINCESSES PINK. The rest have gone off to my agent to try and sell. Oh, and a few other things.

 

 

Wilson: Thank you for being so open and allowing me to touch on some highly personal subjects. And thank you for sharing your wonderful poetry with Doorways’ readers.

 

Yolen: My pleasure. Really!


Print issues of Doorways Magazine are available to order at: http://www.doorwayspublications.com/

Doorways poetry contest results ...

 


The winners of Doorways Magazine’s annual poetry contest have been decided.


First Place
:

“Scent & Sensibility”

by Robert Borski of

Stevens Point, WI 


Second Place
:

“Grave Taster”

by Maura McHugh

from Ireland

 

Third Place:

“The Magician's Assistant”

by Penny-Anne Beaudoin

from ON, Canada

 

These will appear in Doorways Magazine #8 along with poetry from the three judges, Corrine De Winter (featured poet), Linda D. Addison and John Edward Lawson.


Doorways Magazine #5 Interview - C.S.E. Cooney

 
C.S.E. Cooney was born in the Arizona desert. Contrary to popular lore, she was not left out in the waste to be suckled by the saguaros. Her publication credits include: Subterranean Press Online Magazine, Twilight Tales' Book of Dead Things, Annihilation Press' Hell in the Heartland, Goblin Fruit, and Tales from the Dim Unknown (issues 1 & 2). She is part of the Chicago Writer's Coven of Chicago, which meets every month at Kate the Great's Book Emporium, where she is a manager.
 
STEPHEN M. WILSON: How did you end up migrating from Arizona to Chicago?
 
 
C.S.E. Cooney: My father has lived with my stepmother and brother in Barrington for the last 13 years, and I was already familiar with the area from visits. After high school and massage therapy school and some real-life work, I was ready for college. Real college. Where I could study theatre and writing. Where do you go? L.A. didn't appeal to me, and New York scared me to death. Chicago seemed so friendly, so full of theatre and music. The word "springboard" always came to mind. And yet, for all Chicago's accessibility, it was still a word I could dazzle my friends with.
 
 
WILSON: We met at WHC07 in Toronto where we were both part of the poetry reading hosted by Twilight Tales. Talk a little about your involvement with Twilight Tales and with the Chicago Writer's Coven.
 
 
Cooney: The first time I heard about Twilight Tales was in a letter from Gene Wolfe. He included a flyer and told me I might like them. I kept the flyer magnetized to my tiny fridge for two years then threw it out. After another year of talking myself into it, two visitors to our bookstore mentioned Twilight Tales, within about a month of each other. Fearful of hexing myself, I grabbed my friend Katie and talked her into going with me. The first night we went, it was a shop-talk with some editors. A very small, non-threatening, smiling, friendly group. The next time, I went by myself to the open mic. Then Tina Jens sort of adopted me -- she has bright, big wings and I fit under them nicely -- and roped me into MCing one night. But I really got to know the TT folks when Tina sent out a call for staff at the World Horror Con in Toronto. It meant a free ride and a paid membership; I'd never been to Canada; I practically begged them to take me and make a slave of me. The only other World Horror convention I'd attended was in 2002, with Gene and Rosemary Wolfe, when Gene and Neil Gaiman were Guests of Honor. I'd always wanted to try another one.
 
The Chicago Writer's Coven is what we call our writer's group at Kate the Great's. Our members have varied over the last three years -- mostly people we've heard read and wanted to work with/learn from/hang out with, and now we're a nice cohesive group. We like diners a little too well, and our collective sense of humor borders from bawdy to downright certifiable, but I wouldn't trade it for all the joo-ells of Arabia.
 
WILSON: At that reading, you blew me away with your recitation of “Wild Over Tombs Does Grow” (the 200+ line poem included in this issue of Doorways). Later, you ‘preformed’ the same piece at a reading at Kate the Great's Book Emporium which was attended by Mort Castle (Doorways’ fiction editor) who was also impressed and suggested that you submit it to us. Do you think that “Wild Over Tombs Does Grow” was fated for Doorways?
 
 
Cooney: O Fate! Or Luck! Or Synchronicity! Or, as my father would say, "Some of us call it Grace." I am certainly glad and gleesome that Doorways took it, because hardly anyone wants those longish sorts of poems. At least, that I've found so far.
 
WILSON: Do you believe in the supernatural?
 
Cooney: I believe in stories about the supernatural. I believe in other people's supernatural. I have not experienced - nor do I expect to experience - the supernatural. But I can make other people believe in it, can't I?
 
WILSON: Goblin Fruit recently published another of your long poems. Do you generally find it difficult to find markets for these mini-epics?
 
 
Cooney: I admit that I've not researched the market thoroughly, but the few places to whom I'd wanted to sell my poems wouldn't have them. But I am learning to look harder, see farther, surprise myself, take names, kick ass and be grateful for the kindness of editors like Amal El-Mohtar and Stephen M. Wilson.
 
WILSON: What kind of time goes into writing a piece of such length and how in the world do you memorize it? Do you also write shorter poetry?
 
 
Cooney:
My shorter poetry is mostly personal, or for friends. At the World Horror Convention, I challenged myself to 30 lines or fewer (I think you inspired that), and came up with "The Hollow Witch," which satisfied me greatly. The amount of time it takes to write a longer one? Well, there are phases. Initially, I just rip it out. Maybe a few hours? Then I lose track of time, because I tweak it, and read it aloud, and bother my mother and my best friend, who (most helpfully) praise it, and then I tweak it some more, and send it to my father or Gene (with slightly more trepidation, because their comments are -- most helpfully -- more discerning than effusive), make cuts, clean it up, and by that time I've read it aloud so many times it's memorized! Practically.
 
WILSON: Your work has a mythic quality to it. What/who are some of your influences?
 
Cooney: I read a lot of myths and folk tales in my early days. (Still do, come to think of it.) Ye Olde Edith Hamilton and the Bulfinch's. My fantasy reading had a strong classical background - Tolkien, Lewis, etc. For horror, Lovecraft, Poe and King. Then, I read a lot of fantastical fictions: McKinley, McKillip, LeGuin, Emma Bull, Lois McMaster Bujold. But I always wrote my story poems and had nothing to compare them to, other than "The Highwayman" by Noyes and "Annabel Lee," and others of that ancient ilk... Then I read Neil Gaiman's "Baywolf" and "The White Road" in his book SMOKE AND MIRRORS and I saw that he even called them story-poems! Which, in my ignorance, was a word I thought I'd coined!
 
WILSON: You’ve chosen to publish under your initials “C.S.E.” instead of your first name. What prompted that decision?

Cooney: Truly? It was one of those high school decisions. C.S.E. Cooney looked cooler on the top right hand margin of the loose-leaf than Claire Cooney. Too, I felt mischievous at the thought of anonymity. And the signature scrawl is easier. Someone mentioned that I should use my full name, because there are few enough female fantasy writers, and I should stake my claim... But C.S.E. Cooney continues to suit me.
 
WILSON: This is your first writer’s interview, what’s the one ‘first impression’ that you would like to leave for future fans?
 
Cooney: Oh. Jeez. Future fans should read "Wild Over Tombs Does Grow," and ignore this interview. That would make a nice first impression.
 
WILSON: Where would you suggest Doorways’ readers stop for a bite to eat when in Chicago?
 
 
Cooney:
Dear Doorways' Readers: I just went to this place called Hamburger Mary's on Clark and Balmoral, and it was so over the top and fun. They have a "Buffy the Vampire Burger," with red wine and garlic. And they bring you your bill in a high heel.
 
 
WILSON: Thank you for your time and allowing us to publish “Wild Over Tombs Does Grow.” I wish you much success. Btw, what in the world are ‘the saguaros’?
 
 
Cooney: They are a kind of cactus found only in the Sonora Desert. They're the tall ones that look like aliens trying to pass as humans. You see 'em in every cowboy movie.

Dwarf Stars Award anthology - 2008

Deborah P Kolodji and I are now in the process of compiling/editing the third Dwarf Stars Award anthology for the
Science Fiction Poetry Association. I have included the guidelines below. If you have any eligible poetry (10 lines or
less, speculative and first published in 2007) please send them to: dwarfstars@sfpoetry.com by Aug. 29, 2008.
 
Thank you.
 
With best wishes,
Stephen M. Wilson
 
 
Dwarf Stars is an edited anthology. We are trying to find the best short poetry of 10 lines or less published in 2007.

GUIDELINES:
Send us your short (10 lines or less), speculative (science fiction, fantasy, horror, science and/or surreal) poems
from 2007 as well as recommend poems you've published or read and think are deserving. There is no limit to the
number of poems you can send. You do not need to be a member of the SFPA to send poems/recommendations.

Send poems to: dwarfstars@sfpoetry.com
 
We are trying to gather the largest pool of quality 2007 published 10-lines-or-less poems possible so we can select
poems that stand out and are reflective of 2007 in very short poetry. Poems can be from any print or on line venue
including single-author collections.