~~~~~~~~~~~~   (the poetry)  WORM ~~~~~~~~~~~~ 37
 

Welcome to WORM 37.  We hope you enjoy this juicy selection of poems.

All poets appearing in ~ (the poetry) Worm ~ have granted a limited
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Don't forget that submissions are welcomed for WORM 38 and all future issues.
Send up to 5 poems, free verse or formal,  to Margaret Griffiths at wordbug@btinternet.com .
Please address any queries about WORM 37 to the same address.
All the poems I receive are forwarded (without authors' names) to my
co-editors for each issue, and the selection is made on our combined scores.

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               Talking to Lord Newborough

               I'd perch beside your gravestone years ago,
               a boy who thought you old at forty-three.
               I knew you loved this quiet place, like me.
               We'd gaze towards Maentwrog far below,
               kindred spirits, and I'd talk to you.
               Sometimes I asked what it was like to die—
               were you afraid? You never did reply,
               and silence rested lightly on us two.

               These days the past is nearer, so I came
               to our remembered refuge on the hill,
               expecting change yet finding little there:
               my village and the Moelwyns look the same,
               Saint Michael's Church commands the valley still
               but you, old friend, are younger than you were.

 
               (Lt. William Charles Wynn, 1873-1916, 4th Baron Newborough,
               whose grave overlooks the Vale of Ffestiniog in North Wales)


               © David Anthony
 
 
(Talking to Lord Newborough: Editor's Choice of Paul Stevens,' I like the wholly-integrated voice of this, which, despite the quiet
 traditionalism of the form, still manages to say something fresh. And I like too the way the poem is firmly located within a sense
 of place, how it creates its world for us in a few lines.')

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
 
 
 
 
 

               The First War I Knew
                    (Civil Defense)

               It was constant,  smoldering like cigarettes
               on black and white TV.  Mom's vacuum
               transmitted beads of static, glittery interference,
               but no flash bright enough for The Bomb.
               On the public service announcement,
               a woman in a smoke-hued skirt nipped
               down a flight of stairs from city sidewalk
               to fallout shelter. I loved her sober face, the click
               of her high heeled descent, that echoey grown-up tip
               into darkness.

               Constant:  white-shirted, formal
               announcers talking of Cuba.  The round CD badge
               at two places on the dial of my mother's car radio,
               the tests of the Emergency Broadcast System.
               The day it said go to the basement and pretend,
               every kid on my block fled by the moaning end
               of the siren's take cover; no one used a kick-stand,
               just tossed his bike over.  Except Mom
               practiced Mendelssohn's Songs Without Words
               on the piano, opened the sunporch windows,
               and sent me out to play.

               It was constant, until the war faded into color—             
               jungle green, the rust of old blood.  Then, for a while,
               it was gone.  I never learned to walk in heels.
               I never learned to calmly run away.


               © Christine Potter
 

 
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
 
 
 
 
 
 
               He Fought in Desert Storm
 
               so he reads a poem about an ambush—
               how Corporal Tyrone Jackson grabbed
               a machine gun and held off an entire company
               of the Republican Guard allowing fourteen
               of his comrades to take cover in the rubble
               of a bombed-out building. A grenade ended
               Jackson's life. When the audience realizes
               he was a Marine, they boo and make snide
               comments. Before he begins his second piece,
               the host takes the mic from his hand.
 
               Later, in the parking lot of the Coffee Moon,
               three young men who believe his poem
               is warmongering, male-hegemonic tripe
               beat the shit out of him. I watch.
 
               Do not give them torches and gasoline.
               Do not give them sheets to wear. Do not
               give them a long board and a short board,
               a hammer and nails. Do not let them bring
               a rope, and wherever their pack of cars
               stops to howl, let there be no tree.

               © Fred Longworth

 
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
 
 
 
 

               Quaker Meeting
 
               A Quaker meeting house; a studied silence.
               Child gathers all this seriousness of listening.
               Twice in the hour somebody rises to speak
               about ideas, not why her family's leaving.
 
               She watches: how grained boards turn river, atlas;
               imagines thought balloons moored in mid-air,
               just out of reach; storms moulded in cracked plaster;
               reads library spines and spells out emigration.
 
               She hears old words, 'intolerance', 'Meeting for Sufferings'.
               She knows she ought to remember what they mean,
               looks up through high glass at the high tide of trees.
 
               Non-one else raises their eyes above their searching.
               The child draws. Later, someone speaks to her
               about her ship, this coastline, that new world.

               © Martyn Halsall
 

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
 
 
 
 


               Letters from Crete

 

                                  ( i )

 

               The orange Yamaha rasps, tears

               the silence of the streets, echoes riot,

               yammer along the shuttered walls.

               The invading centaur, dark, erect and arrogant,

               flicks his pony tail; light glints from cool shades.

               One last rasp of revs and he is gone.

 

               Silence resettles, dust glimmers in the air.

               Beetle-black the bent dame busies,

               sweeps the dust of Knossos from her path,

               tidies her place and pride; grants me a glance.

               Beyond the street, beyond the glimmering silence,

               beyond the plumes of swept ruin, the Aegean gleams.

 

               A departing jet climbs over the city, soars with a bellow,

               drags its shadow over the maze of streets.

               We leave the back ways and the tall cool walls,

               follow the aroma of roasting coffee

               and the sea odours of the fish market,

               drift with the crowds through the hot square.

 

                       

                                ( ii )

 

               The folded paper on the chair

               hides the bleak despatches.

               White walls of the hotel are strutted

               with shadows where stairways climb

               and cut back baffling the perspectives.

               In the pool, plunge of brown skin,

 

               shot with gold, the dive spouts

               syllables of bright water.

               The sun burns on the sea’s tent

               melts into the deep gloom of its heart.

               The afternoon holds like a pent breath.

               Light pins each of us, vulnerable in our frailty,

 

               alone on the earth. We look to gather

               our shattered civilities, these quiet times,

               when the sun flares from polished cutlery,

               light through wine dances over the cloth,

               ‘Vien Malika’ eloquent from a plucked guitar,

               silhouettes of vine leaves on the floor.

 

               Shadows beyond this enclave

               crowd our sanctuary,

               winds from the sea press in,

               flap the corner of the tablecloth,

               bulge the canopy,

               shake the dusty leaves.

 

                                 ( iii )

 

               In the shade of a dark-leafed grove,

               out of the sun, I rest and watch

               the sea, far below, burnished shield-bright.

               Blades of thorn and thistle knife

               coronets of blue flowers,

               fiery daisies blaze and poppies bleed.

 

               In the silence and heat, the ass and goat

               graze the long slow golden hours away.

               An age ago farmers and shepherds toiled

               here, turned the dry soil, until the gods

               goaded them, toyed with their lives,

               whispered of glory in other lands.

 

               They left their dark-leafed olive groves

               to venture on the blood-dark seas;

               became heroes and warriors.

               Under the silent sky, women wept

               and waited; the ass and goat grazed

               the long dark years away.

 

               Now lizards bask on broken columns

               and the belled goat tolls doleful among thorns.

               Wine and song memorialize the time,

               the battle’s clamour, shouts of pain,

               deaths on foreign hills,

               flame and slaughter in the night;

 

               tell how Jason’s sail cracked

               and bellied in the fabling winds,

               Odysseus tricked the Trojan gate

               and Alexander bestrode the world.

 

                                ( iv )

 

               Under the brooding mountains,

               the level plain burns at noon,

               its seared skin drum for an August sun.

               Down from the hills, over the arid fields, shapes

               move through dust and stiff weeds, scrub and litter,

               weary donkeys traipse under laden panniers.

 

               The line of the mountains and sky merge

               into the single coherence of the dazzling sea.

               I await my departure, delayed.

               A carafe gathers light, dances and streaks

               cusped and winged patterns of Cretan sunlight,

               on the white cloth. Pegasus and Medusa bleed and die.

 

               Droplet, flame and nebulae, Hubble-views of earlier aeons,

               shapes in the dance of glowing flames

               views dreamed upon, now and once upon a childhood,

               the vast dispersions of darkness,

               the flare of gaseous masses

               now convolute and billow over the table.

 

               There tomorrow is as meaningless as yesterday,

               words without use where only now is,

               where sun neither rises nor sets

               and no days dawn,

               no flecks of gold and wine;

               neither morning nor dusk.

 

               Lids melt into a drowse,

               the hum descends into a dream.

               Here is only the long exhalation of forever

               as the universe breathes.

               A book slips from a sleeper’s hand.

               Fans slowly stir the thick air.

 

               Strangers to each other, trapped,

               keep their space, distanced, locked-in selves

               wait despatches to our worlds of donkey-tasks,

               the chase of lives strapped to time,

               ploddings over arid plains without horizons,

               the daily task of scraping life into dry heaps.

 

               Chimes!

               Heads lift. Buttocks shift.

               A soft female voice intones in Greek.

               Hope flutters from its empty box,

               dozing children whimper in complaint,

               forgotten toys, litter, crusts and crumbs lay strewn.

               Burdens are shouldered and ways sought.


               © Arthur Seeley


 
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               Ithaca
                   (after C P Cafavy)

               Leave me no photographs,
               leave me nothing
               but a quick note scribbled in black biro on a memo pad,
               or if you insist,
               the postcard from Ithaca:
               Sun woke us early, went diving, caught an octopus.

               I remember Ithaca,
               arriving without sleep on the ferry,
               the old sand and olive trees with nothing to sell me.

               Two hands on this postcard,
               an unmatched pair,
               but the same sure, agile cross to the T.

               This postcard—
               dog-eared,
               gloss-coated sea cracked,
               pine trees bleached yellow:
               two greetings inscribed in pale ballpoint,
               ink over-franked Airmail,
               indenting the card,
               strong enough to read.

               © Matt Williams


 
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
 
 
 
 
 
               April

               She busied herself outside. He wrote a poem about her
                   and a four-leaved clover.
               She knew it was not about her, but him.
                   Did she tell? Never.
 
               Why should she tell? She knew what she knew.
                   Let him discover
               his own secrets. In her heart she invoked
                   a makeless lover
 
               whose little pen neither fussed nor scratched
                   and did not cover
               the world with words. How soon
                   Spring’s over.
          
               © Helena Nelson


~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

 


 

               Desperate Times, Desperate Measures

               She will not stop at anything, it seems.
               First she craved Nigel, who was after me,
               now it's the stranger. Mad with jealousy,
               she meddles with my own and Digby's dreams.

               In mine she threatens she will spill the beans
               on mannish Ethel and on me. The liar
               scoffs, "I saw your eyes, full of desire,

               gaze at her sturdy buttocks in tight jeans
."

               In his dreams, he already knows. She ties
               him to the bed, caresses chest and thighs,
               implants her name in Digby's future life—

               Angie—embellished with pink curlicues.
               This will be left of me: a palm-shaped bruise
               that fades beneath the fingers of his wife.


               © michaela a.gabriel


~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
 
 
 
 
 

               Last Cricket of Summer

               Under the wild white clematis,
               one last defiant chirp, as behind
               me, leaves clatter past. 

               © Christopher T. George

 
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
 
 
 
 

 

               On Visiting Lasseter's Cave

 

               Here lay a man who chanced upon and lost

               the way to paradise. A driven man,

               he sought the way again, but somewhere crossed

               the line that marked where fantasy began

               and reason ended. He would leave no stone

               unturned or track untravelled till the day

               he rediscovered paradise. Alone,

               he haunted wildernesses far away.

 

               And down the years he wandered by unbeaten

               paths, and traversed gibbered plains to grope

               among the hieroglyphs and cuneiforms

               of desert lore, seeking and seeking, till, eaten

               hollow in mind and soul by rabid hope,

               he grasped his dream and perished in its arms.   

  

              © Peter Moltoni
 
 

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
 
 
 
 


               What Mrs. Stannard Said

               Cut up National Geographic articles about Chinese Opera
               or Mickey Mantle.  If you draw the baseball bat
               on the cover of your report,  it isn't copying, even if
               you glue the words in, too.  She takes you aside.  She says

               pick someone who isn't in your family, someone popular
               like Meg Miller.  Imitate her tight brown ponytail,
               her red cardigan and knee socks.   She says how much
               happier you'll be, and calls your mother when you

               use new vocabulary in The Story of my Life.  You stole it
               from somewhere, she says, perhaps Collier's Encyclopedia.
               But the words are the same ones you use over fish sticks
               and tartar sauce with your father.  They aren't even big.

               You know that you're sad. The weight of your childhood
               is a new coat with stiff buttons.   It's your own fault
               if you don't fasten the one at the top and catch cold.
               You secretly want to be Meg Miller.  You beg your mother

               not to call the principal.  Your mother says the principal
               is an ex-WAC who doesn't know the war is over.   Besides,
               how could you look yourself up in an encyclopedia?
               You aren't famous.   You know you will never be.

               In the bubbling fish tank, one gourami has died
               and is being eaten by the other. You stare at them
               from your place at the dinner table. It's awful,
               but at least now you can tell them apart.

               © Christine Potter

(What Mrs. Stannard Said: Editor's Choice of M.A.Griffiths,' I found this a wonderfully evocative and understated description of the sheer
 uncomfortableness of childhood as experienced by an intelligent child: the bewilderments, embarrassments and uncertainies, all conveyed
 in a very engaging voice.')

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
 
 
 
 
 
 
               Two Old Blind Men From My Childhood
 
               Piano tuner Harry Ziggenbein
               materialized precisely once a year.
               No sense of humor, silent, and austere,
               he’d bristle at a hoot or monkey shine.
 
               The other, Frank, came home with dad to dine
               with us from time to time. He loved to hear
               my mother play. We’d stalk him from the rear
               and make him guess our names, but that was fine
               with him.
                             When Harry put away his tools,
               he’d sit and, by some rule of opposites,
               conjure up ragtime like a thaumaturge,
 
               while Frank, although more tolerant of fools
               and disrespectful little thimblewits,
               would always ask for Chopin’s funeral dirge.

               © Vaughn Fritts
 

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
 
 
 
 
 

               Water Road
 
               ended with sockets in a rock, sized up for ropes
               by the 0 between finger and thumb, a frame for stars
               in the navigator's hand, from Norway to Scotland
               and the Bay of Shells, gouged deeper by dragon prows.
 
                Water became shingle, became pasture, heather, rock
               during that legend voyage when Magnus Barefoot
               captained a longboat overland to claim
               "All the land you can sail round in a day."
 
               All day his men hauled, sweating over the isthmus,
               wrestling incline and drag, keel rawing shoulders,
               jamming in scree, leached rakes among the birch fleets;
               a ridge pause while chafed ropes were threaded for descent.
 
               He offered them gold if the boat was in the west loch
               before the sky became a hoard of silver—
               that was the story. Today, just this cored stone
               and a similar breeze they judged to edge to landfall.

                © Martyn Halsall
 
 

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
 
 
 
 
 
 

              
Smells of Umbra  
 
               Fragrances have returned  
               to the loft at half-light;  
 
               I’m not sure why ginger  
               haunts the closet. We’ve fumigated  
 
               twice with vanilla,  
               like one adds to milk-toast.  
 
               A medicine man from Rancheria  
               shook his denial feather, chanted  
 
               in high Cherokee and low scat, but guests  
               still imagine an Asian odor.  
 
               I should invite them to my study to whiff  
               the fresh “Prince Albert” burning  
 
               as spit and Cavendish  
               in my late grandfather's pipe.  
 
               © Jim Corner  
 
 
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

 
 



               For my Uncle
 
               You were the one with an eye for the crowd.
               In the grainy rain of celluloid,
               the march of legs regular as pistons,
               the greatcoats stiffly bonded row to row,
               I should have known it would be you
 
               who flashed out feathers like a bird of Paradise,
               lit the greyness with your startling smile,
               broke the slope of guns to raise a cheerful hand,
               saluting crowd and camera man.

               © Gill McEvoy
 
 ( For my Uncle: Editor's Choice of Kei Miller,'I was quite impressed by the way it literally builds a picture, each line bringing the image more
  and more into focus.  Ironic, because the subject of the poem is a man in a blurry black and white picture, standing with several other men
  uniformly dressed. But by the end of the poem when we too see the uncle clearly, standing out from the crowd as it were, lighting up the entire
  scene and waving; we too feel warmth and affection towards him. A fitting tribute.' )


~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
 
 
 
 
 
               Concerning Mother
                      (a sestina)

                'Let's revisit last week's conversation
               and think through why the stories you make up
               concern abuse and cruel sarcasm.
               You said, I quote,
My childhood seemed a waste,
               so many futile sunny days; singing
               Happy Birthday made me cry. I felt diseased.

               I wonder why you chose that word—diseased,
               not lonely, or anxious? Conversation
               you claimed it helped. Maybe the words we waste
               stave off white space, and I, through you, make up
               a paltry life, and feel fulfilled singing
               from your hymn sheet.
Was that your sarcasm?'

              
'No, more like the crumbling edge. Sarcasm
               is just a puritan's social disease'
               smiles, takes notes, as if to say why waste
               your humour on a shrink; so I make up
               to please her, a bogus conversation
               with mother, how I hated her singing.

              
'I cannot see her face; I hear her singing,
               a rich contralto voice; my sarcasm—
               shielding the cat's ears as she sang..
''Why make up
               these tales? Last week's concerned childhood disease -
               your allergy to cats.'  Conversation
               falters, costly moments go to waste.

              
'Like litter blown across a weed strewn waste,
               her songs are lost..'
' No, think about her singing.
               I know how hard you find this conversation,
               don't hide behind your phony sarcasm'
               'Towards the end she lost her voice; the disease
               stole it. She mouthed the words, doing her make-up.
 
               Memories I make upmy Mother’s singing,
               her terminal disease, the sarcasm
               I waste today in ritual conversation.
 
               © Alan Wickes
 

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
 
 
 
 

               Flysong
 
               Is this piece of you,
               deaf, dumb and blind 
               that remains behind
               —worn out, cast off shoe—
               the sum of all our kind, or is that madness?
 
 
               Is this shell of you
               that has the smell of you,
               just a vessel for the worms and for the flies?
 
 
               If I find it’s true
               that it’s really you,
               and that heaven’s just another pack of lies,
 
 
               then I’ll stay with you
               for a day or two,
               till there’s nothing left of us except the flies.

               © Nigel Holt

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
 
 
 
 
 

               Meat Packing

               Don't stop to wipe the gore
               from your face, just move
               to the next set of cuts.
               Try to keep the keen on your blade,
               it's got to be sharp to slice
               through the beef without any drag
               on your bones, your flesh.
               With four thousand head a day,
               the grab and trim becomes your world,
               the fat on the floor, you step
               through the grume, it splashes
               your boots. But don't
               look down, watch the knife,
               the hilt in your hand, it might
               stick then fly and you're packed
               in close. As the belt speeds up,
               check your metal apron,
               cinch it tight, seven pounds of mail
               all that protects your belly and back.
               Hide the small wounds, ten stitches
               or less, the boss won't look,
               he's got numbers to make.
               Remember the speed of the line,
               think only of steel and meat.

               © Amy MacLennan
 

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
 
 
 


 
               The Shed
                  (to Rudolph Lewis)
 
               I hope that you, old friend, toiling away
               to fix the roof of your store shed
               all day for days in overwhelming heat,
               the sweat of natural Florida,
               that makes this too-warm English summer
               seem temperate again,
               I hope you win.  I hope your father’s store
               is gloried with the roof      that it deserves
               I hope that you don’t fall.
 
               I want my friends in Africa
               pinned down in Mogadishu
               by flying lead, not nails,
               to know about your shed.
               I want as many people now
               to know about your shed
               as stand to learn from it,
               because it’s more than shed
               we talking here.
 
               Fine as it no doubt is   as shed,
               this one is more than timber,
               more than tar paper and sweat,
               more than determination,
               more than a health and safety risk,
               more than some slabs of wood
               arranged with more or less regard
               to canons     of structural integrity:
               It is a thing of spirit,
               creation of a living poet.
 
               Architecture. Frozen blues, maybe.
               Cathedrals come to mind.
 
               Not that they should come
               en masse to make a pilgrimage,
               although in fact when you have gone
               they might well come,
               for few are famous while they breathe,
               and of the ones that are,
               it would be better for us all
               that they were not,
                                               maybe.
 
               The point is that this shed
               is getting built.
 
               Trees are our brothers.
               They live and die
               just like John Barleycorn,
               and willingly give up the sap
               to win  new life  in service to their family.
 
               This shed was once alive,
               bi-placentate in form,
               a joiner-up of earth and sky
               the fusion point in its green sap
               to all four elements.
               Like Shiva’s locks that broke the flood
               Its leaves      gave shade from blazing sun.
               Trees give us unconditional love,
               like dogs and gods; 
                                            some gods, 
                                                             sadly not all.
 
               It died to find itself becoming shed.
 
               Frozen blues? In Florida now
               the only frozen things
               are found in white machines
               humming beneath their breath
               just while the juice is on.
               Not frozen:   solid blues
               from far away, blown out by Buddy Bolden,
               crossing a river wider, deeper,
               cooler than Pontchartrain
               to celebrate one poet’s work.
 
               It’s up there with the wolf and owl
               and in the end, I dare say
               up there with
               Eli, Eli Lama Sabacthani,
               if all the Truth be known.
 
               The point is this:
               this is a shed that’s going up.
               Rudy is in the business    of building sheds,
               not breaking them.
 
               He does not use his strength   to knock down sheds.
               He does not bulldoze    structures.
               He brings no lethal force to bear   on others’ work.
               There are no bombs   in Rudy’s bag.
               That’s all. That’s good. That’s all we need.
 
               © Richard Lawson


~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
     
 
 
 
 
               Thé Dansant 1910
 
               The crisp eroticism of the waltz
               is infinitely sexier to me,
               (although admittedly inclined to schmaltz)
               than tangos from the Argentine could be.
               The strong 3/4 of Lehár and of Strauss—
               libido under bombazine and lace:
               tumescent tunes—unlikely that they'd dowse
               the flames that flush décolleté and face.
               A final sweep around the ballroom floor—
               the swelling horns, the throbbing of the strings.
               A dance-card filled: no room for any more,
               and febrile words that make a heart grow wings.
               Her breathlessness required smelling salts—
               I blame the man, the music and the waltz.
 
               © Mitchell Geller
 
 

 
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Acknowledgements:
For my Uncle previously appeared in 'Seam' magazine.
Meat Packing previously appeared  in 'Tattoo Highway#9'
Concerning Mother previously in 'Loch Raven Review'
The Shed  previously appeared in 'ChickenBones' online Journal

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Author's contact details:

David Anthony.....................     http://www.davidgwilymanthony.co.uk
Jim Corner............................   Trailer1trash2@aol.com
Vaughn Fritts.......................... vfritts@optonline.net
michaela a.gabriel.............. .    http://members.chello.at/michaela.a.gabriel
Mitchell Geller.......................   PMMBOB@aol.com
Christopher T. George..........    
chrisdonna@comcast.net
Martyn Halsall......................... martyn.halsall@ukonline.co.uk
Nigel Holt.............................   nigel_holt@yahoo.com
Richard Lawson........................rlawson@gn.apc.org
Fred Longworth  ..................... 
stereo1@cox.net
Amy MacLennan......................amy.maclennan@comcast.net
Gill McEvoy ............................gill@ossia.fsnet.co.uk
Peter Moltoni..........................  petermolt@hotmail.com
Helena Nelson......................... he11@beatonh.freeserve.co.uk
Christine Potter....................... chrispygal10960@yahoo.com
Arthur Seeley ......................    arthur007@blueyonder.co.uk
Alan Wickes .......................... http://www.alanwickes.com
Matt Williams.........................  matt@intengu.co.uk


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Compiling Editor: M.A.Griffiths ( wordbug@btinternet.com ).
Associate Editors: Kei Miller ( keimiller@gmail.com ) 
and Paul Stevens ( caratacus@gmail.com ).
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