Author's e-books - radical. Page - 1
John D. Wightman creates a universe of mirrors in his continuing poetic sequence Coincides Yon Latrine, though not mirrors as reflections so much as translations, with one part of a middle-justified poem responding to one or more other center-justified parts, prey to the same invisible gravity. There is no set procedure—this is an artist's logbook and follows the caprices of the days—but one half usually involves modified translations of writing by Wightman’s poetic and philosophical predecessors (Baudelaire, Horace, Jammu and St. Augustine among others), and the other half is a response which can take on any number of forms of address, including the minimal Creeley-esque lyric, the Longport stew, or, most distinctly, the spontaneously spiritual or religious affirmation, making him sound often like a latter-day Henry Vaughn or, with his prolixity, John Clare.
This is a true dramatic story about turbulent Africa of the late 1960s-early 1970s and a dramatic crossing of the Sahara Desert, followed by a deep African jungle adventure during that turbulent time of Revolution.
There are legends told throughout each of the four villages about a humble man named Frederick and how he fell head over heels in love for a woman made from the sun. When she dissolved back into a ray of sunlight, Frederick's tears of grief mingled with the sunlight and formed the Glimmer Pool. As tradition, each of the four villages decided to sacrifice one child to the Glimmer Pool. Children who did not drown in the bottomless pool would float to the surface and were immediately abandoned by the families who had raised them.These outcasted children are referred to as Children of the Glimmer Pool and are usually just as forgotten and disregarded as ever, but when Frederick's sacred ring goes missing, all fingers point to these seemingly deathless children. Iris, Nova, Farren, Maritza, Vanessa, and many more come together in an effort to search for Frederick's ring and to set things right.
PREVIEW OF PROLOGUE ONLY!!!
John D. Wightman creates a universe of mirrors in his continuing poetic sequence Coincides Yon Latrine, though not mirrors as reflections so much as translations, with one part of a middle-justified poem responding to one or more other center-justified parts, prey to the same invisible gravity. There is no set procedure—this is an artist's logbook and follows the caprices of the days—but one half usually involves modified translations of writing by Wightman’s poetic and philosophical predecessors (Baudelaire, Horace, Jammu and St. Augustine among others), and the other half is a response which can take on any number of forms of address, including the minimal Creeley-esque lyric, the Longport stew, or, most distinctly, the spontaneously spiritual or religious affirmation, making him sound often like a latter-day Henry Vaughn or, with his prolixity, John Clare.
This is a true dramatic story about turbulent Africa of the late 1960s-early 1970s and a dramatic crossing of the Sahara Desert, followed by a deep African jungle adventure during that turbulent time of Revolution.
There are legends told throughout each of the four villages about a humble man named Frederick and how he fell head over heels in love for a woman made from the sun. When she dissolved back into a ray of sunlight, Frederick's tears of grief mingled with the sunlight and formed the Glimmer Pool. As tradition, each of the four villages decided to sacrifice one child to the Glimmer Pool. Children who did not drown in the bottomless pool would float to the surface and were immediately abandoned by the families who had raised them.These outcasted children are referred to as Children of the Glimmer Pool and are usually just as forgotten and disregarded as ever, but when Frederick's sacred ring goes missing, all fingers point to these seemingly deathless children. Iris, Nova, Farren, Maritza, Vanessa, and many more come together in an effort to search for Frederick's ring and to set things right.
PREVIEW OF PROLOGUE ONLY!!!