THE WRITERS’ FORUM Page 8

Printed by TAMIU Copy Center

Poet’s Pen

A publication of the Texas A&M International University Writing Center

http://www.tamiu.edu/writingcenter

Volume X Issue I Summer 2010

Writers’ Forum “Write here! Write now!”

The

In this issueIn this issue A gaggle of new tutorsA gaggle of new tutors

Poetry from our staffPoetry from our staff

Video games go to Hell… Video games go to Hell… literally literally

Tom Waits’ best musicTom Waits’ best music

One tutor’s journey One tutor’s journey from Mexico to TAMIUfrom Mexico to TAMIU

The Word of the MonthThe Word of the Month

Tentacles in the Lexical ForestTentacles in the Lexical Forest

Mary MuñozMary Muñoz

A mute screaming quietly discovers dark light becauseA mute screaming quietly discovers dark light because

Fuzzy, pilgarlicky unicorns melt through sand.Fuzzy, pilgarlicky unicorns melt through sand.

Branches of skin writhe blissfully whenBranches of skin writhe blissfully when

Chainmail tails sing murderously.Chainmail tails sing murderously.

Sexy whiskey longs for fear becauseSexy whiskey longs for fear because

The ecstatic abattoir sprays sprinkles.The ecstatic abattoir sprays sprinkles.

When tickled, flatulence spewed from the feverish wall becauseWhen tickled, flatulence spewed from the feverish wall because

Blue hands teleport through piquant snot.Blue hands teleport through piquant snot.

Buttered butterfish commit seppuku whileButtered butterfish commit seppuku while

A naked piñata butchers a barnacleA naked piñata butchers a barnacle--sodden weeping willow.sodden weeping willow.

Soporific insomniacs abhor narcoleptic somnambulists sinceSoporific insomniacs abhor narcoleptic somnambulists since

Spicy menageries float in butchered molasses.Spicy menageries float in butchered molasses.

Affable velociraptors bleed semipalmate glitter asAffable velociraptors bleed semipalmate glitter as

Liquid worms harbor melancholic clouds.Liquid worms harbor melancholic clouds.

Melted wombats worship empyrean nebulae afterMelted wombats worship empyrean nebulae after

The frivolous phagocyte disrupts a mangled queue.The frivolous phagocyte disrupts a mangled queue.

All there is left are chapters of tongues andAll there is left are chapters of tongues and

Tentacles in the Lexical Forest.Tentacles in the Lexical Forest.

Period PiecePeriod Piece

Jonathan MartínezJonathan Martínez

See the dot;“It signifies death,”See the dot;“It signifies death,”

wails the artful demon of Guanajuato [STOP]wails the artful demon of Guanajuato [STOP]

It is a blasted ink stain rampagingIt is a blasted ink stain rampaging

throughout venues of Knowledge…throughout venues of Knowledge…

a declarative barrier, a satan positioned to fragment [STOP]a declarative barrier, a satan positioned to fragment [STOP]

A grammatic bullet hole; the stench ofA grammatic bullet hole; the stench of

sulfur wafting from parchment is asulfur wafting from parchment is a

mark of murdermark of murder——the murder of Thoughts, sprintingthe murder of Thoughts, sprinting

until it collides with a [STOP]until it collides with a [STOP]

It is all, yet nothing … just a dotIt is all, yet nothing … just a dot

but of power; life without it isbut of power; life without it is

only Chaos, like at the beginning when thoughtsonly Chaos, like at the beginning when thoughts

roamed free [FULL STOP]roamed free [FULL STOP]

TTTH EH EH E WWWR I T E R SR I T E R SR I T E R S ’ ’ ’ FFFO R U MO R U MO R U M

A publication of the Texas A&M International University Writing Center

Volume X Issue I Page 2 THE WRITERS’ FORUM

Writing Center

Location

Dr. Billy F. Cowart Hall 203

Full Hours

Monday – Thursday

8:00am – 8:30pm

Friday

8:00am – 3:00pm

Sunday

1:00pm – 6:00pm

Phone Numbers

326-2883 - Front Desk

326-2884 - Helpline

Director

Kimberly Thomas

326-2885

Associate Director

Destine Holmgreen

326-2907

Office Coordinator

Taryn Shehab

Forum Editors:

Michel Martín del Campo

Mary Muñoz

“Write here, “Write here, “Write here, write now”write now”write now”

Hellish Poetry in Motion by Jorge “CoCo” Martínez

Who would think classical literature could

inspire video games? Dante Alighieri’s Inferno, the

first part of The Divine Comedy, gets a sensational

digital makeover sure to appeal to the masses of

gamers and literature buffs alike. I couldn’t wait to

see how Hell itself looked—that is, without first

dying and becoming a denizen. Dante’s Inferno

proved to be an epic experience with its engrossing

story, addictive gameplay, and disturbingly captivat-

ing visuals.

The source material vividly details Dante’s

journey through the

underworld; lost in a

forest and chased by

savage beasts, he

takes a detour and

eventually finds

himself in Hell.

Virgil, the ancient

Roman poet, ap-

pears and guides his

escape from the nine circles: Limbo, Lust, Gluttony,

Greed, Anger, Heresy, Violence, Fraud, and Treach-

ery. They spot well-known historical, mythological,

and religious figures among the damned, such as

Charon, Julius Caesar, King Minos, Cerberus, Alex-

ander the Great, Odysseus, and Lucifer, who munch-

es on Brutus, Cassius, and Judas Iscariot. While the

tale of Dante’s journey was outrageous at the time of

its writing, today it just seems like the account of

two dudes noticing stuff on a tour of Hell. As such,

the developers heavily dosed the story with horse

steroids by amplifying it with elements of action,

adventure, and horror.

In the game, Dante has been cast as a Cru-

sader who returns home to find his beloved Beatrice

murdered and abducted by Lucifer. With Virgil, who

recites actual lines from the epic, Dante embarks on

a journey to rescue her, and he is equipped with the

Grim Reaper’s scythe, which he earns after defeating

him in battle.

In addition to the

scythe, Dante carries a cruci-

fix which blasts the minions

of hell from a safe distance.

Having two weapons gives

players the ability to judge

the damned: Dante can either

absolve or punish in a spec-

tacular fashion. It’s not only

fun to watch but it’s also

great to control as well.

Context-sensitive commands

prompt spectacular finishing

moves, such as mashing the

attack button to forcefully

absolve a cross-resisting demon or pulling joysticks

in opposite directions to tear it in half. These finish-

ers give Dante points to upgrade holy powers, in-

cluding Martyrdom (a massive holy explosion at the

cost of health) and Holy Armor (which blinds ene-

mies and makes Dante invulnerable while recovering

his life) or unholy powers, including Retribution (a

counterattack maneuver) and Lust Storm (a shield

protecting Dante from incoming attacks while dam-

aging nearby enemies).

Demons aren’t the only ones at your mercy;

along the way, you’ll encounter condemned histori-

cal figures and decide their ultimate fates. Take an

encounter in Limbo with Pontius Pilate, for example.

Does he deserve a scythe to the face for condemning

the Son of God or absolution for a situation beyond

his control? I decided the latter for him but later pun-

ished Attila the Hun, who boasted about slaughtering

innocents. Making your choice simply awards points

to upgrade your holy or unholy abilities. I would

have instead liked for these choices to affect the out-

come of Dante’s story. However, this is only a small

trifle in the game’s epic portrayal of the hellish after-

life.

The game’s most striking feature is the

sensational representation of the Inferno; the hellish

(Continued on page 3)

Volume X Issue I Page 7 THE WRITERS’ FORUM

Grain of Glitter/ Dash of Doom by Roland Ortegón

What happens when

tragic times collide with art

supplies? They produce a feast

of poetic compositions and

powerful performances, a dish

capturing the unique encounter

that is Tom Waits live. Aptly

titled after its corresponding

tour, Glitter and Doom Live is a

dual formation of musical poet-

ry feeding on both sparkling

and scary flavors. The two-disc

album features seventeen tracks

and collected comedic stories

from the singer. Songs are

dosed with a demonic doomful

experience and sweetened with edible glitter ingredients. His music

is electric sugar.

The performance’s upbeat

selections showcase Waits’ signature

voice alongside a versatile band. It

begins with a vocal explosion resem-

bling fireworks on opium. Lyrics from

“Lucinda” illuminate like a bowl full

of stars. Rhythmic snarls reminiscing

lobster snaps and Nebraskan king crab clamps keep the song’s pace.

Combined with “Ain’t Goin’ Down,” they attack the crowd through

a carnival caked in crazy commotions. Raunchy roars resonate be-

sides dynamic scores in strong blues numbers “Goin’ out West” and

“Such a Scream.” These louder styles represent one half of the con-

cert’s distinctive compositions. According to Kathleen Waits, Tom’s

wife and musical

co-writer, he has

two types of

songs: “grand

weepers and grim

reapers.” She was

right. Aside from

the harmonies

painted in dark-

ness, the concert

also includes bal-

lads to brighten

the balance.

Though still using his famous graveyard growls, the show

slows to expose softer sides of the soul. Smoother sounds exhibit

relaxed, jazz moods from Waits’ early recordings. They play pierced

piano clouds and sing saw blade serenades. “Falling Down’s” over-

whelming vocal power unveils a weeper baked in grandeur. Gloomi-

er tracks “Green Grass” and “Dirt in the Ground” shovel deeper into

the dusk with disturbing imagery and discouraging similes. A ghastly

guitar licks a side dish of sorrow while blood written words evoke

groans in vibrato. Both Glitter and Doom recipes are featured and

followed.

These dual musical extremes embrace each other with elec-

tric efficiency. The show’s two strongest numbers reflect both sides

of that musical equation. “Make It Rain” is Tom’s tribute to heart-

broken betrayal. He bellows his begging bluesman bark with bril-

liance. As the bass overpowers in hail heavy showers, his verse

cloudbursts with the words, deep inside it hurts, another sad guest on

this dark earth. His chainsaw voice moans in thunder wind tones.

Drumbeats explode through boulders and bones; their precision

pounds like paralyzing precipitation. The other standout song has the

band hold back while front man plays the roles of storyteller, poet,

and ringmaster. “Circus” sounds stab stakes in the ground, all pow-

der brown, as branches of image enhancement spread like scary fin-

gers reaching. It is a twisted tale of a spooky sideshow. Colorfully

cast characters One Eyed Myra and Yodeling Elaine help Waits cre-

ate a perfectly poetic climate. The album’s overall theme of duality

is embodied in these two remarkable tracks. While “Rain’s” timing

is exciting, the “Circus” encounters are shiningly frightening.

Now comes the part where we climb down from the cloud

of compliments and claw into the flaws of the album. “Hoist That

Rag” and “Jesus Gonna Be Here”

were played every night of the tour.

Either one could pleasantly replace

“Trampled Rose,” whose chorus lacks

the vocal endurance heard on its origi-

nal studio recording. Whereas that

version plays with sustained smooth-

ness, the live version’s shortcut grows

repetitive by the time the hook

repeats.

Still, “Tom’s Tales”

is anything but tedious. The

concert disc only offers one of

these anecdotes while the bo-

nus CD combines several spo-

ken moments into a hilarious

half hour of humor. The re-

freshingly insightful topics

include China’s chances to tilt

the earth’s axis, parrot diapers,

and Spam museums. These

exhibits, displaying what Tom calls embalmed meat, could use a

grain of glitter and a dash of doom.

The stories lead to the album’s hidden/final track. Unlike

disc one’s sadder closer, “Lucky Day,” “Picture in a Frame” ends

with adoring words devoted to his wife: “I love you baby and I al-

ways will.” It is a weeper grander than the grimmest of reapers. The

doom, glitter, and wit conclude on a note of love. Sharing a feature

with the feeling, Glitter and Doom Live is a lyrical landscape of liter-

ature that sparkles and scares.

Yet, don’t be afraid

To sample a handful of

“Electric Sugar”

“Though still using his famous, graveyard growls, the show

slows to expose softer sides of

the soul.”

Volume X Issue I Page 6

THE WRITERS’ FORUM

From Chapingo to TAMIU

by Christina Cárdenas

Like most

worthwhile things in life,

my being at TAMIU is

fortuitous. When one of

my sisters invited me to

come to Laredo and stay

with her family during

my sabbatical from

Chapingo, a public uni-

versity an hour east of

Mexico City, little did I

imagine I would be part of the TAMIU Writing Center staff. This

experience has reminded me that plans are important but sometimes

serve only as a general outline. Life has a way of presenting us with

unexpected gifts, and one by one they form our own path. My jour-

ney towards becoming a teacher, sharing new cultures, meeting a

myriad of interesting people, and now, exploring similarities and

differences between Chapingo and

TAMIU, have been rich in unex-

pected milestones.

Because of unfortunate

experiences with a couple of bullying

professors, I had sworn never to be-

come a teacher. Yet, necessity has a

way of shaping our lives, and some-

times the outcome excels our limited

expectations. I had heard of Chap-

ingo—an agricultural school next to a town called Texcoco, in the

State of Mexico—and went there looking for a temporary job. I of-

fered to teach literature, sociology, history, or, as a last resort, Eng-

lish. However, English’s high demand called the shots, and I became

an English teacher immediately. In no time at all, I learned to value

and cherish teaching English and still find it exciting and motivating.

Most likely, it is the university’s uniqueness that makes the differ-

ence: Chapingo grows on you. After two daughters and a lifetime, I

am still in love with the university and its students.

Chapingo is one of the few remaining institutions in Mexi-

co that maintains a strong scholarship program. Students from rural

and mountainous areas, and from low-income families, are encour-

aged to apply; almost one-fifth of the population comes from a dis-

tinct ethnical culture, and

several students speak Span-

ish as their second language

(after Nahuatl or Mayan, for

example). Traditional rural

community values—such as

respect for elders and teach-

ers—persist, and a vast ma-

jority of the student body is

conscious of the great oppor-

tunity that generous, student-

centered Chapingo has

brought them. The university’s one-of-a-kind, seven-year BA pro-

gram merges high school to BA studies; this, and its scholarship

system that supports students so they can be full-time learners, at-

tracts students who would otherwise be unable to have a college

education. Having respectful, interested students—hungry to learn—

makes it a pleasure to teach and also a privilege.

If the student-body was not enough, Chapingo’s historical

heritage is physically present through its buildings, landmarks, and

artwork. The wooded

area between the main

library and the rectoría

(which houses the uni-

versity’s president’s

office) is an open bota-

nical garden with spe-

cies collected

throughout centuries.

Therefore, students,

teachers and workers

are embedded in an

exceptional microcosm.

Born as the Escuela

Nacional de Agricultura (National

School of Agriculture) in 1854, it has

been the Universidad Autónoma

Chapingo since 1978. In addition,

The Mexican Revolution (1910-

1914) has left its print in the univer-

sity in a variety of ways in regards to

philosophy, mission., and art. For

example, the ex-hacienda’s casco

(currently rectoría) contains various

works by Diego Rivera, including his beautiful well-known mural

called “Tierra fecunda (The Fecund Earth).” As a result, activities

have a blend of historical legacy, modern technology, academic

awareness, and cultural diversity as everyday settings. Walking be-

side Diego Rivera’s strong, colorful paintings while hearing the

sweet sound of the Zapotec language flowing through open doors

might surprise you when you decide to visit.

With this background, the uniqueness of Chapingo as a

university and its students

can be better understood.

Yet, as remarkable and

engaging as Chapingo is,

TAMIU has made me feel

right at home. Most stu-

dents I meet at the Writing

Center have very motivat-

ing attitudes: they are

respectful and display a

genuine interest in better-

ing their skills. University

students are here because they want to learn, and these attitudes

make all the difference to teachers and writing consultants alike. It is

the quality of its students and my coworkers, that make it a privilege

to work at the Writing Center. I am finding this stage of my life’s

journey most interesting and enjoyable.

Though President Barack Obama’s

eloquence is reassuring, my funny bone some-

times misses former president George W. Bush.

While he was in office, Bush was notorious for

his apparent inability to express himself profes-

sionally—or even correctly. A good laugh is

always appreciated, but not so much when it’s

at one’s own intellectual expense. People don’t

want to be caught incorrectly using a word they

don’t know.

In 1775, Richard Brinsely Sheridan

created Mrs. Malaprop, a character reminiscent of America’s former

president. Mrs. Malaprop appears in Sheridan’s comedy “The Ri-

vals” and is famous for her Malapropisms, which brings us to our

Word of the Month!

malapropism [mal-uh­-prop--iz-uhm] noun

Definition: the act of ridiculously misusing words, espe-

cially by the confusion of words that are similar in sound.

For example:

George W. Bush’s speeches were often embellished with

malapropisms:

“I’m honored to be here with the eternal general of the

United States, mi amigo Alberto Gonzales.” (Attorney General)

“We'll let our friends be the peacekeep-

ers and the great country called America will be

the pacemakers.” (peacemakers).

“We cannot let terrorists hold this na-

tion hostile or hold our allies hostile.” (hostage)

"I know how hard it is for you to put

food on your family." (the table)

"They misunderestimated me." (underestimate)

Mrs. Malaprop’s name and similarly, malapropism, are

derived from malapropos, which means “inappropriate” or “out of

place.” Malapropos is derived from the Middle French term mal á

propos, which literally means “ill to purpose.” The earliest use of

malapropism was documented in 1849 by Charlotte Brontë in her

novel, Shirley.

It’s the Word of the Month

Volume X Issue I Page 3 THE WRITERS’ FORUM

by Marta Cisneros

visions originally depicted in poetry by

Alighieri come to (after)life with sights and

sounds sure to haunt players, convincing

them to mind their sins lest they meet such

horrible fates.

Screaming, burning bodies crash

from above into Limbo, and shouted verdicts

resound in the distance from the tentacled

judge of the underworld, King Minos.

Suggestive moaning and not-so-

subtle Freudian sights in Lust, presided over

by a 50-foot-tall topless Cleopatra, definitely

push the game’s Mature rating for sexual

content.

The visceral environment of Gluttony is guarded by a re-

imagined Cerberus, traditionally a three-headed dog, now a gro-

tesque worm-creature composed entirely of mouth shapes. Gluttony

resembles the inside of a digestive system complete with teeth, en-

trails, and rivers of excrement.

Anguished screaming emanates from pools of molten gold

in Greed as you battle the fused bodies of Hoarders and Wasters.

In the circle of Anger, green hands punch through the

marshy waters of the river Styx, leading to the colossal City of Dis.

As a treat, you rampage, Godzilla-style, riding upon the head of the

massive fire demon, Phlegyas. Heresy offered one of the most dis-

turbing sights in the game: the bodies of Pagans affixed to flaming,

(Continued from page 2) inverted crosses.

Phlegethon, the river of boiling blood, and the twisted,

anthropomorphic branches of the Forest of Suicides give the circle

of Violence an eerily gruesome edge.

Fraud is composed of ten caverns (or Malebranches)

adorned with statued figures frozen in agony, forever punished for

their crimes of lies, seduction, and deception.

Finally, the sight of Hell frozen over is realized with icy

shimmers and echoing crackles in Treachery, kept frigid by the

beating wings of Lucifer—your final opponent. Thus, the game

succeeds in portraying the worst place imaginable. It bothers me to

know I described a good portion of it like the back of my hand!

Shameless,

corny puns ahead! I’ll

be damned if Alighieri

believed that 700 years

after writing The Divine

Comedy, he would be

portrayed as a muscle-

bound Crusader on a

quest to save his be-

loved. With this, we can

expect future releases of games based upon classical works to fol-

low: Homer’s Iliad and Odyssey, Shakespeare’s Hamlet, and Chau-

cer’s Canterbury Tales. Well, perhaps not. Still, Dante’s Inferno is

one hell of a game, and the story, gameplay, and visuals make it just

as (if not more) epic than its inspiration.

Walking beside Diego Rivera’s strong, colorful paintings while hearing the sweet sound of the

Zapotec language flowing through open doors might surprise you

when you decide to visit.

Volume X Issue I Page 5 THE WRITERS’ FORUM

New Consultant Intros by Leigh Ann Hopkins

While we have many veteran consultants at the Writing

Center, we’re glad to welcome a new group to our family.

Clockwise from top left: Marshall Alan Prince, Rachel Nissen, Leigh

Ann Hopkins, Iracema M. Palacios, Cristina Cárdenas Rudderow

Why work at the Writing Center? Marshall: I’m currently studying history here at TAMIU,

and aside from the obvious savings on gas when travelling between

work and school, I enjoy writing; I also like reading what other stu-

dents have to say about various subjects.

Iracema: I want to be a professor “when I grow up,” and

working here gives me a great experience that is similar to a teach-

er’s. I also really like helping students revise and helping people out

with their writing when they’re having trouble.

Leigh Ann: I took a class called Writing Center Seminar

at Radford University. I worked in the writing center for only a year

before I graduated, but I loved every minute of the experience.

That’s why I’m working here.

Rachel: I used to dislike English; then I learned to love it.

I’d like to help others feel the same. Also, the Writing Center pro-

vides me opportunities to grow and improve as a tutor and a writer.

Cristina: I thought it would be interesting to learn more

about writing and, at the same time, help students with their own

writing. I now work at the TAMIU Writing Center because I really

enjoy it.

Paper or plastic? Marshall: If I say paper, I’m a tree-killer; however, if I

say plastic, I’m a duck- and turtle-killer. So which is the lesser evil?

You tell me.

Iracema: Plastic—I can cancel my cards if anyone steals

them, but if my paper is stolen, then it’s lost forever!!

Leigh Ann: Canvas

Rachel: It depends. I like to reuse whenever possible, and

plastic works better for picking up after my dog … So, I like plastic.

Cristina: Paper, definitely.

What is the meaning of life?

Marshall: To tire of asking this question. Oh, and to eat

Oreos with milk at least once.

Iracema: I guess the meaning of life is to live life as fully

as possible and enjoy every single minute of it, BUT not live life

like today was your last; today usually isn’t your last day, so you

can’t just go do something without suffering consequences for your

actions.

Leigh Ann: 42

Rachel: Life is a test. It is an opportunity to make choices.

And we don’t find out if we made the right choices until it’s all

over.

Cristina: Life is a gift, uncalled for, but wonderful. It is a

continuous opportunity to find happiness, do good, enjoy others, and

our surroundings. It is full of blows and disappointments, but with

time, you learn these are also important lessons; they help you real-

ize the value of people and things and not to take them for granted.

What is the best question ever asked? Marshall: Why?

Iracema: “Will you marry me?” Or, “Aww, when’s her

birthday?”

Leigh Ann: I think that’s a simple one that we learn early

in life: “Why?”

Rachel: This one.

Cristina: “How are you?”

What’s your favorite genre to read? To write?

Marshall: I’m an avid Tolkien reader, so I love reading

and writing fantasy. I also enjoy reading history.

Iracema: I love to read mystery and suspense novels. I,

unfortunately, don’t have much creativity to write what I read, so I

usually like writing nonfiction.

Leigh Ann: I’ll read nearly anything—history, classics,

fiction, mystery—except romance. My favorite author is Jasper

Fforde. He’s a wild ride and one I recommend! I don’t write much,

but I’m currently working on a short story about a stranger who

comes to town, and odd things begin happening to the townsfolk.

Rachel: I will read almost anything. Historical nonfiction

was always a favorite of mine, such as the autobiography of Chuck

Yeager. I read fiction, too. I’ve always liked Michael Crichton and

Frank Peretti. And TAMIU student papers. I’ve written several short

stories, but no one has ever read them.

Cristina: Read: “Humanistic” novels (i.e. Rosamunde

Pilcher) and “historic” novels (i.e. Susan Howatch). Write: letters.

Where’d you hide the highlighters? Marshall: In your purse with the lids off.

Iracema: Don’t blame it on me!! It was probably those

veteran tutors … Just kidding!

Leigh Ann: In the broken microwave.

Rachel: I hid them in a drawer which I carefully marked

“highlighters.” I knew no one would ever look for them in there.

Christina: I threw them away because they’d all dried up.

THE WRITERS’ FORUM Volume X Issue I Page 4

Haiku Compiled by Roland Ortegón

Introduction by Michel Martín del Campo

Many students shy away from

poetry because they think they’ll have to

follow traditional form. However, virtually

anyone can indulge their inner poet and

write a haiku.

Japanese-style Haikus follow a

simple syllable pattern, five-seven-five, that

create whimsical or surprisingly deep poet-

ry. Some of the following poems are by

established authors, but others are by our

very own Writing Center staff. Enjoy!

We are sudden stars

You and I exploding in

Our blue and black skins

-Sonia Sánchez

I am writing a haiku.

I am riding a haiku.

I am right.

-Matthew Robert López

Manx breeze, sea white waves.

now, jump from the rock platform.

exhilaration.

Peel boys: time your jump.

aim for the white caps not rocks.

miss and wear the scars.

red rock diving board.

Peel boys and the jump are one.

aim for the white cap.

climb Manx rock platform.

a rite to bond the ages.

jump and become men.

-Leigh Ann Hopkins

All the Haikus have

Five syllables, then seven,

But who cares you fool!

-Doug Benson

Clouds appear and bring

To men a chance to rest from

Looking at the moon.

-Basho, Matsuo (1644-1694).

Haikus are easy,

but sometimes they don’t make sense.

Refrigerator

-Maurizio

In between two worlds:

The still dim sun rises as

darkness slowly fades.

-Megan Elizabeth Nieto

Fabio must die!

My, Oh my, Oh my, Oh my,

Butter makes me cry.

-?

Night, and the moon!

My neighbor, playing his flute-

Out of tune!

-Kojo

Three Haiku

Brown spider dangling

From a single strand.

Up down, up down:

Zen yo-yo

*

They’ve built their nests

in the chimneys of my heart

those swallows that you lost

*

Everywhere she walks,

that ghost is right behind her:

Ah, panty outline!

-Tom Robbins

Tattered and torn, the

Monarch creates a fearless

Fantasy for me

-David Kelly

First Autumn morning:

the mirror I stare into

shows my father’s face.

-Murakami, Kijo (1865-1938)

After a Starry Night

Shimmering eddy

across celestial chasm

glowing, ominous

Sigh and peer upon

slumbering village while the

unspoken hills brood

Be still little chick

Morning Star emerges as

sky turns vermilion

-Jonathan Martínez

I don’t go to school

Why Is Freddy Krueger cool

Just a Killer’s fool

-E.T.M.

Aggh!!! Listen to me!!

We’ve got to get out of here!

Get to the choppa!

-Jorge “Coco” Martínez

A mourning dove feeds

In a marijuana bush

And sings a high coo

-Tad Lawson

My arms wrap her tight

Hoping her eyes will soon close.

Peaceful is her face

There is no other

In the world who I could love;

No other like you

Our pact is concrete;

Everything is kept inside

Our circle of friends.

-Iracema M. Palacios

lights are shattered,

I cannot see,

oh my god I need to pee

-Tres

Como culebra

Enveneno tu amor

Muere conmigo

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Ripened tentacles

Wrapped around my hungry mind

Endorphins eat me

-Mary Muñoz

Rolling waves at dusk,

Carry me away from here,

Never to return.

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Tempest sea bears her,

On its mercy she relies,

Tossed into the night.

-Marshall Prince

Terrorism Sucks!

Terror… IF-IC ? -Not so bad,

We should work on that.

-Roland Ortegón Jr.

Covered with flowers,

Instantly I'd like to die

In this dream of ours!

-Etsujin