Poets

Haiku Poems Janet Kuypers

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“out”

spirits inside you
want to come out and scream their
story to the world

“of his thirst”

of my dead Scotsman,
they spoke of his drinking, but
never of his thirst.

“close”

death’s an animal
perched under your bed, waiting for
you to close your eyes

“floor”

Writhing on the floor,
bruised, she cried, begged for an end.
I had to kill her

“extinct”

when they go extinct
do we study the mistakes
or just study bones

“last”

But I have to drink
more. The burning doesn’t last
as long as you do.

“scorches”

Take the final swig.
It burns it’s way down your throat.
It scorches your tongue.

“organs”

I have to take showers,
scrub skin, rip out organs, to
rid myself of you

“choke”

Trapped, she felt a chill,
like a goose walked on her grave.
She chokes with his touch.

“explosions”
 
(bonus line haiku)
 
“H-bomb explosions”
 
reach temperatures as hot
as the first second
of the Universe

“fit”

amazing how much
of your life you can fit in
a single suitcase

“feel”

I feel nothing but
the intensity you feel.
Your thoughts cut my face.ant”

“Pant”

waves are crashing, and
the moon’s phases are changing
to a rhythmic pant.

“Civil”

a civil war is
raging in me, and I want
a revolution

“need”

I need to record
these things to remind myself
that I am alive

“kill”

they tried to kill me
but I survived. Lucky me.
But, what have I won

“John’s Mind”

human beings are
the only creatures with thought.
that’s why we have gods.

“run”

although I hate you
I’ll never let go, so you’ll
have to run faster

“mirror”

I look and see all
that you’ve affected. The world,
this house. The mirror.

“keep”

you work harder than
men for less pay, so keep up
the good work, ladies

“timing”

just when you feel hope,
then they take it, quickly. it’s
all in the timing

 
“Two Not Mute Haikus”
 
I
 
Just sit quietly.
Rapes, beatings, torture and pain.
We can beat you down.
 
II
 
You can’t be quiet.
Try to fight the world’s evils —
Even with just words.

“free”

I ain’t got money
and what do you mean to me
when nothing’s for free’

“groove”

Records? I’m vinyl.
Your needle’s been in my grooves;
through every ridge, pore.

“console”

canned condolences
were all I heard when I lost
the love of my life

“form”

if we’re cast in stone
I’d watch your form forever,
frozen by your side

“knowing”

fallen to my knees,
I can feel my chest cave in
knowing it’s my time

“oil”

flowers on the water
broke the oil seeping up from
the submarine grave

“cage”

this pain in my chest,
pounding, heaving, throbbing, like
it’s trapped, in a cage

“evil”

like cream in coffee,
evil explodes into a
mushroom cloud and spreads

“difference”

when putting same clothes
on angels and demons, you
can’t tell them apart

“blood”

left with you there, I
watched us become blood-
thirsty animals

“fog”

fog envelopes me
it’s a thick, powerful force
that doesn’t let go

“upturn”

with blurred eyes, hollow
upturned tortoise shells look like
battle casualties

***

Janet Kuypers 1

Janet Kuypers is a professional performance artist, and is a writer, an art director, webmaster and photographer. She was even the final featured poetry performer of 15 poets with a 10 minute feature at the 2006 Society of Professional Journalism Expo’s Chicago Poetry Showcase. This certified minister is even the reverend.

She sang with the acoustic bands “Mom’s Favorite Vase” and “Weeds and Flowers”, and on occasion she still performs in “the Second Axing”, and does music sampling. Kuypers has over 70 books published and close to 40 audio CD sets released, and is published in books, magazines and on the internet around thousands of times for her writing and art work in her professional career, has been profiled in such magazines as Nation and Discover U, won the award for a Poetry Ambassador and was nominated as Poet of the Year. She has also been highlighted on radio stations, and has also appeared on television for poetry repeatedly.

She turned her writing into performance art on her own and with musical groups, and ran a monthly Podcast of her work for years, as well mixed JK Radio — an Internet radio station — into Scars Internet Radio (radio stations ran 2005-2009, and there are plans to start the radio stations again in 2011). She ran the Chaotic Radio show through BZoO.org and chaoticarts.org (2006-2007). She has performed spoken word and music across the country – in the spring of 1998 she embarked on a national poetry tour, with featured performances, among other venues, at the Albuquerque Spoken Word Festival during the National Poetry Slam; her bands have had concerts in Chicago and in Alaska; in 2003 she hosted and performed at a weekly poetry and music open mike (called Sing Your Life), and from 2002 through 2005 performed quarterly performance art. Starting in 2010 Janet Kuypers also hosts the weekly Chicago poetry open mic at the Cafe (http://www.chaoticarts.org/thecafe), where she also runs a weekly poetry podcast.

You can see video links and short poems as tweets at http://twitter.com/janetkuypers, and all of her book releases and video releases from the Cafe and her performance art shows can be seen at http://www.facebook.com/janetkuypers, but to ever learn more about her you can see her publishing organization, Scars Publications, on line at http://scars.tv, or you can learn about her at http://www.janetkuypers.com.

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SPRING RITUALS. Poem. Steve de France.

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Dogs baying, howling. Men in a jeep.
Drinking beer. Pointing guns.
Shrubs cracking under wheels.
I’d seen them earlier today. Sitting in
their jeep. Shooting squirrels out of
trees. Blew ’em all apart. But I ran
till the forest was quiet.

Resting here beside a clump of dead
branches I hear dogs baying. They’ve
found me. They’re close. I hear shells
rattling into rifle breaches, bolts
jamming shells into firing position.
I’m running again.
Behind me a bolt slams down,
the popping crack of a gun,
the side of the tree next to me explodes.

I run hard.
Run with all my strength.
I leap over my trail & crash into
tree cover. But the jeep is rattling,
jerking itself through underbrush behind
me.

When I hit the stream
the coldness of water tears breath from
me. I stop for a second to regain
direction. A 30 bore bullet smashes my
flank, it’s like being clipped by a
truck. I’m down, then up and running.
Over there,
I see my fields golden in the sunset,
it’s my spot. I have to try for it.
Wildly with total concentration,
I run
Over bushes, brush past trees, knock
branches down, in my thirst to escape.
I’m moving now. Flying over earth,
my mind afire with the pain in my flank.
Now breathing coming hard.
What’s this? A strange taste.
Choking. Blood in my throat.
The ground rushes toward me.
Something going down.
I’m on the ground.
Breathing blood & foam from my mouth.
More burning, body going numb.
laughter.

Try to get up. Can’t.

Someone standing next to me.
A boot rolls my head over.
Didja hit em?
Twice.
Dead?
Yeah, deader ‘an hell.

He didn’t hit me. He couldn’t have.
No.
I’m still running, still alive.
I see my spot now.
It’s here. Tall grass. That good smell.
So tall.
All the way up to my shoulders.
But I don’t remember it being
so dark.

little Steve

Steve De France is a widely published poet, playwright and essayist both in
America and in Great Britain. His work has appeared in literary
publications in America, England, Canada, France, Ireland, Wales,
Scotland, India, Australia, and New Zealand. He has been nominated for a
Pushcart Prize in Poetry in both 2002, 2003 & 2006. Recently, his
work has appeared in The Wallace Stevens Journal, The Mid-American
Poetry Review, Ambit, Atlantic, Clean Sheets, Poetry Bay, The Yellow
Medicine Review and The Sun. In England he won a Reader’s Award in Orbis
Magazine for his poem “Hawks.” In the United States he won the Josh
Samuels’ Annual Poetry Competition (2003) for his poem: “The Man Who
Loved Mermaids.” His play THE KILLER had it’s world premier at the
GARAGE THEATER in Long Beach, California (Sept-October 2006). He has
received the Distinguished Alumnus Award from Chapman University for his
writing. Most recently his poem “Gregor’s Wings” has been nominated
for The Best of The Net by Poetic Diversity.

***

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The Recirculation of the Minimal. Poem. Sonnet. R.W. Haynes.

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The name of the play was Don’t Say You’re Here
When You’re Not All There, and it starred, I believe,
Lillian Fish, King Kong, and Lassie, that year
Drawing raves, if memory serves to deceive,
But we didn’t go—there was something about a hat
Or a color, and then World War Three arrived
To gray our heads in weathering all of that,
But though that tempest bellowed, we survived,
And now we stand in line again to see
The same play, this time with Lash LaRue,
A washed-up whale, and Pauline Parlez-Vous,
Newly-dealt ghosts, clear cards where we
Read past and future, as though the present cared,
Or the future somehow knew, or the past had dared.

***
On the Savannah River 2013
***

R. W. Haynes has taught literature at Texas A&M International University since 1992. His recent interests include the early British sonnet, and he is completing a second book on the Texas playwright and screenwriter Horton Foote (1916-2009). In his poetry, Haynes seeks to celebrate life, liberty, and the pursuit of happiness without sounding any more dissonant notes than he has to. In fiction, he works toward grasping that part of the past which made its mark on his generation. He enjoys teaching drama, especially the Greeks, Ibsen, and Shakespeare, and he devoutly hopes for a stunning literary Renaissance in South Texas.

***

 
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…Whose Name Was Writ in Water. Ekphrastic Poem. Neil Ellman

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(after the painting by Willem de Kooning)

It is his whose name
was writ in the calligraphy
of swirling, arching waves
without the eyes and ears
spurs and tails
of word or sound
in human alphabets
where no one heard him speak
the language of the sea
his sermon on the mount
of turbulence
whose name is lost—
he proclaimed dominion
over tide and time
then sank alone into a sea
of disregard.

Whose Name was Writ on Water

Biography: Nominated for the Pushcart Prize and Best of the Net, Neil Ellman writes from New Jersey. More than 850 of his poems, many of which are ekphrastic and written in response to works of modern and contemporary art, appear in print and online journals, anthologies and chapbooks throughout the world. His first full-length collection is Parallels: Selected Ekphrastic Poetry, 2009-2012 (Omphaloskeptic Press).

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Mongolian Limericks. Vera Rich & Marie Marshall

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mongolia

Five years or so ago, the late Vera Rich, poet and translator, let slip some ‘Mongolian’ Limericks just for fun. I replied in kind and tickled her. Here’s an exchange or two between us.

Vera:

A Mongolian dealer in koumiss
Told his daughter: “I’m angry with you, Miss!
Last night’s supper was spoiled,
For the tea was not boiled,
And the dumplings were sticky as glue, Miss!”

Me:

His daughter’s voice came from the yurt:
“To say the least, you’re very curt!
No need to be cocky –
Those dumplings were gnocchi,
Green tea is drunk tepid – I’m hurt!”

Apparently Vera wrote a whole series of these as a divertissement at a Mongolian Studies Conference in the 1980s – a far cry from her serious work translating Ukrainian and Belorussian poetry. Here’s some more.

Vera:

Said a PR man in Ulan Bataar,
“I really don’t know what’s the mataar!
But that cursed foreign press
Writes of us less and less,
Saying it has too much else on its plataar!”

Me:

The cleaner (whilst shoving her Huva)
Said, “No Mongol is the prime muva
Of things international.
Anonymity’s rational…
It could be worse – this could be Tuva!”

It does you good to let your hair down once in a while. Vera is very much missed by those of us who knew her and worked with her.

***

Vera Rich(1936-2009)

Educated at St Hilda’s College, Oxford and at Bedford College, London, Vera Rich, a respected science journalist and a tireless campaigner for human rights, was a fine poet. Her wits were quick, her memory prodigious and she had a wonderful sense of humour.

During the 1960’s she had three books of her own poems published, and founded the poetry magazine, Manifold. This ran with some success for 28 issues before publication was suspended in 1968, when Vera became Eastern European correspondent for the science magazine, Nature.

Once asked to translate some Ukrainian poems, she learned the language to do so. For the next three decades, she travelled extensively in eastern Europe, becoming the foremost translator of both Ukrainian and Belarusian poetry into English. She reported on the activities of dissident Soviet scientists, the Chernobyl disaster, psychiatric abuse and AIDS in the Soviet Union. Her anthology of Belarusian poetry, Like Water, Like Fire, published by UNESCO, was subsequently withdrawn under pressure from the Soviet Union.

Manifold, which she revived in 1998, regularly published foreign-language poetry with parallel text in Engtlish and, occasionally. foreign poetry untranslated. In 2006 Vera travelled to the Ukraine to receive the Ivan Franko Award for her 40 years service to the translation of Ukrainian poetry. While on a visit to the Ivan Franko Homestead she gave an emotional reading of Shevchenko’s poem “Testament”. On her next visit in 2007, she wore her medal, the Order of Princess Olha, which had been presented to her at the Ukrainian Embassy in London. Vera could fairly be described as a Ukrainian patriot, an unusual distinction for an Englishwoman.

In 2006 Vera underwent treatment for breast cancer. But she always insisted her illness was an inconvenient obstacle to her work. On 18 December 2009, her doctor advised her to go into hospital, but even then Vera gave priority to her translations. On 20 December, 2009, she died peacefully in her bed. She will be greatly missed, not least for her kindness and the support she gave to so many. Alan Flowers (UK)

***

Marie Marshall (1957 — ) is an Anglo-Scottish author, poet and editor. Her first collection of poems, Naked in the Sea, was published in 2010 and reviewed in Sonnetto Poesia that same year, and her second collection, I am not a fish, in 2013. Since 2005 she has published over two hundred poems, mainly in magazines and anthologies, but the most extraordinary places in which a poem of hers has appeared include on the wall of a café in Wales, and etched into an African drum at the New Orleans Museum of Art. Her first novel, Lupa, was published in 2012. She is well-known in Scotland for her macabre short stories. Her web site can be found at mairibheag.com. Of writing poetry and sonnets she says, “I did not start writing until 2004, so I am very much a twenty-first century writer. I write anything, any kind of poetry that I feel the urge to tackle ― sonnets included.”

 
http://mairibheag.com/2014/03/18/mongolian-limericks
 
 

The Song Bird. Video.Audio.Poem.Randal. A.Burd.Jr.

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Randal Snapshot 2

Randal A. Burd, Jr. is a teacher, freelance writer, poet, and family historian. He teaches English to grades 7-12 in a juvenile residential facility in Southeast Missouri. He previously taught Dual-Credit English through MSU and Freshman English for two years and spent four years at an alternative high school teaching English and Art while mentoring at-risk students. In 2012, he was elected Secretary of the Department of Missouri, Sons of Union Veterans of the Civil War. Randal was President of the Ozark Patriots Chapter of Sons of the American Revolution from 2011-2012 and is Camp Commander of Sigel Camp #614 of SUVCW. He was commissioned a Kentucky Colonel in April 2013.

Randal published his first poetry chapbook, “Leaving Home,” in 2008. He received his BA in English cum laude with minors in Art, Psychology, and Writing from the Missouri University of Science and Technology and his Master’s Degree in Curriculum and Instruction from the University of Missouri. While enrolled at Missouri S&T, Randal was Editor-in-Chief of The Missouri Miner, the campus newspaper, from 2000-2002, and Editor-in-Chief of Southwinds Magazine, “Missouri S&T’s Only Literary Magazine,” from 1997-2001.

—

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L’Amour En Rêve, Reveries Of Love Poem by Jim Dunlap

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moi(1)

I toss in strangely troubled dreams
of rolling hills and woodland streams —
of soft, pale skin, so smooth and fair,
and moonlight glancing off her hair.

What can I say? What can I do?
Sad to say, she’s just not you.
True love calls …”Come, please be mine …
we’ll drink to good Saint Valentine.”

and if, perchance, you choose to stay,
we’ll leave her there and go away,
to roam the world, to wander far ..
beneath fair Venus, morning’s star.

For fate could never put asunder
bonds of love, entwined in wonder…
though our souls should dare to brave
a bright new land beyond the grave.

Why waste one day, one minute more?
Let’s bite the apple to the core,
and while the years and seasons fly,
our love will grow … and never die.

 

***

 

Jim Dunlap’s poetry has been published extensively in print and online in the United States, England, France, India, Australia, Switzerland and New Zealand. His work has appeared in over 90 publications, including Potpourri, Candelabrum, Mobius, Poems Niedernasse, and the Paris/Atlantic. He was the co-editor of Sonnetto Poesia and is currently a Content Admin for Poetry Life & Times. www.facebook.com/PoetryLifeTimes He is also the chief proofreader for the On Viewless Wings Anthologies, published out of Queensland, Australia. In the past, he was a resident poet on Poetry Life & Times and the newsletter editor for seven years with the Des Moines Area Writers’ Network.

You may find him here:

http://www.thehypertexts.com/Jim%20Dunlap%20Poet%20Poetry%20Picture%20Bio.htm

Here: http://www.whoislog.info/profile/jim-dunlap-poet.html

Homepage: http://mindfulofpoetry.homestead.com/index.html
Here: http://www.pw.org/content/jim_dunlap_1

Here: http://www.artvilla.com/plt/currentoct06.html

Here: http://allpoetry.com/contest/2602767-Poems-for-Jim-Dunlap–

Here: http://classicalpoets.org/fairy-dust-anarchy-and-other-poetry-by-jim-dunlap/

Here: http://classicalpoets.org/fairy-dust-anarchy-and-other-poetry-by-jim-dunlap/

Here: http://www.smashwords.com/books/view/109492

Here: http://allpoetry.com/column/9188321-Book-Review-The-Spirit-of-Christmas-in-Poetry-by-Jim-Dunlap-by-WandaLeaBrayton

***

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robin@artvilla.com

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Half Past Eight.Poem.Video.Guadalupe Grande.

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http://youtu.be/2YjIzmvaV4w

OCHO Y MEDIA

I

No lo comprendo.
No sé
          por qué hay que ir tan deprisa.
No entiendo
         por qué hay que caminar tan rápido
ni por qué es tan temprano
ni por qué la calle está tan enturbiada y húmeda.

No entiendo
qué dice este rumor en tránsito
        (este siseo infatigablemente frágil)
ni sé
         a dónde llevan tantos pasos
con la obstinada decisión de no perderse.

II

Estoy en la puerta de mi casa:
desde aquí puedo ver,
tras los cristales,
               un copo de cielo,
un harapo azul sin horizonte,
un fragmento de distancia,
un tragaluz de lejanía.

Cierro la puerta
               y no lo entiendo,
pero hago un gran esfuerzo en retener
ese jirón azul en la pupila
      y pienso en la corona de espuma del ahogado
      y en los clavos grises que me aguardan.

Sin embargo, ya sé que no hay coronas:
estamos muy lejos del mar
y yo llevo los ojos llenos de bruma y humo
como si los cubriera la sombra de una lágrima
que aún no he sabido llorar.
                Digo que lo sé, pero no estoy segura:
tan solo
cierro la puerta de mi casa
como si cerrara la puerta de mi alma
o de algún alma
que se parece demasiado a la mía.

III

Parece temprano,
parece pronto,
quisiera decir: la ciudad se despierta
o nace el día
o empieza un día más.
Pero no lo entiendo,
no consigo entenderlo:
he bajado las escaleras
y he llegado a un lugar
que dice llamarse calle;
desde luego, no veo náufragos coronados
ni distingo a los viajeros de los comerciantes
ni a los habitantes de los ciudadanos
ni a los abogados de los turistas
ni a mí de mí.
En este momento,
tan solo reconozco mis zapatos
y su exuberante y urgente necesidad
por incorporarse al ajetreo de la vía.

IV

Es pronto:
no sé a dónde,
pero hemos llegado pronto.
Por lo demás, todo sigue.
Aunque yo no entienda lo que dice la palabra prisa
aunque no sepa lo que nombra la palabra ruido,
aunque no comprenda lo que calla la palabra calla,
los zapatos silenciosos,
en su obstinada decisión de no perderse,
lo entienden todo por mí.

HALF PAST EIGHT

I

I don´t understand.
I don´t know
      why one has to go about in such a rush.
I don´t get
      why one should walk so fast
nor why it´s so early
nor why the street is so muddy and wet.

I don´t see
what this transitory whisper in transit says
      (this restlessly fragile hiss)
nor do I know
      where all these steps are heading
in the obstinate decision not to lose themselves.

II

I stand in the doorway of my home:
from here I can see
                a streak of sky behind the glass
a blue rag without horizon,
a fragment of distance,
a skylight of distance.

I close the door
                and don´t understand
but I try with great effort to keep
that blue strip in my pupil
      and I think of the foamy garland of the drowned
      and the grey nails awaiting me.

Yet I know there are no garlands
and we´re far from the sea;
I lift my eyes and they´re full of fog and smoke
as if covered by the shadow of a tear
a tear I haven´t yet wept.
                I say I know, but I´m not sure:
I just close the door of my house
as if I ´d closed the door of my soul
or someone else´s soul
too similar to mine.

III

It seems early,
apparently too soon,
I would like to say: the city awakens
or the day is born
or another day begins.
But I don´t see it,
I can´t understand:
I have gone downstairs
to a place supposed to be called street;
obviously I see no garlanded shipwrecks,
I do not distinguish travellers from merchants
nor inhabitants from citizens
nor lawyers from tourists
nor myself from myself.
At this moment
I recognize only my shoes
and their exuberant urgent need
to join the teeming throng.

IV

It´s soon:
I don´t know where,
but we have arrived soon.
Otherwise, everything goes on.
Even though I don´t understand what the word hurry means
even though I don´t know what the word noise names,
even though I don´t grasp what the word hush hushes,
my silent shoes
in their obstinate decision not to lose themselves
understand everything in my place.

***

(Translated from the Spanish original by Robin Ouzman Hislop & Amparo Arrospide)

***

 Guadalupe

Guadalupe Grande was born in Madrid in 1965. She has a Bachelor degree in Social Anthropology. Published poetry books: El libro de Lilit, (Renacimiento, awarded the 1995 Rafael Alberti Award, 1995), La llave de niebla (Calambur, 2003), Mapas de cera (Poesía Circulante, Málaga, 2006 and La torre degli Arabeschi, Milán, 2009),  Hotel para erizos (Calambur, 2010) and Métier de crhysalide (an anthology, translated by Drothèe Suarez y Juliette Gheerbrant, Alidades, Évian-les-Bains, 2010).

As a literary critic, she has published in cultural journals and magazines, such as El Mundo, El Independiente, Cuadernos Hispanoamericanos, El Urogallo, Reseña and others.

In 2008 she was awarded the Valle Inclán grant for literary creation in the Academia de España in Rome.

In the publishing and cultural management areas, she has worked in institutions such as the Complutense University of Madrid Summer Courses, Casa de América and Teatro Real. Currently she manages poetical activities in the José Hierro Popular University at San Sebastian de los Reyes, Madrid.

The poems “Ocho y media” (Half past eight) and “Madrid, 1973” belong to La llave de niebla, and have been translated into English by Robin Ouzman Hislop and Amparo Arróspide.

 ***

Guadalupe Grande nació en Madrid en 1965. Es licenciada en Antropología Social.

Ha publicado los libros de poesía El libro de Lilit, (Renacimiento, Premio Rafael Alberti 1995), La llave de niebla (Calambur, 2003), Mapas de cera (Poesía Circulante, Málaga, 2006 y La torre degli Arabeschi, Milán, 2009),  Hotel para erizos (Calambur, 2010) y Métier de crhysalide (antología en traducción de Drothèe Suarez y Juliette Gheerbrant, Alidades, Évian-les-Bains, 2010).

Como crítico literario, ha colaborado en diversos diarios y revistas culturales, como El Mundo, El Independiente, Cuadernos Hispanoamericanos, El Urogallo, Reseña, etcétera.

En el año 2008 obtuvo la Beca Valle Inclán para la creación literaria en la Academia de España en Roma.

En el ámbito de la edición y la gestión cultural ha trabajado en diversas instituciones como los Cursos de Verano de la Universidad Complutense de Madrid, la Casa de América y el Teatro Real.  En la actualidad es responsable de la actividad poética de la Universidad Popular José Hierro, San Sebastián de los Reyes, Madrid.

Los poemas “Ocho y media” y “Madrid, 1973” pertenecen a La llave de niebla y han sido traducidos al inglés por Robin Ouzman Hislop y Amparo Arróspide.

 
 
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Robin Ouzman Hislop Editor of the 12 year running on line monthly poetry journal Poetry Life and Times. (See its Wikipedia entry at Poetry Life and Times). He has made many appearances over the last years in the quarterly journals Canadian Zen Haiku, including In the Spotlight Winter 2010 & Sonnetto Poesia. Previously published in international magazines, his recent publications include Voices without Borders Volume 1 (USA), Cold Mountain Review, Appalachian University N Carolina, Post Hoc installed at Bank Street Arts Centre, Sheffield (UK), Uroborus Journal, 2011-2012 (Sheffield, UK), The Poetic Bond II & 111, available at The Poetic Bond and Phoenix Rising from the Ashes a recently published Anthology of Sonnets: Phoenix Rising from the Ashes. He has recently completed a volume of poetry, The World at Large, for future publication. He is currently resident in Spain engaged in poetry translation projects.
 
 
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Poetry Life & Times
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Amparo Arrospide (Argentina) is a Spanish poet and translator. She has published four poetry collections, Mosaicos bajo la hiedra, Alucinación en dos actos y algunos poemas, Pañuelos de usar y tirar and Presencia en el Misterio as well as poems, short stories and articles on literary and film criticism in anthologies and both national and foreign magazines. She has received numerous awards. Together with Robin Ouzman Hislop, she worked as co-editor of Poetry Life and Times, an E-zine.

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