“This untranslatable Portuguese term refers to the melancholic longing or yearning. A recurring theme in Portuguese and Brazilian literature, saudade evokes a sense of loneliness and incompleteness.

Portuguese scholar Aubrey Bell attempts to distill this complex concept in his 1912 book In Portugal, describing saudade as “a vague and constant desire for something that does not and probably cannot exist, for something other than the present.” He continues to say that saudade is “not an active discontent or poignant sadness but an indolent dreaming wistfulness.”

Saudade can more casually be used to say that you miss someone or something, even if you’ll see that person or thing in the near future. It differs from nostalgia in that one can feel saudade for something that might never have happened, whereas nostalgia is “a sentimental yearning for the happiness of a former place or time.”

Here´s a stirring poem  titled “Saudade”that embodies that sense completely.

by  Cheryl Moskowitz
Think of how, in its final breath, the dying sun reaches
pink fingers out across the sky and places them urgently
on whatever surface it can find to reflect its own image.
Imagine; a lake or a window
my eyes or your hair.
Think of it as a branch, a root, a budding
from raecan, rookah, ruka to reach, to stretch,
to make long, to be long,
only to belong.
Make me a cloak of longing and I will wear it always.

A new kind of poetry? Written by Laurie Smith

In Magma Poetry

A hundred years ago Ezra Pound was busy creating modern poetry in London.  He helped Yeats to write more directly and more symbolically, then set about “breaking the pentameter” by following T E Hulme and others to create imagism and, a bit later, vorticism.  He recognised the originality of Eliot, Joyce and Lawrence and published the first two, worked with William Carlos Williams (a friend from university) and as Foreign Editor of Poetry (Chicago), permanently influenced the writing of Marianne Moore, E E Cummings and Wallace Stevens.  In less than ten years, poetry had changed unrecognisably through the work of a small group of very different people who saw the need for change.

I’m wondering whether poetry is due for another radical change, perhaps starting in cities like London again.  It’s fascinating how English poetry changes by conforming to or reacting against the dominant language mode – printed prose – often under the influence of ideas from France.  The growth of regular newspapers and journals in the late 17th century, written in correct ‘classical’ style, led to a century of tightly metric, tightly rhymed verse dominated by the heroic couplet, a ‘classical’ import from France.  Eventually Wordworth and Coleridge led a reaction against this, complexly inspired by the French Revolution, but the formality of Victorian prose squeezed the life out most of the century’s English poetry – French symbolism didn’t take hold here and two of the three great radical poets (Hopkins and Emily Dickinson; the third is Whitman) were unpublished in their lifetimes.

The modernist poets of 1914 were responding among other things to the flood of cheap newspapers, the jingoistic ‘yellow press’, which the great Austrian satirist Karl Kraus saw as dangerously simplifying the way people saw the world and therefore could feel about it.  Popular poets like Kipling, Newbolt and Masefield were boisterously simplistic.  Pound and Eliot took several French ideas – Baudelaire’s flâneur poems, symbolism, Laforgue’s adaptations of Whitman – created imagism (originally called imagisme to make it sound French) as a short-term expedient and by 1922 had created modern poetry.

Today we have iPads and smartphones which quite a lot of writers believe are changing the way we think, both simplifying and complicating the way we see the world so that people’s ability to concentrate is impaired.  Will this affect poetry?  I think it already has, and for the better.  The rise of interconnected electronic media since the mid 90s has paralleled a rise in reading and writing poetry – a huge increase over the same period of poetry magazines, websites, pamphlets, books, courses, degrees and competitions.  I think this is because reading and writing poetry is something we can’t do quickly or interruptedly.

As with cheap newspapers in the early years of the last century, poetry is responding to an electronically connected world.  (Interestingly the other electronic media – radio, cinema, television – have had almost no effect on poetry; it’s words that are read which count.)  I think we shall have no more great poets like Seamus Heaney whose formative years were spent in a small rural community.  I sense that poetry will increasingly express feeling in a world of instant communication through new versions of the artifice that poems have always used – perhaps sound-based, formalist in new ways, Oulipian (the influence of France again; Oulipo – Ouvroir de la Littérature Potentielle – devises ways of stimulating creativity by restricting the choices available to writers, as in Georges Perec’s novel La Disparition which is written without the letter ‘e’.  It’s perhaps poetry’s most exciting new idea.)

I’ll be exploring these ideas and others in Magma 58 which comes out soon and tracing the development of modern verse in Make It New! how poetry became modern, a course at London’s City Lit which starts shortly – for details see here , , ,

Beyond Comprehension

Absolutely inspiring. Scott Thomas Outlar at his greatest here.


Love is a spasmodic explosion
Love is a tidal wave of passion
Love is a womb bursting open
Love is a scream across the void
Love is an aching in the bones
Love is a fire deep in the marrow
Love is an agony without satiation
Love is the electric pulse of skin friction
Love is the tip of the tongue tasting center
Love is hot flesh pressed tightly against hot flesh
Love is a stain found between bedsheets
Love is a wild dance in the midnight hour
Love is the first sip of wine in a new day
Love is the seed shooting out its first sprout
Love is the dirt into which roots burrow
Love is the evolutionary fervor of mutating genes
Love is the unstoppable swarm of progressive adaptation
Love is a widow weeping in despair
Love is the sorrow of existential desolation
Love is the pain…

View original post 271 more words

KNOT Magazine includes poems by María C. Domínguez and many more.

Fall Issue of KNOT Magazine is out now, exploding with art.

Includes three poems by María C. Domínguez and many other talented poets, such as Matt Duggan. A mind-opening interview with Profesor David Crystal by Editor Rachid Filali. And three fantastic reviews by Editor Kristen D. Scott who together with her team makes this exciting and eclectic magazine possible.

Knot Magazine allows us to share a multitude of insight which incites us to unite and celebrate diversity through literature and art, as it rightly points out.

What an ambitious plan and how greatly this is achieved!

To spur you on, here you have a taster or a “teaser”.

 Raw meat  by Maria C. Dominguez.

Francis Bacon: Important Paintings from The Estate New York, Tony Shafrazi Gallery, 1998

he walked out one night

unbuttoned the space

he had bled into

black cap sack anorak

collection of lies and automatic   

inside he meant to go naked

but just one day

after his………..

Poetry of María C. Dominguez in the fall edition of Harbinger Asylum

Harbinger Asylum was nominated  poetry magazine of the year 2013 by the National Poetry Awards.

Harbinger Asylum is Transcendent Zero Press’s literary journal.

Not only does  this edition of Houston’s Harbinger Asylum include a poem by María C. Domínguez called “Last Summer”, but also  features a Nigerian poet, hosts a group of poems by Lyn Lifshin, and includes a tribute section to recently lost poet Marcie Eanes. This is truly a unique collection of poetry, and its cover is a treasured piece by Bill Wolak called “Wherever Desire Deepens”.

The Editor of Harbinger Asylum comments: “I like the sparse way María Castro Domínguez uses language and leaves bridges between herself and the reader”.

You can buy a copy at a very reasonable price in Amazon. Not to be missed.

“Ezra Pound’s Posthumous Cantos” edited by Massimo Bacigalupo out now!

This is the second or third time or fourth time…ehem  this year I confess I will break my promise not to buy any new books until I finish the old ones.

It seems that every time I browse around Carcanet´s page or receive their newsletter I just can´t help but be tempted. Their books of modern and classic poetry in English and in translation, as well as their range of inventive fiction, Lives and Letters and literary criticism is quite outstanding.

But their last addition, “Ezra Pound’s Posthumous Cantos” edited by Massimo Bacigalupo, is really beyond me or beyond my capacity to resist. Everyone who knows my poetic tastes knows I have a weakness for Imagist poetry. Ever since I found that second-hand copy of “Imagist Poetry” introduced and edited by Peter Jones and published by Penguin, there has been no turning back.

Ezra Pound in Paris

It was a sort of epiphanic moment and ever since their, The Imagists´, poetry has accompanied my writing, refocusing my creative view and sharing my work space. So here you have me, yet again unable to resist this irresistible book falling into the thralls of temptation again. And maybe even inciting my fellow poets to follow me.

Before I add an extract from Carcanet´s newsletter, which they have kindly allowed me to do, I would like to introduce just a brief paragraph on what William Carlos Williams had to say about his friend Ez, as he sometimes called him.

“Ezra never explained or joked about his writing as I might have done, but was always cryptic, unwavering and serious in his attitude toward it. He joked crudely, about anything but that. I was fascinated by the man. He was the livest, most intelligent  and unexplainable thing I´d ever seen, and the most fun…….” (The Autobiography of William Carlos Williams).

Ezra Pound’s Posthumous Cantos collects unpublished pages of his great poem, drawn from manuscripts held in the archive at Yale’s Beinecke Library and elsewhere. They are assembled by Pound’s Italian translator, the critic and scholar Massimo Bacigalupo, into a companion book to the Cantos, running from 1917 to 1972 and including the Cantos he wrote in Italian in 1944-5. An Italian edition was published in 2002 and revised in 2012. This is the first English edition of a crucial part of the Pound canon. Posthumous Cantos is arranged to reflect the eight phases of the Cantos’ composition. Pound’s writing suffered the consequences of the turbulent history of his century. World War I left the cultural world he came to Europe for in ruins; and the aftermath of the World War II in which he took a contrary side, made his work, like his life, discontinuous, a sequence of brilliant moments and profound ruptures.

Posthumous Cantos by Ezra Pound is available to order with 10% discount and free UK P &P from

Here´s a taster:

Yet from my tomb such flame of love arise

that whoso passes shall be warmed thereby;

let stray cats curl there

where no tomb stone is

& girls’ eyes sparkle, at the unmarked spot

let rancours wane

& a slow drowse of peace pervade who passes.

Extract from ‘VI, Pisa, 1945’, from Posthumous Cantos by Ezra Pound, released this month by Carcanet Press

What a way to celebrate National Poetry Day with John Cooper Clarke´s poem

The coast is so important to us islanders, it gives us memories, inspires and revives us.
Represents our beginnings and ends.
Is part of our hereditary mindscape.
Bearing this in mind I couldn´t help but recieve John Cooper Clarke´s film-poem as a enlightening way to celebrate National Poetry Day today.

Now in Issue 3 of Of/with: Journal of immanent renditions, “Homecoming” by María Castro Domínguez

New poem “Homecoming” by María Castro domínguez now in Issue 3 of Of/with

New poem “Homecoming” by María Castro Domínguez out now in Issue 3 of Of/with: Journal of immanent renditions.

Also you can find Matt Duggan and Scott Thomas Outlar and many more brilliant artists. An issue bursting with new creativity.

Of/with is an online literary journal connecting various artistic endeavors into a biannual publication.  They actively pursue artists whose work is a function of naturalized, immanent inclination, and celebrate the art that communicates the nisus and functionality of the artists’ established desire to communicate their renditions.  Their  hope is to become a publication of aggregated brilliance, showcasing artistry that exists outside of conventional and expected artistic interpretations.