Pleased to announce that Zumwalt’s latest poem has been published in The New Verse News: “You Can’t Put a Price on Health.”
You Can’t Put a Price on Health
November 6, 2026
I am a line switcher
November 4, 2026
I am very pleased to announce that Silver Birch Press has published Zumwalt’s “I am a line switcher.”
Please visit and leave a comment if you like the poem. Please leave two comments if you don’t.
Macabre Intrusions
October 30, 2026
I am pleased to announce that four of Zumwalt’s poems have just been published this afternoon in Muse Press’s Fib Review!
Please visit their website!
Here are the four poems — each uses the Fibonacci sequence to determine syllable count. The fourth poem takes a cumulative approach to revealing the Fibonacci Sequence one value at a time. It starts with the first value “1” for the first stanza, with each subsequent stanza adding the next value, so that the second stanza is “1,1” and the third is “1,1,2” and so on.
Artifact: https://www.musepiepress.com/fibreview/zumwalt1.html
Headlands: https://www.musepiepress.com/fibreview/zumwalt2.html
Discovery Feats and Flops: https://www.musepiepress.com/fibreview/zumwalt3.html
Macabre Intrusions: https://www.musepiepress.com/fibreview/zumwalt4.html
I am pleased to announce that two of Zumwalt poems, “around” and “Handcrafted” have been published in Bronze Bird Review, Issue III. The book includes twenty-six poets and thirty-seven poems. The theme of one of Zumwalt’s poems is mentioned on the back cover.
It’s available now on Amazon:
and on the publisher’s site at https://bronzebirdbooks.com/books
After some time passes, if I get permission from Zumwalt, I plan to include these two poems on this website.
Seventy Year Saturday: 1956, Part Three
October 24, 2026
There are so very few jazz greats that I have seen in person. Not quite sure why. As a teenager, I was a big fan of Duke Ellington, becoming acquainted with him by checking out LPs from the city library on the other side of town. I loved his recordings from the 1940s, from his commercial hits like “A Slip of the Lip” to his more elaborate pieces like the “Black, Brown and Beige” suite. I also purchased a budget 3 LP Stan Kenton set, which was in my listening rotation along with classical and rock LPs. However, I had no idea what bebop, hard bop, or much about any style of jazz beyond the forties. That changed with college, and I began to go to a few jazz concerts, but considering the wealth of talent that came into the Los Angeles and Orange County area, as well as regulars I didn’t see, like Bobby Hutcherson, I saw only a fraction of the artists I could have seen. Thanks to a close friend, I did get to see Sonny Stitt and a number of local jazz artists like the jazz trio, Illiad.
At some point, I even saw Milt Jackson. It seems to me that I might have seen him at the Lighthouse in Hermosa Beach around 1976 — but I cannot verify it. He also played at other venues during this time. And maybe the memory is fabricated. This is the issue with old age.
But as old as I am, I can enjoy Milt Jackson on LP, CD and streaming services! Here’s a look at recordings from 1956 where he was the vibraphonist for the Modern Jazz Quartet, or that the MJQ pianist John Lewis recorded.
The Modern Jazz Quartet: Fontessa
The blend between classical and jazz elements goes back to several decades earlier than 1956, with classical composers incorporating jazz elements (Darius Milhaud in 1919, Gershwin/Grofe with Rhapsody in Blue in 1925) and jazz composers like Duke Ellington writing works like “Creole Rhapsody” in 1931 and Symphony in Black in 1935. Stan Kenton championed the incorporation of classical music elements: his chief arranger in the 1940s, Pete Rugolo, wrote works like “Artistry in Rhythm” and “Artistry in Bolero” for the Stan Kenton band, which continued to mix modern classical and modern jazz elements with works like Bob Graettinger’s “City of Glass.” And then there was Dave Brubeck and his octet, which released several notable works during 1946-1950, including “Fugue on Bop Themes.”
John Lewis had an extensive classical music background, studying classical piano starting at age seven and earning both a bachelor’s degree and a master’s degree in music, focusing on both piano performance and musical composition. He brings both his advanced piano technique and compositional skills to his Modern Jazz Quartet recordings, as well as his solo recordings.
Recorded in January 1956, Fontessa was the first Modern Jazz Quartet album released in 1956, and their first on the Atlantic label, which issued the LP in both mono and stereo versions. Unfortunately, the stereo version, despite its impressive soundstage, has some audible engineering defects. The mono version sounds great, and I suppose it is quite possible with today’s AI-driven technology to create a stereo version of the mono, based not on the audio content of the stereo, but just based on data about the stereo image itself. Hopefully that happens. AI needs to do a few decent things to partly balance out all the danger it poses.
AI’s currently unfulfilled potential aside, I am delighted with my mono version, starting with, yes, a jazz fugue, “Versailles”, with Percy Heath on bass working his butt off to keep up with the contrapuntal interaction between John Lewis on piano and Milt Jackson on vibraphone, with Connie Kay providing unobtrusive support on drums. This is followed by one of my favorite ballads, “Angel Eyes,” with Milt Jackson adjusting the motor of his vibraharp to the minimum revolutions per second to provide a shimmering, haunting effect. It’s worth noting that, though “vibraphone” is the term we use for these types of instruments today, in the early days of the instrument, the manufacturers had specific names. The Leedy Manufacturing Company created the first of these instruments, with a prototype in 1921 and a commercial version in 1924 under the proprietary name of “Vibraphone.” In 1927, the J.C. Deagan company released a technically superior product that they named the “Vibraharp,” with the bars made of an aluminum alloy for a warmer tone, a tone-sustaining pedal, and a layout matching the keyboard of the piano. The Deagan product set the tone (sorry, dear reader…) for the instrument, with other manufacturers producing similar products (for example, the Vibra-Celeste). Milt Jackson played the Deagan Vibraharp, and today we call such instruments just vibraphones or even “vibes” with “vibes” commonly used instead of “vibraphone.”
Another standout track on the album is “Fontessa,” an eleven-minute suite showcasing the musical subtleties of the quartet. Ending the album with more of a bebop flair is the well-known Dizzy Gillespie tune, “Woody’n You.” Overall, this is an excellent album showing the range of the quartet.
The Modern Jazz Quartet: At Music Inn
Although it was recorded on August 28, 1956, and released later that year, this is not truly a live concert album but rather a closed recording session, and it is unclear whether there were multiple takes. This is not to be confused with their 1959 “At Music Inn,” which is a true live album and includes Sonny Rollins on a couple of tracks. For this album, we have Jimmy Giuffre playing clarinet on three tracks. The group continues to develop their highly refined MJQ sound starting with a rendition of Gershwin’s “Oh Bess, Oh Where’s My Bess,” followed by a new jazz fugue by John Lewis, “A Fugue for Music Inn,” where Giuffre takes the first voice, followed by Milt Jackson, then John Lewis. Though not quite as amazing as the previous album, there is a lot to love here all the way to the last track, a variation on “God Rest Ye Merry Gentlemen” which opens with some intricate contrapuntal passages and Percy Heath providing some bowed bass lines.
John Lewis: The Modern Jazz Society Presents a Concert of Contemporary Music
Recorded on March 14, 1955 (before I was born) and released in 1956 (after I was born), this is one of the most important and musically enriching lesser-known jazz albums of the 1950s. When I say lesser-known, I need to qualify that, as the Penguin Jazz Guide awards it four stars and its select “crown,” which transcends that maximum four-star rating to indicate the album’s essential or profound historical status.
You can be the judge if this is an essential album (I strongly feel it is not just an essential jazz album, but an essential album for any music lover), but there is no debate on its historical importance: this is the very first Third Stream album — recorded and released, as one would expect, before the term Third Stream was invented. It is always the case that the music comes first and that the label comes later. In this case, the label came pretty quickly, coined in 1957 by one of the participants and arrangers of this album, Gunther Schuller.
What is Third Stream? Basically, it is a blend of classical music and jazz — in Schuller’s words, “the result of two tributaries,” with Third Stream being between these two — getting contributions from both. Schuller’s definition implies that works like Gershwin’s Rhapsody in Blue are Third Stream. Some would assert that Third Stream is more of a synthesis where both classical and jazz are combined seamlessly, and that is clearly an attribute of this album. Whether there were other Third Stream works before this album or not, this LP album is the first that I know of that is a collection of individual works written specifically for a given album. All that said, labels are often more a matter of convenience than accuracy, and the same holds true with “Third Stream.”
And as we use “Classical” as part of the definition of “Third Stream,” I have to acknowledge that coming up with an airtight definition of “Classical Music” is even more problematic. There is non-notated classical music we have lost forever (Bach, Beethoven, Liszt, or Messiaen for audiences of varying sizes); there is classical music that requires sections of improvisation by ensemble members; there is classical music written for a single performance, sometimes with the music saved, sometimes discarded, and so on. In general, the most useful way to label music is in terms of quality, perhaps providing stars (****) like various journals do. That is, of course, a subjective evaluation, and even by scanning through the album ratings summaries on Wikipedia entries, one finds quite a variance in ratings, this album being one example with AllMusic.com giving one of the finest works of the 20th Century three out of five stars compared to the highest rating that we mentioned earlier from the Penguin Guide to Jazz.
For some reason, I feel more inclined to label a piece third stream if I hear a flute, bassoon, clarinet, or French horn. All four are present on this album, along with Getz and Lucky Thompson alternating on tenor sax, and J.J. Johnson on trombone (perfect choice), Percy Heath on bass and Connie Kay on percussion. John Lewis has composed all the pieces, with arrangement duties shared between him and Gunther Schuller. The five pieces on the album all immerse and saturate the listener in well-deployed tonal colors, a tribute to the composer, arrangers, and performers. The music includes solos, and one of the compositions is an infectious, over five-minute jazz fugue. The 1999 Verve\/Polygram CD release of this album includes three bonus rehearsal tracks, including a rehearsal of J.J. Johnson’s “Turnpike.”
John Lewis: Grand Encounter (2° East / 3° West)
Recorded on Feb 10, 1956, and released in November of 1956, this album is quite a contrast to The Modern Jazz Society Present album, composed of five standards and just one John Lewis original, and featuring an ensemble of just five musicians: John Lewis and Percy Heath, bandmates of the Modern Jazz Quartet representing the East, and Chico Hamilton, Jim Hall (then a member of the Chico Hamilton Quintet), and Bill Perkins (with Stan Kenton at the time) representing the West.
The album is one of John Lewis’s best. I find it a thorny proposition to identify any musician as underrated, but in terms of general public awareness, John Lewis has to be one of the most underrated pianists of all time. He is economical and supportive as appropriate, providing minimal but substantial support for soloists. On this album, Bill Perkins shines, with nothing in the way of his restrained yet beautifully resonant tone. He pairs perfectly with Jim Hall, both on Hall’s solos and in their melodic interactions. Lewis’s solos are generally restrained, clear, and elegant, with the melodic lines immaculately emphasized by singing tone for both legato and portato passages. His inventiveness serves to contribute to an overall effect and avoid disruptive displays of virtuosity — something I enjoy in its proper place, but way too often done at the expense of continuity and coherence.
The one John Lewis composition fits in perfectly with the five standards and is a quintessential example of cool and elegant jazz. If we label The Modern Jazz Society Presents album as Third Stream, I think we can accurately label this album as cool jazz. It seamlessly blends both East Coast and West Coast jazz elements. It is ideal for dedicated listening or for relaxing on a Sunday afternoon, whether giving it full attention or dividing attention between the music and a novel — with minimal attention on the novel.
Fifty Year Friday: Chick Corea, Stanley Clarke, Van Der Graaf Generator, Area, Goblin and more; October 1976
October 23, 2026
Chick Corea: My Spanish Heart
Released around October 1976, and coming out a few months after Return to Forever’s classic “Romantic Warrior,” this is Chick Corea’s first double LP effort: a concept album exploring the flavors of Spanish music. Now, Chick Corea was not Spanish; he was a New Englander, born in Chelsea, Massachusetts, with a father of Calabrian ancestry and a mother of Sicilian ancestry. However, he grew up listening to Latin Jazz and frequenting the Latin Jazz scene, first in Boston and then New York, where he would visit the Palladium even during gig breaks when he was working nearby.
The first side of My Spanish Heart is effectively a suite, starting with “Love Castle,” which showcases Corea’s command of both the acoustic piano and the synthesizer. Prog fans like me gush over Keith Emerson or Rick Wakeman, but Chick Corea is a technically superior pianist with not only blazing speed but greater technical articulation and controlled touch, and his pianistic skills effectively navigate the nuances of this first track, which sets the mood and the level of listener expectations for the rest of the album. Gayle Moran’s exquisite multi-tracked vocals also add atmospheric, ethereal depth to this first track. On the second track, “The Gardens,” we get fine acoustic piano work from Corea, and acoustic bass from Stanley Clarke and cello from David Speltz, with this transitioning into “Day Danse,” where Corea exchanges passages with a string quartet followed by an exploratory acoustic piano solo from Corea. The side ends with the Latin-steeped “Night Streets,” where Corea returns to the synthesizer and is supported by a Latin Jazz brass section.
Side Two opens with “The Hilltop,” a Corea and Clarke duet, including solo passages from each. The next track, “The Sky,” featuring Corea alone on acoustic piano, provides the openness of the Spanish plains with the intimate reflection of a solitary walk. Gayle Moran provides uplifting vocals again with Corea on synthesizer and Steve Gadd on drums to end side two, with the start of side three opening with the energetic “Armando’s Rhumba,” which includes Jean-Luc Ponty on violin.
Sides Three and Four feature suites, with “El Bozo” being a particular favorite of mine. This suite is mostly Chick Corea as a soloist. Corea starts off on solo piano, switching to some very creative use of synthesizer, as well as passages with organ and electric piano as the suite progresses, sometimes supported by Steve Gadd on drums and Don Alias on percussion.
Spanish Fantasy is an architectural masterpiece, with strong Spanish overtones throughout, including its effective use of brass quartet at the start and end. The album closes out with the impressionistic “Clouds,” a trio of Corea, Ponte and Clarke.
Stanley Clarke: School Days
This second studio album of Stanley Clarke, released in October of 1976, was the first Stanley Clarke album I purchased. I was head-over-heels in love with Romantic Warrior, and so I thought it made sense to take a chance on this album. From the start, I was very pleased, and actually that first track, the title track “School Days,” would be my favorite on the album. The next track, “Quiet Afternoon,” was and still is my next favorite. The relationship between these two tracks is much like that of a classical-era symphony, which has a fast and lively “Sonata Allegro” movement usually followed by a slow, reflective “Adagio” or a walking pace “Andante.” Though I love Haydn’s symphonies, I find Mozart, Beethoven, and Schubert provide more interesting slow movements. It’s not always easy to keep my attention during a slow movement. Mozart, Beethoven, and Schubert effectively do that, as does Stanley Clarke here with “Quiet Afternoon.”
The remainder of the album includes “The Dancer,” which I guess functions like a minuet in a classical symphony, but then we break this analogy with the fourth track, “Desert Song,” being a slow, reflective movement. The next two tracks are upbeat and vigorous, with the “Fun” in “Hot Fun” representing both “fun” (possibly analogous to our classical symphony’s scherzo) and “funk.” The piece alternates between a funky theme and a more ethereal theme. The last track is the joyous “Life is Just a Game” — the title, the exuberance, and the lyrics are an apparent nod from Stanley Clarke, a Scientologist, to L. Ron Hubbard’s “Fundamentals of Thought,” which includes a section that details the elements of a game and the applicability of knowledge of those elements to a more causative life.
Al Di Meola: Land of the Midnight Sun
Released on October 25, 1975, Land of the Midnight Sun is Al Di Meola first album under his own name. Di Meola supplements his guitar virtuosity with his own keyboards, percussion, and vocals, as well as some incredible contributions by Chick Corea, Stanley Clarke, Lenny White, Jaco Pastorius, Steve Gadd, Mingo Lewis, and others. The album kicks off with an energetic performance of Mingo Lewis’s “The Wizard” and covers a wide range of jazz fusion styles with the bonus inclusion of a Bach transcription performed by Di Meola on acoustic guitar. There are moments when the album gets a bit over-repetitious (for example, the second half of the first track). This minor drawback is compensated by the overall excellence of the bulk of the album, particularly the stunning last track, Chick Corea’s “Short Tales of the Black Forest” brimming over with exceptional and even mesmerizing acoustic piano and guitar passages.
Lenny White: Venusian Summer
Having reflected on the three solo albums from the Return To Forever members that were released shortly after the Romantic Warrior album, it seems relevant to mention Lenny White’s debut album, partly because I didn’t mention it in any of last year’s Fifty Year Friday (the album was recorded the summer of 1975 and released in November of 1975), and partly because I am “reflecting” on these other three individual band member albums. I had purchased those three albums shortly after my purchase of Romantic Warrior, and I believe if I had seen the Lenny White album in the record stores I frequented, I would have purchased that also. I suspect by late 1976, though, this first Lenny White album was not prominently displayed or even in the bins of most record stores. For this reason, it’s an album I have not listened to until a few days ago — surprise! That’s a real shame, as this is a captivating, distinctive jazz-fusion album, with a diverse range of numbers, starting out with two tracks that even an old geezer like me is compelled to get off his duff and move his aged body to. The album then gets more cerebral, with the last and longest track being the standout piece for me. White, who, before Return to Forever, played on albums by Andrew Hill, Miles Davis, Joe Henderson, Freddie Hubbard, Woody Shaw, has, not surprisingly, brought in some true luminaries for this album, including organists Jimmy Smith and Larry Young, as well as Hubert Laws, Larry Coryell and Al Di Meola. I waited fifty-one years to hear this engaging album — with its free availability on both Spotify and YouTube, there’s need for you to wait even for the few minutes it takes time to finish this post — though, if you do drop off to listen, please at least come back to read about Area’s Maledetti album, if you have even an ounce of affection for prog rock, free jazz, or the contemporary classical music of the 1960s and 1970s.
Area: Maledetti
Released in the latter half of 1976, Maledetti is Area’s fifth album, an elaborate concept album. The story about the loss of data from a “history data bank” may have seemed a bit far-fetched at that time, but with the current advances of AI towards being capable of total management of human affairs, the concept now seems eerily prophetic. I hung around a bit with Area and Dmetrio Stratos in 1978, and I suspect their leftist political leanings also influenced the message of the album, but when I say “leftist” I don’t mean a philosophy that advocates for a state-controlled regime like was prevalent at that time in Eastern Europe and the Soviet Union, but a philosophy that rejects the state and wealth controlled by a super-rich razor-thin minority.
The lyrics, even when translated, are on the abstract side and can basically be summarized as being about the loss of crucial data (perhaps including data on ethics and proper democratic government, but specifically including loss of data from the 15th century), the view of the government in control after the loss of information — labelled as a gerontocracy (government by the elderly), the view of women, and the view of children. The view of the government is clearly laid out in the song “Gerontocrazia,” and scarily applicable to a government ruled by AI:
Col potere delle cose posso avere
With the power of things, I can have
La tua vita controllata e si chiama libertà
Your life controlled, and it’s called freedom.
L’esperienza quotidiana del terrore
The daily experience of terror
Ti lascia soltanto me.
Leaves you with only me.
La violenza consumata nell’amore
The violence carried out in love
Ti spinge incontro a me.
Pushes you toward me.
Se tu guardi nel passato
If you look into the past
Troverai tutto quanto stabilito
You will find everything already established
E si chiama verità.
And it’s called truth.
Senza storia né memoria
Without history or memory
Lascia che io scriva i passi tuoi
Let me write your steps
Vivi in pace la tua vita.
Live your life in peace.
Non pensare, e sogna felicità.
Don’t think, and dream of happiness.
The music ranges from prog rock to free jazz, from highly accessible to musically challenging. As always with Area, the musicianship is first-class, and Stratos’s vocals are consistently world-class. “Gerontocrazia” and “Giro, giro, tondo” are the two most accessible tracks, with the ending track “Caos (parte seconda)” (one can hear “parte prima” on one of their live albums) approaching free jazz or avant-garde “classical” music of that era.
One could write a treatise on why Stratos was the greatest vocalist of the 1970s (Stratos, one of the most apparently healthy thirty-somethings I had ever met, died at the age of 34 on June 13,1979 of aplastic anemia.) Stratos was able to control the vibrations of his “true” vocal cords and of his “false” vocal cords (the ventricular folds) at the same time — so effectively he could produce two, three or four tones simultaneously.
If you are familiar with traditional Tuvan throat singing, Stratos was a master at these techniques. When singing a particular pitch, he could use his tongue, lips, and throat to isolate and amplify high harmonic partials above a lower fundamental droning tone. He was able to extend his vocal range into notes higher than those found on a standard piano (almost a full octave above!!!) He could produce the most amazing upper register sounds, from bird-like chirps and trills to whistle-like sounds.
I am fairly certain he had perfect pitch, which allowed him to explore the nooks and crannies of microtones with precision. Add to this his tongue clicks, infant cooing and babbling (lallation), rapid phonemic stammering and a range of other non-verbal vocalizations, and then further add to this his high IQ and his ability to view and manipulate words as abstract sound units, and one can understand why he was a musician without equal.
Goblin: Roller
Released in 1976 in Italy, but not readily available in the United States (I didn’t get a copy of this until 1978 when I purchased it in Italy), this is Goblin’s second album, and one of their few albums that was not composed and recorded as a soundtrack for a film. However, it certainly would work as soundtrack music. And that is not to diminish this excellent album, Goblin’s best album and one of the classics of Italian progressive rock.
Van Der Graaf Generator: World Record
Released in October of 1976, World Record is the seventh studio album by Van Der Graaf Generator and the last with Hugh Banton and David Jackson. With the album opening with “When She Comes,” it promises to be one of the best of VDGG’s albums, but the remainder of the album isn’t at that same level of excellence. The albums that come before and after are superior, but this is well worth looking up for anyone who likes Peter Hammill or Van Der Graaf. The album can be streamed for free on either Spotify (with some lyrics and bonus tracks) or on YouTube.
Containment Report
October 16, 2026
Very pleased to announce that Zumwalt’s poem, “Containment Report,” originally published at New Verse News, has been republished today at Edge of Humanity: https://edgeofhumanity.com/2026/10/16/edge-of-humanity-magazine-poetry-monthly-october-2026-issue-23-authors-%c2%b7-31-works/ It is the second poem from the top.
Please visit Edge of Humanity and read Zumwalt’s poem and the other featured poems for this month.
Bottom-of-the-ninth Vibe Check
October 14, 2026
I am pleased to announce the publication of Zumwalt’s lexicographically feral Bottom-of-the-ninth Vibe Check at The Opiate: https://theopiatemagazine.com/2026/10/14/the-bottom-of-the-ninth-vibe-check-by-zumwalt/
Please visit, and if you like the poem, appreciate any likes or comments on their site (or here, if that’s your preference).
Tortured
October 1, 2026
This is a difficult topic and a less-than-pleasant poem, but I am still pleased to announce that Zumwalt’s recent poem, “Tortured,” was published today at New Verse News: https://newversenews.blogspot.com/2026/10/tortured.html
Please visit.
Monday Musings: Poetry sites to visit or submit your work to
September 28, 2026
As noted in previous posts, there are plenty of great poetry sites out there to browse, get ideas from, or submit your own material to: https://zumpoems.com/2025/10/14/poetry-publications/ I have also mentioned Chill Subs and Duotrope as easy-to-use resources to discover poetry journals.
I want to call out one site I have not mentioned previously — great for browsing, sparking creative ideas for your own poems, and submitting poems that would be thoughtfully reviewed and not automatically rejected because they don’t align with current MFA biases. This site effectively curates material to provide a good dose of optimism, focusing on “exploring themes of joy, healing, and the sacred in everyday life.” The editor of the site has been voted one of the top ten editors by users of Chill Subs: https://www.chillsubs.com/lists/great-editors-2025, and Duotrope has also featured an interview with this editor: https://duotrope.com/interview/editor/38154/feed-the-holy. The editor also has other duties (editor of Masticadores USA), which she excels at.
The site is Feed the Holly, located at https://feedthehol.blogspot.com/ and edited by Barbara Leonhard. Feed the Holly currently accepts reprints and poems previously shared on blogs. Back in 2024, Barbara provided some useful insight on her launch of Feed the Holy: https://extraordinarysunshineweaver.blog/2024/11/13/feed-the-holy-a-new-literary-ezine/
Another site that focuses on positive poetry and accepts reprints and blog posts is Euonia Review founded and edited by Ian Chung: https://eunoiareview.wordpress.com/
For those that write in or love to read contemporary formal verse, I highly recommend The Society of Classical Poets whose chief editor is Evan Mantyk
Still another website that accepts blog posts and reprints is Edge of Humanity Magazine: https://edgeofhumanity.com/ Editor and curator extraordinaire Joelcy Kay takes this one step further and uses this journal to promote individual contributors’ websites. All of these sites include a link to your website (what is termed backlinks and which help visibility of your site in search engine and AI queries), but Edge of Humanity includes other information that will help drive traffic to your website, including listing published books and additional website links.
I also want to mention an example of Light Verse with substance, Celeste DeSario’s latest poem at New Verse News: https://thenewversenews.substack.com/p/nvn-monday-im-sorry-dave-im-afraid. This piece digs deep into the essence of the risk of AI — risk not driven by ill intent, or any other emotion, but by just executing an objective and sometimes inadvertently becoming a “math equation gone wild.”
I have previously mentioned New Verse News multiple times here, but glad to mention it again — it’s a great journal for poets of all backgrounds and poetic preferences to submit their work, knowing it will be judged on merit and not because it strictly follows any particular style favored or expected by the editor. James Penha is the New Verse News editor and, as is the case with each of the editors mentioned earlier, deserves high praise for his selection of material and for providing readers an engaging reading experience; also, as is the case with the other editors mentioned, he will welcome your submissions with the respect and consideration they deserve.
