Words of My Heart reads like confessional poetry in American girl rap poetry style, she paints pictures in emotions around the Black experience
and celebrates her pure spirit in affirmations and romance. Blaque Diamond, her original name is Bianca Johnson, is a Generation Y writer who has been
writing off and on for 15 years. She lives in North Carolina and has a day job working in logistics for a military shipping company. She has written
In the violence of the post-industrial Megalith transition society, this poetry reads like a flower in a hard roc world rising up through the pavement. Revealing hard spaces of love lost, unsuited love, the resilience of single mothers, dealing with a disability, rape, family violence, being Black, racism and conflicted family relationships, through everything her love light shines. She explores emotions through storytelling in poetry, celebrating God, nature, forgiveness, romance and positive affirmations for survival and dance.
The poetry is written in the style of rap poetry, with constant rhyme at the end of lines and also harkens to the confessional poetry tradition. The images are tried and true, they do not press against the edges of experience but rather dwell inside it. I believe this is her first book of poetry, if she continues to write poetry her gift will ripen. This poetry is cathartic an arts calling in the New World, inspirational, songs of resilience, giving Readers themes in the real world, something they can relate to in their own experience.
In the hard spaces of revolving lovers the poetry sits with you, aches, and This Writer knows that although a majority of people face these issues, they shouldn’t have to. The wisdom of the Holy Spirit Way has been lost in an overconstructed world. Each one of us has a Starcrossed Lover, at least one and there is a positive Sign from God to discern a happy longterm marriage. A checklist is at www.tympanilanerecords.com in the World Peace Newsletters, a Newsletter on discernment in marriage.
Is his love for me true?
Does he mean it when he says, “I love you”?
Is he playing games with my heart?
Just playing a role, doing his part.
Should I believe his eyes?
Do they tell me lies?
His words so sweet.
Dripping with desire, or is it deceit?
I want to believe in romance.
I want to give love another chance,
But at what cost?
Isn’t there so much I’ve already lost?
I don’t want to play the fool.
This game of love can be so cruel.
Can I trust that he won’t hurt me?
Will he love and cherish me the way I should be?
My heart wants to give love another try,
But will he break my heart and make me cry?
Everything that glitters isn’t gold.
If I should love him or not, I haven’t been sold.
Should I give him my loyalty and trust?
Will he just take it and bury it in the dust?
Or will he take it and hold it close to his chest?
His desire is to show me nothing but the best.
Is he strong enough to mend my broken heart?
Am I willing to experience a new start?
I’m so confused, I don’t know what to do.
Which way I should go, I don’t have a clue.
Will he do all that he swears?
Is he able to wipe away all of my tears?
How do you take a chance when you’ve been hurt before?
I don’t want my heart to hurt anymore.
He promises to be the man I need him to be,
But will he be able to do that successfully?
I’m questioning, questioning, and second-guessing.
Will his love be a curse or a magnificent blessing?
Experiential, confessional rap poetry, a girl’s troubles in a hard world; tissues, a package of chips and an orange soda on the weekend as you read, Words of My Heart by Blaque Diamond.
Available @ Amazon.com.
marginal prints is an Art Nouveau free verse offering that is a magical celebration of a love affair with the written word by Philip Miletic.
Philip Miletic (Poet, writer, phd student in English) lives in Kitchener. He has been published in poetry is dead, otoliths, the danforth review,
ribbon pig, dead (g)end(er), outlandish zine, indefinite space. He has written world 1-1 with Craig Dodman, the visual poetry Silver
and the chapbooks mother2earth and And The Birds Sing.
In exaltation this poetry sings. The words are carefully woven with a creation of cadence through repetition and the occasional rhyme. A profound in original offering with the theme of the magic of reading books, a celebration of books and the magic dreamscape place the Reader goes to when reading a book. A world like none other, of imagination and peace, a safe place, a celebration of creating mythologies. Perhaps, an escape from a violent, overconstructed world fraught with hidden agendas and a consequent reality of spending time alone with books in a happy place.
As the series of poems continues it works into a celebration of the union of the Reader with the Writer by the Reader marking up the book, underlining, putting comments in the margins, in essence creating a new entity of thought and emotion, an imprint of the Reader on the word.
"or underline an entire page
because the first sentence is great,
then the next sentence is great
and the one after that sentence is great
and line after line gets
better and better, greater
Then one day our lonely Reader about ¾ of the way into the Chapbook finds an interesting twist to his exultation in the discovery of a note with an email address in the book the poet is reading.
"446 pages into The Making of Americans,
I find your note:
I read this in the summer of 2011.
please email me, next person to read this."
and the poetry rockets into a crescendo of notes written on pages of a book of poetry until the pages scattered from their spines, perhaps mirroring also a love affair born from a note written in the margins of a book. The poems become like duelling harps, a type of Ranga, a love song. A connection in a disconnected world celebrated.
A wild, romantic magic imagining in poetry, surrealistic and fantastical, a New Age Renaissance Republique offering, marginal prints by Philip Miletic and above/ground press.
Available @ above/ground press.
Philippe Soupault (Poet, writer, novelist, literary critic, political activist) born in Chaville, Hauts-de-Seine, France in 1897.
He was arrested by the Nazi's during W.W. II. A practising Dadaist, he with writers André Breton and Louis Aragon founded the French
Surrealist movement in 1919.
- a note from the Editor
George Orwell’s notion that “all art is propaganda,” is profoundly foreign to Soupault. Against a poetry used on a football field of political yardage,
Soupault’s poetry is revolutionary only in the sense that it praises oddballs and children, balloon sellers and madmen. Against the notion that a
governmental overthrow would usher in utopia, Soupault writes against planning, especially against any logical political planning and instead argues
for emotional engagement, not with a program, but with people, especially outsiders and those who have been abandoned.
At Soupault’s trial for lack of political engagement, the surrealists questioned him as to whether he was willing to join the communist party. Soupault said that he was, but almost seemed to be mocking the group as he did so. The idea of joining a strict political faction seemed to have been against his basic belief in poetry. Breton spoke against him at the trial, “Je pense que Soupault adhérera au Parti à la première occasion pour donner le change. Mais cette adhesion n’aura pour moi aucune valeur. Son activité qui est contrerévolutionnaire continuera à l’être” (Adhérer au Parti Communiste? 60). [I think that Soupault will adhere to the party at the first opportunity to do so. But this adherence will have no value. His activity, which is counterrevolutionary, will continue to be so.] Soupault’s work in the press (especially his positive reviews of books by non-surrealists) had disgusted the revolutionaries of the group because it was so open to outsiders and so eclectic. Soupault insisted with Lautréamont, however, that poetry should be made by all, especially by outsiders, and that there was no special in-group, or inner party, that had exclusive access to poetry. Soupault’s solidarity was with poetry, and especially with those who were outsiders.
Soupault's father was an important doctor, and in his family milieu there were a great number of important figures among the bourgeoisie, such as Louis Renault, the founder of the Renault automobile dynasty, who was married to his mother's sister. While curious about the tenets of violence that led to accumulation on a vast scale whether within capitalism or communist systems, Soupault looked inward. His tender and introverted definition of surrealism was not one well-received by Breton or the more orthodox members of surrealism. For Soupault, writing was an act of personal lyricism that could not be translated into the political dimension, in which adherence to parties was taken as political engagement. Soupault’s writing is sympathetic to the poor of the earth, the homeless and the insane.
Soupault had a tremendous number of friends from many walks of life. His clear simple poetry with no trace of either preciosity or condescension has resulted in the steady rise of his reputation as a poet. In his late sixties, Soupault published a book of maxims on friendship, L'Amitié, and later published a volume of poetry for the children who were his friends (and for whom he saved stamps from his international correspondence). Poésie pour mes amis les enfants (Poetry for my friends the children), was published at the age of eighty-six.
Breton's penchant for violent Marxist and anarchist revolution was not part of Soupault's door to surrealism. For Soupault, writing was an act of lyricism that did not have an explicit political dimension. Without, however, any kind of political engagement, without any form of telos, writing will tend towards the absurd. This is where Soupault’s writing tends, just as it tends away from nationalism, imperialism, and the propaganda that Soupault found detestable, but his is not a violent or cynical absurdism. It is rather one aligned with Edward Lear, and the sweetness of children’s verse, and the poor of the earth. It is not, however, nonsense. To quote a brief lyric from Poésies pour mes amis les enfants:
Il y a toujours une étoile
pour les aveugles et pour les fous
pour les ingrates et pour nous
Il y a toujours un nuage
pour les sourds et pour les muets
pour tous les fous et pour nous
Il y a toujours un souvenir
pour les sans Coeur et les fous
les raisonneurs et pour nous
[IN THE SKY
There is always a star
for the blind and the mad
for the ingrates and us
There is always a cloud
for the deaf and the mute
for the mad and us
There is always a memory
for those who’ve lost hope and the mad
the cunning and us]
Soupault’s engagement with poetry as made by all, just as dreams are made by all, remains closer to the original inspiration of the surrealist movement. As Breton tried to translate surrealism into the political dimension via first Marxist and then anarchist politics, he may in fact have translated the poetry of surrealism out of existence, killing it in the process. Manifestoes and political tracts came to dominate the movement’s publishing efforts. Soupault’s surrealism deals instead with the poem as inhabiting a non-affiliated dimension that is impossible to translate into the political realm. It is being revived, with many critics such as Myriam Boucharenc, Jacqueline Chénieux-Gendron, Adélaide Russo, Dominique Carlat, Amy Smiley, Marie-Louise Lentengre, Jacqueline Gojard, Valentine Oncins, Debra Kelly, Anne Clancier, Nathalie Nabert, and Sylvie Cassayré (to name only a few) working to recreate it. The wish to revalorize this quieter and more intimate surrealism, is to see in its inward and personal quality a poetry uninvolved with politics, and which seeks to clarify poetry as a separate realm. This nevertheless does not mean that the poet is not free to engage in politics by other means such as journalism, radio broadcasts, and work within global institutions such as UNESCO, all of which he did.
Poetry is not something foreseen by a political blueprint, and one cannot judge it in the same way one judges traditional politics with its gridiron approach to reality. Poetry is the absurd. Soupault uses the analogy of dreams to explain it:
“A un rêveur, aucune explication n’est demandée. On n’exige pas qu’il comprenne ce qu’il ‘vit’ et nous savons depuis longtemps que toutes les interpretations des rêves sont arbitraries et fortement sujettes à caution. De même ne doit-on pas demander à la poésie de justification selon la logique. Il n’y a rien a comprendre, doit-on toujours répéter. La poésie est au-dessus de la réalité” (Essai 114).
[To a dreamer, no explanation is required. We do not demand that we understand what we ‘live’ and we have for a long time known that all dream interpretations are arbitrary and should be subject to caution. In the same way we should not ask poetry to justify itself according to logic. There is nothing to understand, we should always repeat. Poetry is beyond reality.]
Poetry is perhaps a star similar to that which attracted the three magi to Christ’s Nativity. Jesus answered Pilate that if He was king, He was not a King in this world, but of another one altogether. This was the initial surrealism. In the rankings that the surrealists made of various cultural figures, Soupault was the only one to give Christ a 20 out of a possible 20. Soupault’s memoirs are based on his friendship with an eclectic array of non-surrealist artists such as William Carlos Williams, S.J. Perelman, and the Catholic Georges Bernanos. As preparations for the Second World War mounted, Soupault, as Myriam Boucharenc writes "...defend l'ésprit de paix... contre l'éxaltation de la guerre et le fascism" (117),
[defended the spirit of peace... against the exaltation of war and fascism].
Like Jesus in the Garden at Gethsemane, Soupault did not see violence as the answer. When Jesus is asked why He does not bring down an army of angels against the Romans, He replies that He could do so, but argues instead that we should turn the other cheek.
Like Kierkegaard’s Knight of Faith, Soupaultien surrealism asks us to accept the absurd, and to join with other outsiders in a circle that is always closing itself to logic, and turning toward the heavens within. Soupault’s existentialism would have more to do with Kierkegaard’s than with that of J.-P. Sartre’s more political variety. Take the name Kierkegaard out of the following passage and change it to Soupault and you have an almost identical framework for reading their parallel character.
“Kierkegaard’s poetic is a rhetoric designed to coerce its reader to freedom. By the impassioned detachment with which it marshals the resources of spirit, it lays on him the necessity to act and deprives him of any warrant for action except his own freedom. The Kierkegaardian corpus can neither be ‘believed’ nor ‘followed’: it is and was meant to be – poetically, the impetus, the occasion, and the demand for the reader’s own advance to selfhood…”
Works Read or Cited
Beauvoir, Simone de. The Second Sex trans. H.M. Parshley (New York: Vintage, 1989).
Berranger, Marie Paule. "Philippe Soupault le Poète" review in Europe May 1993 (769): 219-220.
Borch-Jacobsen. Le Lien Affectif (Paris: Flammarion, 1993).
Boucharenc, Myriam. L’échec et son double (Paris: Honoré Champion, 1996). "Au Miroir d'Europe." Europe, May 1993 (769): 116-124.
Breton, André. L'Amour Fou (Paris: Gallimard, 1937).
---. Manifestes du Surréalisme (Paris: Pauvert, 1962).
---. Nadja (1927; Paris: Gallimard, 1964).
---. Vases Communicants (Paris: Gallimard, 1955).
Chénieux-Gendron, Jacqueline. “Ouverture,” Patiences et Silences de Philippe Soupault (Paris: L’Harmattan, 2000): 9-20.
---. Philippe Soupault, le Poète (Paris: Klincksieck, 1992).
---. Surrealism trans. Vivien Folkenflik (New York: Columbia University Press, 1990).
Csikszentmihalyi, Mihaly. Flow: Steps Toward Enhancing the Quality of Life (New York: HarperCollins, 1991).
Duchemin, Veronique. "La révolte d'un fils des guerres." Europe, May 1993 (769): 89-96.
Frink, Michèle. “Esquisse d’un Poètique du Son,” Patiences et Silences de Philippe Soupault (Paris: L’Harmattan, 2000): 265-286.
Jabès, Edmond. “Philippe Soupault.” Philippe Soupault, le Poète ed. Jacqueline Chénieux-Gendron (Paris: Klincksieck, 1992) 3-5.
Jouffroy, Alain. Arthur Rimbaud: "Je suis ici dans les Gallas" (Monaco: Editions de Rocher, 1991).
Lachenal, Lydie. Philippe Soupault Chronologie (Paris: Lachenal & Ritter, 1997).
Levillain, Henriette. “Philippe Soupault et La Revue Europeene,” Europe, Mai 1993 (769): 104-115.
Levitt, Annette Shandler. The Genres and Genders of Surrealism (New York: St. Martin’s Press, 1999).
Mackay, Louis. “The Poetry of Inwardness,” in Kierkegaard: A Collection of Critical Essays, ed. Josiah Thompson (Garden City, NY: Doubleday & Co., Inc., 1972).
Morlino, Bernard. Philippe Soupault. (Lyon: La Manufacture, 1987).
Mousli, Béatrice. Philippe Soupault. (Paris: Flammarion, 2010).
Nancy, Jean-Luc. La Liberté (Paris: Gallimard, 1989).
Orwell, George. All Art is Propaganda (New York: Houghton Mifflin, 2008).
Prédal, René. “Philippe Soupault, critique de cinema: dimension poétique contre theater filmé,” in Patiences et Silences de Philippe Soupault (Paris: L’Harmattan, 2000): 161-202.
Smiley, Amy. “Mémoir et Exil,” in Patiences et Silences de Philippe Soupault ed. Jacqueline Chénieux-Gendron (Paris: L’Harmattan, 2000): 37:50.
Soupault, Philippe. L'Amitié (Paris: Hachette, 1965).
---. Les Dernières Nuits de Paris (1928; Paris: Gallimard, 1997).
---. Le Grand Homme (1929; Paris: Lachenal & Ritter, 1981).
---. Journal d'un Fantôme (Paris: Point du Jour, 1946).
---. Mémoires de l'Oubli 1914-23 (Paris: Lachenal & Ritter, 1981).
---. Mémoires de l'Oubli 1923-26 (Paris: Lachenal & Ritter, 1986).
---. Mémoires de l'Oubli 1897-1927 (1927; Paris: Lachenal & Ritter, 1986).
---. Mémoires de l'Oubli 1927-1933 (Paris: Lachenal & Ritter, 1997).
---. Poèmes Retrouvées 1918-1981 (Paris: Lachenal & Ritter, 1982).
---. Poésies pour mes amis les enfants (Paris: Lachenal & Ritter, 1983).
---. Voyage d'Horace Pirouelle (1925; Paris: Lachenal & Ritter, 1983).