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We were never more than a dream
Today’s mail brought long-awaited contributor's copies of Jabberwocky #2, which contains my Gilgameš-inspired poem "Countries of the Sun." (![[livejournal.com profile]](https://www.dreamwidth.org/img/external/lj-userinfo.gif)
hans_the_bold, that's your fault . . .) Finally! I have been looking forward to this issue for a number of months, not least because of the incredible weath of weird and mythic work it contains. And so should you be, too.
Tangent Online has reviewed the fiction rather positively, and indeed I loved Megan Messinger's "The Dark Lady," Jeannelle Ferreira's "Fix," and Cassandra Phillips-Sears' "Love Story" in particular. But this is primarily a poetic journal: I would not like to see pieces like Mike Allen's Mesoamerican-inflected "The Psychic above Burritoville," Tim Pratt's impressionistic "Diminishing," or Catherynne M. Valente's comparative "Suttee" go neglected. I'll reproduce the table of contents here if I list my favorites. Rio Le Moignan's rewritten Icarus in "Escape," Sarah Koplik's "Medea," whose last lines still chill me, Ainsley Dicks' pearlescent "the string" and Jaida Jones' "The Relationship between Lovers and Words," which nests poems within poems, or Elizabeth E. Wein's land-rooted "Arbor Low" . . . I give up. You will have to purchase a copy and see for yourself. And don't be put off by the back-cover text: Dante didn't know everything about Hell . . .
(We now return to our regularly scheduled Homeric Hymns.)
hans_the_bold, that's your fault . . .) Finally! I have been looking forward to this issue for a number of months, not least because of the incredible weath of weird and mythic work it contains. And so should you be, too.Tangent Online has reviewed the fiction rather positively, and indeed I loved Megan Messinger's "The Dark Lady," Jeannelle Ferreira's "Fix," and Cassandra Phillips-Sears' "Love Story" in particular. But this is primarily a poetic journal: I would not like to see pieces like Mike Allen's Mesoamerican-inflected "The Psychic above Burritoville," Tim Pratt's impressionistic "Diminishing," or Catherynne M. Valente's comparative "Suttee" go neglected. I'll reproduce the table of contents here if I list my favorites. Rio Le Moignan's rewritten Icarus in "Escape," Sarah Koplik's "Medea," whose last lines still chill me, Ainsley Dicks' pearlescent "the string" and Jaida Jones' "The Relationship between Lovers and Words," which nests poems within poems, or Elizabeth E. Wein's land-rooted "Arbor Low" . . . I give up. You will have to purchase a copy and see for yourself. And don't be put off by the back-cover text: Dante didn't know everything about Hell . . .
(We now return to our regularly scheduled Homeric Hymns.)
Contributor Copies
*waits paitently at the mail slot*