Joey Madia, New Mystics Reviews

(Boston, MA: Black Widow Press, 2015). ISBN: 978-0-9960079-8-6 To engage with Heller Levinson’s poetry is to make the commitment to immerse . To commit . Reminding me of a combination of the visual–typographic poetry of Vernon Frazer, the fractal approach of Ric Carfagna, and the boundary-pushing poetic theories of Eileen Tabios, Levinson’s barrage of words and forms and breadth of artistic starting places (plasticity of language and its meaning, philosophy, music, visual arts) comes forth from the writer’s inner alchemical furnace into a vortex powered by a girding energy of quantum physics and Eastern spiritual tenets that swirl the material together, where it places on the page, not randomly, but in a molecular–textual structure that one could walk the exploratory halls of for days on end. Given that there is no chance of even scratching the surface of this work in a two-page review, I am choosing a handful of sections (what Levinson terms “modules”) that were particularly reso

(Foreword, Elizabeth Tucker) (2011) ISBN: 978-1-4560-7551-4 A few weeks ago I published my review of Josette Berardi’s I’m Not Dead, Am I? Although that book came out a year after this one, I chose to read it first because the scope was larger, discussing the paranormal experiences of her family, especially her daughter, in the context of her mother’s severe illness and hospitalization.   The Man at the Foot of the Bed is a much different book, with an appropriately less intimate and passionate voice, which operates on two levels: the first is as a memoir of her daughter Nicole’s experiences, from a toddler to her late teens, as a medium who can communicate with the deceased and who has had encounters with other, darker, entities. The second is as a primer and resource guide for parents and others who have a young person with mediumistic gifts in their life and those interested in obtaining a reading from a medium. Berardi opens with the following: “This book is dedicated to al