Joey Madia, New Mystics Reviews

(Published by the author, 2016). ISBN: 9781535511193 by Joey Madia Why are we so satisfied with trilogies? I think of books like the Lord of the Rings cycle, the Blake Crouch Pines series, and the Oedipus cycle of Sophocles, and film series like The Matrix and the original Star Wars and I can think of little more satisfying than a triadic installment of a well-told tale.   In my book on storytelling I talk about trilogies and triads; about 3-Act structure and the Rule of 3s; and about Aristotle being the first to point out to us not only that good stories have a beginning, middle, and end, but what each of them should accomplish, a launching point I have built on for years in my “Three 3s of Good Storytelling” worksheets and workshops. There is no doubt that there is something fundamental in our DNA as storytellers and story absorbers that makes a trilogy one of the perfect delivery mechanisms for a tale worth sharing—sharing being a two-way feedback loop of writer–reader on a

“Bangkok Shadow and Light”: A Review of John Gartland (poetry) and Mark Desmond Hughes (photography) Blanc et Noir: Masters of Noir 2 (Lizardville Productions, 2016) A few months ago I had the pleasure of reviewing John Gartland’s Resurrection Room: Bangkok dark rhetoric , a complex, riveting piece that seamlessly blended sardonic autobiography and social commentary with fantastical leaps through time and subject-space. Blanc et Noir operates as a companion piece and, although it showcases Gartland’s poetry (as did sections of Resurrection Room ), it comes at its subject matter—Bangkok and environs and the myriad personalities who populate this space—from a series of different angles. It is no less (and at times more so) sharp and biting than its predecessor. Add in the stunning and at times disturbing photography of Mark Desmond Hughes and the written/visual cocktail is both potent and lasting. Gartland knows Story, and talks of it often in his poetry and prose. The opening l

 (publishers: original plus, Analogue Flashback Books, Smallminded Books; all published in 2016 with the exception of Lost in the Slipstream , 2009) It is rare when a reviewer gets an opportunity to review numerous works from a single author all at once. I start with two mini-books, 3 inches by 4 inches. A Light Shines Down (Smallminded Books), is based on photographs by Gregory Crewdson (which are not included). Hall of Mirrors reminded me of the postcards and other self-made visual–written works that I used to receive by the dozens monthly in the early 2000s when I was an active mail-art poet. It is ingeniously cut and folded from a single piece of paper—a piece of two-dimensional origami that adds an extra layer to the experience of the work. A good bit of Loydell’s writing is in the form of Ekphrastic poetry (where the poet creates a response to an existing piece of art, be it visual or written/musical). In Love Songs for an Echo , the titles of the poems for the sequence

(Published by the author, 2015). ISBN: 9781519740649 by Joey Madia Beneath the title of this book appear the words “A suspense novel.” I had mixed feelings about this. Having read the first two books in Ambroziak’s vampire trilogy, The Journal of Vincent Du Maurier , I was already aware of the author’s facility with suspense but I wondered at the expectations of what such a statement might produce. No need to wonder… The Trinity lives up to its label. And more. Some novels are more challenging than others to review, because to say almost anything specific is to give more than a little away, which robs the reader of that which I most savored and for which the writer worked so hard. So I will have to do a lot of “talking around” plot points here, and give you just the broad strokes of what Ambroziak attempts—and accomplishes—in the book. At its core, The Trinity is about the Roman Catholic Church… a subject of which I am a student and scholar, both in the sense of having

 (Lizardville Productions, 2016) “One night in Bangkok and the world's your oyster/The bars are temples but the pearls ain't free’You'll find a god in every golden cloister/And if you're lucky then the god's a she/I can feel an angel sliding up to me” (“One Night in Bangkok,” Chess ) There are cities in the world that pulse with a deep mystique: the sleepless dichotomies of New York; the romanticism of Paris for lover and writers; the foggy Victorian mystery of London… the list goes on and on. Bangkok (Thailand) conjures images of crowded streets full of steaming food, rickshaw drivers, and exotic women finger-motioning from alleyways and doorways… and Resurrection Room takes these images wider and deeper than perhaps your average reader wants to go. Which makes it essential reading. Gartland—a true Renaissance man known in writers’ circles as the “Poet Noir”—pulls no punches. In his several books of poetry, his misericordia-sharp Facebook posts, and his

(Rockaway, NY: Marsh Hawk Press, www.marshhawkpress.org , 2016) To mark the occasion of my tenth review of a poetry collection by the prolific and boundary-stretching poet Eileen Tabios, I knew I wanted to do something special—something that would honor Eileen’s ability to take the reader from a position of relative passivity to one of co-creation. I made an attempt at this before, ending my review of Tabios’ Sumptuous Sculpture (Marsh Hawk Press, 2002) with a poem crafted from another one of my reviews ( Reproductions of the Empty Flagpole , same publisher and year). This review, however, takes things much further. Since beginning her ongoing work “Murder, Death, and Resurrection (MDR),” Eileen has created new poems and published seven books that use re-constituted lines from a database of 1,146 lines from her previous works. The Connoisseur of Alleys is one such work. Following suit, the following is a poem formed from 27 lines taken from my 9 previous reviews of Tabios’ wo

The source and substance of inspiration are as enigmatic and oft-debated as any of life’s deepest mysteries. Artists in all areas of creativity have been known to undertake ritual, engage in the use of various substances, or conceive of the work in terms of some vast, metaphorical battlefield where the artist must pay in pints of etheric, ghostly blood for the Muses to bestow even the smallest gift of good art upon them. Creativity gurus such as Elizabeth Gilbert ( Big Magic ) and Steven Pressfield ( The War of Art ) lead the field with their insights and ideas regarding creativity and inspiration and their relationship to the work. In Unseen Partner , Diane Croft tells her story of the source and substance of inspiration through the lens of automatic writing: ten years ago she had an experience of this phenomenon that produced, over the course of three years, in excess of 700 poetry verses. The experience would happen “about the same time every morning.” Croft, in an endnote, men

A Review of In the Oneness of Time: The Education of a Diviner, by William Douglas Horden (Burdett, NY: Larson Publicans, 2015). ISBN: 978-1-936012-76-3 (paperback) By Joey Madia It is said that, when you are “following your bliss,” as Joseph Campbell would say, or walking the Good Red Road of Native American spirituality, the teachings you most need in the moment will find you. Six and a half years ago, this maxim was made manifest in a book co-authored by William Douglas Horden titled The Toltec I-Ching (also from Larson Publications). When it arrived in the mail with a request for review, I was in the midst of opening an arts education center that would house the social justice theatre company of which I am the founding artistic director. As with any big endeavor, there were endless meetings with political and community leaders, business groups, educators, potential donors, and prospective teachers and it seemed that everyone had a different idea of what the arts education ce

(published through Sable Books, 2015). ISBN: 978-0-9968036-3-2 (paperback) Young audiences (YA) is a hot market. From Maze Runner to Hunger Games , Mortal Instruments to Divergent , stories that can hold interest, empower the reader, and provide a satisfying ending or intense cliffhanger are not only guaranteed to sell (and often secure a film deal) but they serve a much more important purpose: in the age of cyber-tech and video gaming (often the same thing), they keep traditional book-based storytelling alive. Terror’s Identity , by Sarah Maury Swan, delivers the best of YA in all the right ways. From the very first page, the story of a sixteen-year-old boy’s navigation of a no-less-than life-threatening situation for him and his family kept me engaged and eager to find out what would happen next. The characters, both teenagers and adults, are believable in both their actions and dialogue, and the story itself is told with insistent pace and an elegant simplicity while th