Richard Wink’s new poetry book Dead End Road, published internationally by BeWrite Books (UK), reviewed by Lynn Alexander. An interview with Richard Wink is forthcoming in PRATE.
UK poet Richard Wink has been published widely and has released six poetry collections through various publishers, such as erbacce, Trainwreck Press, Shadow Archer Press, and more. His poetry has appeared here at Full of Crow Poetry, and he has been active in the independent press scene through his support for small and independent presses and his work with Gloom Cupboard.
This poetry collection, through BeWrite Press, will also be available as an eBook- the “way of the future” and a medium that has already been embraced by small presses as a remedy to the costly and prohibitive process of connecting writers and readers.
Dead End Road includes over fifty poems, both previously published and new work, most of the poems have not been published before. Continue reading
Christopher Luna: Collage, in Full of Crow Galleries. “Revved -Up Revisionists”
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Christopher Luna is one of the featured artists for 2009 in the Full of Crow Galleries, a virtual showcase for artists of diverse backgrounds working with mixed media and formats: mail art, collage, digital art, photography, vispo, graphic art.
Luna’s art shares elements with his poetry: pop culture icons, the juxtaposition of text and celebrities and symbols and at times- some pretty unlikely combinations that intrigue and perplex.
A follower of his art and poetry would recognize immediately that he returns in these pieces, as always, to the role of observer and recorder, witness and messenger through positioning and context. Consider Spacious Interior: Two figures are facing the couple, observing them. Two faces, perhaps perceiving the couple in different ways. They are different faces, in scale and presentation. They both face the couple- what are they saying about space, about relationships, about intimacy and the ways people can be close, yet maintain boundaries in their spaces? The larger face looks down, looming with glasses, almost to evoke the silent observer of The Great Gatsby in the Wasteland scenery, who serves as an omniscient-type critic.(Continued) Continue reading