Plath 2013.

This page will be updated as more material becomes available during 2013, the fiftieth anniversary of the death of the poet Sylvia Plath.

Pain, Parties, Work: Sylvia Plath in New York, Summer 1953.

Elizabeth Winder.  On Plath Food & Body Issues.

Sylvia Plath's Ariel & the Tarot.  Ann Skea.[1]

Interviews: Olwyn Hughes (sister in-law and Plath's Literary Executor), Elizabeth Sigmund (friend and dedicatee of The Bell Jar).

'Bald Glyphs & Psychic Maps: An Examination of Sylvia Plath's 'Sheep in Fog'.  Rehan Qayoom.  (Plath Profiles 6). [2]

Sylvia Plath Mini Blogathon.

1963 - The Big Freeze.  (BBC, 1963, 2013).

'What You Don't Know About Sylvia Plath'.  Carl Rollyson, (The Huffington Post US, 11 February 2013).

The Last Days of Sylvia Plath, (BBC, February 2013).

'There Are Almost No Obituaries For Sylvia Plath', (Interview with Plath Scholar Peter K. Steinberg).

Sylvia Plath: A 50-Year Retrospective, commemoration in Ireland, (University of Ulster).

'What Sylvia Plath Loved', (The Academy of American Poets).

'Arts Extra: Sylvia Plath'.  Maeve O'Brien, (BBC Radio Ulster, February 2013).  

'Sylvia Plath gets all-star tribute for Ariel Anniversary', (The Guardian, 11 April 2013).

'When Sylvia Was A Millie: An Interview With Elizabeth Winder', (The Millions, 16 April 2013).

'Book Corner: Sylvia Plath, Party Girl?'.  Elizabeth Winder, (Harper's Bazaar, 17 April 2013).

'Author Elizabeth Winder Writes of Sylvia Plath's Intern Summer', (Women's Wear Daily, 17 April 2013).

Interview with Professor Jonathan Bate about his forthcoming biography Ted Hughes: The Inner Life.  (February, 2012).  Download Here.

Related Links: A Celebration, this is. 

                      The Plath Diaries - a PhD Blog. 

[1] Ann Skea's works on Ted Hughes include Ted Hughes: The Poetic Quest,  (University of New England, 1994), Poetry & 
   Magic: An Analysis of Ted Hughes' Use of Tarot & Cabbala in 'Adam & the Sacred Nine', 'Capriccio' & Birthday 
   Letters' and 'Ted Hughes & the Goddess'.
[2] Plath Profiles 6 features major essays including 'These Ghostly Archives 5: Reanimating the Past' by Gail Crowther 

     & Peter K. Steinberg, works by Maeve O' Brien, 'The Smoke & Mirrors of "The Couriers" by Julia Gordon-

     Bramer, 'The Right Mind of Sylvia Plath: Magic, Myth & Metamorphosis' by Carole Brooks Platt.  Reviews of 
    recent books on Plath & tons more!

'3VOΓVE: The Living Bridge'. Hollace. M. Metzger.

Premiered at 'The Living Bridge' multi-media exhibition benefit for Tibet, 31 August - 9 September 2012.  Community Gallery, Dunedin - New Zealand.

Metzger & Qayoom Col-lab-orative: 'Muse's Shadow', (August 2012).
'The Night I Saw Diamonds'.  (February 2013). 

Related Links: Thoughts on Eternal Story by Hollace M. Metzger.
                          'A Retrospective Appraisal of 3VOΓVE'.

© Hollace M. Metzger, 2012.

New Poems, (2012).

So long as men can breathe or eyes can ſee,
So long lives this,and this gives life to thee,

(William Shakespeare. 'Sonnet xviii').

Smoke & Mirrors

Henry Holiday.  'Dante & Beatrice', (1883).

Sans toi, les émotions d'aujourd'hui ne seraient que la peau morte des émotions d'auterfois.

Hipolito.

Can we only love
Something created in our own imagination?
Are we all in fact unloving and unlovable?
Then one is alone, and if one is alone
Then lover and beloved are equally unreal
And the dreamer is no more real than his dreams.

T. S. Eliot.  The Cocktail Party.  (1949).  

I

Tonight the moon reminds me so much of you

It is as lonely as the night is making me

Learning me how Mir was moonstruck for Mah

Penetrating the mind with its black fantasia

So there are no words but the memory surviving yet as in a chrysalis:

You dancing widdershins in the snow, prancing

Jigging on a wibbly wobbly bridge

Swinging and unafraid to risk a fall

They laugh at me that sometime did me seek, [1]

But once at a party I overheard 2 fictionary beaux mondes

"Ought you to wear a skirt with legs like that?"

I laughed like there's no tomorrow [2]

And in short, I was afraid. [3]

Woman creates so that she may destroy

Beauty's arch-rival: time - Subdued into a diorama of death

The drowned belle de la Seine humming
(Unknown who saw or met her, saw her weep)
To have but not to keep [4]

The mouth under the mouth, (is) the mouth
In the mouth
Becomes the round tuffet that becomes us
Because it doesn't have to, because
It can because it is
The unreal and the real

So these are the roots that grasp at the fly in aspic

Clutch at the crystalline moon in a spray of sea-mist

 II

So you were your own Church
Your religion was Love.
Its sacrificial murder -
That killing in heaven -
Was flow of passion here on earth

Where your kiss, your real lips,

And your words

Were the blessing. 

Ted Hughes.  Howls & Whispers.  'Religion'.

 ... Tu se' ombra vedi.

... Puoi, la quantitate
Comprenderde l'amor chi temi scalda,

Quando dismento nostra vanitate

Trattando l'ombre come cosa salda

[... "For shade thou art and look'st upon a shade"

"... Now thou'lt know
How large and warm my love about thee clings,
When I forget our nothingness, and go

Treating these shadows like material things."]   

Dante Alighieri. Divina Commedia: Purgatorio.  Translated by Dorothy L. Sayers. Dante - The Divine Comedy ii: Purgatory. Penguin Classics, 1955.

Love answers all the ogress' grave questions [5]

Offering even as counter-question (a salve), itself in a frisson

Saying "Silence and I speak the same language, share one quiddity
I, knowing my incapability
Interlock fingers on Imagination Road
But if holiness is a mystery
Corruption is a mystery
Sin is a mystery
You and I are history"

Love does not question
It survives

The headaches, the worries, the vague, the vogue
It is all there is or ever was or will be 

It is what remains of us

It is God
Behind a caboose

It is death
Lives, the Life-in-Death, an antevasin

When the tongues of flame are in-folded [6]
The fire and the rose are in symbiosis as one

Sometimes love is unable to share
Is lonely, delicate, vulnerable
Cannot show wishes, tell desires, touch
Nor share a joy to the senses
Far greater than makeshift individual pleasure to the spirit
Though living with oneself does not make one less human

So you are a gazelle of light all by itself
Your own muse
Your most beautiful poem

Yesterday's dream
Was love
Too much love

In every sacred place

Of your jour-nuit [7]
 

I am not going anywhere

Because I am already here

Love is you

You and me [8]

Love is what we cannot be
‘I am you,
you are me.
I am a tree.
We …’

Love you love me

Loving and being lonely

Love me and give me

Life - Its poison - Love me or kill me

Only love

Can justify the art in verse

The just and the unjust

The intended and the intent
Jackknife at the diabolical form

Of the devil's opus in Pandemonium
I know what it is

Did nobody tell you?

This is what it's all about, what were you expecting?

It is the only way to go, you know
Echoic: the music playing
The screen flickering

And our first meeting. [9]

Awaits with baited breath from profundity
Its turbulent exertion is welcome to the garden
In the garden
Under the rose-garden
As the Earth's axis tilts towards the sun, tilts away

^{Notes on 'Smoke & Mirrors'.}

Epithalamium

Your wedding day and all the joys it brings

The laughter, friendship, high tea, no talk of weather

The circle is complete an exchange of rings

Proof of the love that you both share together

May 2012.

On 'Israel/Palestine: Mnemosyne' by Simon Norfolk.

© Simon Norfolk.  'Israel/Palestine: Mnemosyne'.

Mnemosyne is the mother of the triple muse in Greek mythology:

In the poetic act, time is suspended and details of future experience often become incorporated in the poem, as they do in dreams.  This explains why the first Muse of the Greek triad was named Mnemosyne, ‘Memory’: one can have memory of the future as well as of the past.

Robert Graves.  The White Goddess. (Faber & Faber, 1948, 1952, 1961). 334.

We build our houses on the hill
And bake our bread-loaves here until ...  

7 August 2012.

On 'Archeological Treasures From the Tigris Valley: Iraqi Soldier's Teapot' by Simon Norfolk.

More tanks, war weapons, and artillery
And a teapot for when Iraq is free 

7 August 2012.

A Man Walking Towards a Tree is Also Walking Back in Time.

In different places also we meet with venerable oaks, that have seen some centuries pass over their heads, and yet flourish in a green old age.  It would be easy to point out some of extraordinary dimensions and beauty, which are perfectly sound, while the fantastic forms and umbrageous tops of others, with their hearts quite decayed, read many a moral and impressive lesson, which the mind of sensibility may easily apply. 

William Fordyce Mavor.  New Description of Blenheim, (1789).

These oaks would yet unhide
The moon from its veil of cloud
May easily bind
To relate the all too much they seem to know
Of astrological data to 'the mind
of sensibility' and find, suddenly there
A girl, sitting beneath the shade
Of an oak tree
As old as a rose's stare
Eating an apple and reading

20 October 2012. 

© Rehan Qayoom, 2012.

Recent Publications

'For Hollace' & 'On 'Speck of Blue', (from About Time: Poems & Adaptations 1993 - 2012).

'Revelation' in Tariq.

'Found Inscribed' & 'I Know You Won't Reply To Me' in Essence, (2012).

'Crusade', 'Love Letter', 'Loving Feelings', 'Love Is Better Than Wine', 'Attention' & 'Burlesque On a Poem by Dylan

Thomas' & 'Arrival' in Art Fist, (2012).

'Monologue on Verena' in Miracle e-zine. 

'Love Letter'.  Enigma Magazine, (Summer 2012).

Memorial to Elaine Connell Sylvia Plath: Killing the Angel in the House, (Pennine Penns, 1993, 1998, ebook 2012).

'Post-dinner Item' & 'To a Friend' in London Grip, (Autumn 2012). 

'Dietrich At War', (2000, 9 August 2012).

Metzger & Qayoom Col-lab-orative 'Muse's Shadow', (August 2012).

'Walk Through the Town Today with Fettered Feet' in Ol' Chanty - Chanticleer Magazine, (September 2012).

'Prism' in Blue Lake Review, (October 2012).

'A Poem of Maturity' in THEIMPPress, (October 2012).

'Stay Close' & 'So Many Obstacles To Overcome' in Poetandgeek. 

'Truth' in Playerist.

"God breathed and they were scattered" - New Light on Hadhrat Mirza Ghulam Ahmad & the Agapemonites', (March, 2012).
'A Retrospective Appraisal of Hollace M. Metzger's 3volve', (Excerpted, 2012).

'Socrates: Philosopher or Prophet?' (University College London, 7 February 2012).

Salome MC.  I Officially Exist.  (English Lyrics edited by Rehan Qayoom).

'Bald Glyphs & Psychic Maps: An Examination of Sylvia Plath's 'Sheep in Fog',  (Plath Profiles 6).

William & Kate's Royal Wedding & The Queen's Diamond Jubilee

© Copyright ITV, 2011.

'The Thames, London 2012'.  By Poet Laureate Carol Ann Duffy.
Tohfa e Qeysariyya [A Gift for the Queen].  (Ziyaul Islam, 1897.  English: Islam International Publications Ltd, 2012).  By Hadhrat Mirza Ghulam Ahmad.
Letter to Her Majesty Queen Elizabeth II from Hadhrat Mirza Masroor Ahmad - Khalifatul Masih V.

Game Royale.

"By the way if ever you want to ride, just let Lynch know and he'll sort it out for you."
"Oh, Papa, Cousin Matthew doesn't ride."
"I ride."
"And do you hunt?"
"No I don't hunt."
"I dare say there's not much opportunity in Manchester."
"Are you a hunting family?"
"Families like ours are always hunting families."
"Not always.  Billy Skelton won't have them on his land."
"But all the Skeltons are mad."
"Do you hunt?"
"Occasionally.  I suppose you're more interested in books than country sports."
"I probably am.  You'll tell me that's rather unhealthy."
"Not unhealthy.  Just unusual.  Among our kind of people."

(Julian Fellowes.  Downton Abbey).

O for "illicit" venison, I side with Alexander Pope's verse about preferring a rogue with it 'to a saint without.' Pope liked his 'ven'son'.  His letters often mention dining on friendly venison with quite some relish (which about 70 years ago would have contravened rule 47b of the Emergency Butchery Act). Do you fancy the haunch yourself, or "half an 'aunch" (quoth Phoebe in Goodnight Sweetheart: London Pride)? Or would you prefer pheasant? In India there is a traditional succulent curry prepared from the freshly-hunted leg meat and pheasant together. Enjoy these biting lines from Pope's 'Epistle To Allen Bathurst: Of the Use of Riches':

What made Directors cheat in South-sea year?
To live on ven'son when it sold so dear.
Ask you why Phryne the whole Auction buys?
Phryne foresees a General Excise,
Why she and Sappho raise that monstrous sum?
Alas! they fear a Man will cost a plum.

Julian Fellowes is right 'I think you look at those people and they have a kind of personal discipline in many cases, not just the toffs, everyone, they were very disciplined and dignified and I think we have lost a bit of that and I think we're a less dignified generation.'

Ted Hughes Commemoration in Poets' Corner, Westminster Abbey.

Minute after minute, aeon after aeon,

Nothing lets up or develops.
And this is neither a bad variant nor a tryout.
This is where the staring angels go through.
This is where all the stars bow down.

(Ted Hughes.  'Pibroch').

I received an invitation to attend the unveiling ceremony of a memorial stone to Ted Hughes by Seamus Heaney in Westminster Abbey.  I set off at 3pm and realised half-way to the station that I had forgotten the invitation card at home so had to walk back to pick it up.  

Walking past the Houses of Parliament I saw the Home Secretary Theresa May coming out in her car.  The abbey always looks really awesome in the floodlight.  I entered through the arch and the East Cloisters which were really dark and atmospheric.  It was quite an experience walking through the dimly lit cloisters with tombstones on the floor until I reached an area that had been cordoned off where people gathered slowly.  A glance upon the floor revealed a tombstone marked Aphra Behn, the Restoration dramatist.  I spotted Simon Armitage and got up from where I was sitting upon the stone benches along the walls to talk to him about his work on 'Sir Gawain & the Green Knight' and its relation to the eighteenth chapter of The Holy Quran but then changed my mind and sat back down thinking, perhaps, that this was not the occasion for such talk.  As always everybody always knows each other or seems to, so I have a habit of taking out my book to read.  I read a bit of Pablo Neruda: A Passion for Life by Adam Feinstein before we were ushered in through a door leading to Poets' Corner.  There was a lady to my right who asked how or if I had a Hughes connection.  I was a bit nonplussed but replied that I was just an admirer of his work and that I read Plath first but then really discovered his work when I was at college after Birthday Letters came out.  She remarked that she was a librarian at Cambridge University where she had seen him read in the seventies upon which the lady to my left observed that she was from Cambridge too.  I spotted Andrew Motion and Hughes' widow Carol dressed beautifully in opal, she laid flowers from the garden at Court Green (their house in Devon). 

Sitting in Poets' Corner among so many countless tombs and memorials to writers, poets, historians and theologians and just being present in Westminster Abbey is always a spiritually uplifting experience.  The intensity of historical presence is overpowering.  The Urdu poet Parveen Shakir wrote a poem on this sense of being overwhelmed by history in her poem 'Westminster Abbey'.  All the seats had the Order of the Service placed upon them.  Dr John Hall, the Dean said "We have come to Poets' Corner, where the word is celebrated.  Here Geoffrey Chaucer lived and died, and was buried in 1400.  Here William Caxton set up his printing press in 1476.  Here writing in English and its publication were first achieved."
        "Buried here is all that could be buried of Edmund Spenser and John Dryden, Tennyson, and Browning.  They are remembered; their words live on."  Lord Evans of Temple Guiting read from Hughes' letter to Plath of 1 and 2 October 1956 scientifically arguing in favour of reading aloud.  Hughes says that was how all reading was done until the invention of Caxton's press.  It is an incredible passage to read.  This was followed by a reading of Hughes' poems 'Full Moon and Little Frieda' 'Anniversary' and 'Where I Sit Writing My Letter' by Juliet Stevenson.  The acoustics of the abbey offering a resound.  Then Heaney who I saw for the first time delivered an address, beginning with a quotation from Beowulf and remarking upon Hughes' natural use of the alliterative Anglo-Saxon meter in, for example, the first line of 'The Thought Fox' and in 'Fern'.  But, he said, he did not intend to lecture on Hughes' uses of language and meter.  This was followed by him unveiling the memorial stone, Daniel Huws' reading of 'In Memory of Ted Hughes' by the poet R. S. Thomas and Heaney's readings of 'Some Pike for Nicholas' 'For the Duration' 'That Morning'. 

The Order of Service contained some interesting points about Poets' Corner: Chaucer was buried here not because he was a great poet but because he had served as the Clerk of Works to the palace of Westminster, Joseph Addison first referred to 'the poetical quarter' in The Spectator and the first written use of the title that is known was in a poem of 1733 'Upon the Poets' Corner in Westminster Abbey'.  

In all about 300 people attended.  As everyone walked past the plaque I glanced at the names on the chits upon the chairs, lots of lords and ladies and one 'Mrs T. S. Eliot' who I've never seen and didn't catch this time either.  There were refreshments afterwards for those with a blue ticket.  I did have 2, one white and one blue but I'm certain it wasn't the blue one so I made my way back.  There were carol singers at Westminster station singing 'Ding dong merrily on high':

So we found the end of our journey.

So we stood, alive in the river of light
Among the creatures of light, creatures of light.

(Ted Hughes.  'That Morning'). 

  

Reviews By Christina Westover.

2009 | Paperback: List Price: £12.00 £10.80 You Save: 10%.  PDF download:£6.62.
112 pp. | 15.2 × 22.9.

Reviews | Table of Contents

Rehan Qayoom's Prose 1997-2008 is a fantastic read which is diverse and covers everything from spirituality and mythology to love, prose, and the documenting of the modern world as he sees it.

He writes of the importance of maintaining personal integrity, spiritual integrity, and artistic integrity at all costs. He says in order to be effective at documenting history through artistic means, it is essential that the artist work diligently to maintain a purity of spirit.

He states that poetry is one of the most powerful of all arts, for it creates a portrait of beauty from chaos and disorder. However, poetry is more than provocative thoughts, it requires purity of form and consistency of "language sanctity."

The book is a work of superior intelligence and wisdom, written from a sincere desire to share his love of literature with others. Like all Great Teachers, his written works are gifts to those seeking inspiration!

  £6.99.  69 pages. 
.

Rehan Qayoom is a poet with a romanticism which lingers beneath intelligent verses as the author writes of what it is to be an individual in a world where many neglect to contemplate the meaning of their own lives.
 

About Time reminds us in more than one way, that life truly is what you make of it. It is every individual's responsibility to contribute beauty and greatness to this planet, and Rehan's inspiring verses urge all to do so.

His passion for literature speaks volumes of how connected he feels with history and persons of the past. He speculates, if one consumes himself with literature from the past, is he being present for today?
 

About Time is a beautifully written collection of deeply moving poetry which inspires the reader into action. Rehan's writings, are the writings of one who has mastered his craft! Excellent read! 

 

Christina Westover is the author of Precipice (Black Rose Writing, 2010) and Poisoning Sylvie (World Publishing Limited, 2011).  Born and raised in California, she currently resides in San Francisco.

A Bibliography.

Prose.

*Included in Prose 1997 - 2008.

'Dietrich At War'.  (2000, 9 August 2012).*

Letter in Sunday Times, 7 January 2001.*
'Thesauruses', 'Omar Khayyam & the Rubáiyát' www.optimnem.co.uk*
'The Passion of the Christ' – View from a Muslim': The Lamp & Owl (April/May 2004).*
Tariq Monthly, (2005 & October 2010).
Dedicatee of Born On a Blue Day by Daniel Tammet, (Hodder & Stoughton, 2006).
'A Review of Noor by Geoffrey Armes': Imaani Magazine, (December 2006).*
'A Review of Ten Feet High by Andrea Corr', (26 June 2007).*
‘Von herzen, möge es zu herzen gehen!’ 'Poetry' Interpoetry, (July 2007).*
Memorial to Elaine Connell Sylvia Plath: Killing the Angel in the House, (Pennine Penns, 1993, 1998, ebook 2012).
'Poetry': Kritya, (November 2007).* 
'A Cockney Favourite': Community Times, Romford, (June/July 2008).* 

Message from Hadhrat Mirza Masroor Ahmad - Khalifatul Masih V.

Hadhrat Khalifatul Masih I on Ibn 'Arabi.

'I am the Master of the Bezels' - Hadhrat Mirza Ghulam Ahmad on ibn 'Arabi.  www.alislam.org
'Memorial Dedication'.  The Times, 10 December 2011.
"God breathed and they were scattered" - New Light on Hadhrat Mirza Ghulam Ahmad & the Agapemonites', (March, 2012).
'A Retrospective Appraisal of Hollace M. Metzger's 3volve', (Excerpted, 2012).
'Socrates: Philosopher or Prophet?', (University College London, 7 February 2012).
Mentioned in Daniel Tammet: The Boy With the Incredible Story by Lili Marlene, (February 2013).
'Bald Glyphs & Psychic Maps: An Examination of Sylvia Plath's 'Sheep in Fog',  (Plath Profiles 6).

Poetry.

'Anthem' in OPS Times, (November 1996).

Atomic Petals.
Shannon’s Poetry Café.
Wandering Dog.
Poetry Circle.  (8 June, 20 July, 17 August 2001).
'Love Letter', 'Loving Feelings', 'Love Is Better Than Wine', 'Attention', 'Arrival', 'Stay Close' and 'Sonnet' in The Lamp & Owl.  (November 2001, January 2002, May 2005).
'Pygmalion' in Sentinel Poetry, (Third Anniversary Issue, December 2005).
Poet's Letter, (2006).
'Under the Duvet', 'The Path of Memory's Not For Single Men', 'Poem', 'Like a Lie' and 'So Many Obstacles to Overcome' in Poetry Cemetery.
Kritya.  (Volume 1, part 9.  February 2006 / Volume 2, part 11.  April 2007):   

'Stay Close', 'Modern Snow', 'AFRICA COME BACK', 'FRAGMENTS, not a Meal', 'Like a Lie', 'Crusade', 'Love Letter', 'Sonnet', 'Poem', 'No It Is Not That The Allure Of The Sun's Stilettos', 'Under the Duvet', 'Truth', 'A Wish', 'Love': (1, 2, 3, 4).

'So Many Obstacles to Overcome' in Autumn Leaves, (July 2007).
'Words' in The Beat, (August 2007).
'Poem', 'Ub Mujhey Hijr Sei Riha karna', 'Words', 'Ophiuchos' www.poetcasting.co.uk, (2007).
'Post-dinner Item', 'Soliloquy' and 'Tomato Ketchup' in Ygdrasil, (October 2007).
'A Wish', 'A Difficult Question', 'Advice From A Senior Executive', 'Upon Clifton Bridge', 'Advice' and 'I Should Have Known' www.razarumi.com.  
'Under the Duvet' and 'Ophiuchos'.  www.blogtalkradio.com
'A Difficult Question'.  Awen 58, (June 2009).  

'So Many Obstacles to Overcome', 'Prism', 'Moon', 'Upon Clifton Bridge' and 'For Hollace' The Delinquent.  (Issues 3, 9, 13 & 14).
'Post-dinner Item' and 'Soliloquy' in Poetry Combination Module 30.

'Ophiuchos', 'Do Not Grieve', 'I Should Have Known' and 'Tomato Ketchup' www.xstreameast.co.uk, (12 October 2009).

'So Many Obstacles to Overcome' and 'Prism' in Ancient Heart, (July 2007, 21 December 2010).

'Modern Snow' & 'Soliloquy' in Living Poets.  (Winter Edition, February 2011).
'Revelation' in Tariq.

'I Should Have Known', 'Prism', 'Moon', 'Anthem' and 'My Candle Is Lit On My Table' in Pens on Fire.  (July 2011).
Morn.  Album by singer/songwriter Barry Crawford based on Martyr Doll by Morney Wilson (2011). 
Also poems in Plath Profiles 4.

'Found Inscribed' and 'I Know You Won't Reply To Me' in Essence.  (2012).

'Crusade', 'Love Letter', 'Loving Feelings' 'Love Is Better Than Wine', 'Attention', 'Burlesque on a Poem by Dylan Thomas' and 'Arrival' in Art Fist. (2012).

'Monologue on Verena' in Miracle e-zine. 
'Love Letter'.  Enigma Magazine, (Summer 2012).

'Post-dinner Item' and 'To a Friend' in London Grip, (Autumn 2012).

Metzger/Qayoom Col-lab-orative 'Muse's Shadow' from the book ∃VOΓVE.  (August 2012).

'Walk Through the Town Today with Fettered Feet' in Ol' Chanty - Chanticleer Magazine.  (September 2012).

'Prism' in Blue Lake Review, (October 2012). 
'A Poem of Maturity' in THEIMPPress, (October 2012).
'Stay Close' and 'So Many Obstacles To Overcome' in Poetandgeek.
'Truth' in Playerist.

Anthologies.

'Loving Feelings' in Loving Feelings (Robooth, 2000).
'Burlesque on a Poem by Dylan Thomas' in Twilight Road.  (Dogma Publications, 2004).

'In a way we are all Dr Faustus' in Occupy Wall Street Poetry Anthology.  (2011).

Urdu Poetry.

'Ub mujhey hijr sei riha karna' 'Sarapa dua ho geya hun khudaya' Sada Urdu Monthly (vol 4/14, 5/5).

'Tevar bhi badal jaen manzir bhi badal jaey' 'Men hoon too ho sharab ho saqi' (Nawa e Waqt, 30 June - 6 July 2006).

'Miltey jultey hayat kei saey' Ahmadiyya Bulletin.  (January 2004).
'Teri majlis sei teri sahr bayani sei uttha' (The Awam News, 25 April - 9 May 2001).

In Memoriam: Morney Wilson.

Morney Shayne Wilson was born on April 3, 1969 in Scotland. She studied at Fortismere School and graduated in English Literature from the University of Sussex. She worked as an administration officer at Middlesex University.  Morney was a regular contributor to the Sylvia Plath Forum moderated by Elaine Connell and her poems were published on several websites. Her collection of poems was published as I Am The Blast From Your Past. The singer/songwriter Barry Crawford has set several of her poems to music in albums produced as The Morney Set (2008) and Morn (2011). Some first included in her posthumous poetry collection Martyr Doll.  Her prose has been collected in the volume Remains, both of these have been edited by myself together with a compilation of The Recordings, all  of which are being published here for the first time.  Morney Wilson passed away in London in November 2010.  4 poems by Morney have been published in Plath Profiles 4, the interdisciplinary journal for Sylvia Plath studies.  She was very excited about their being accepted just before she passed away:

The window is starless still; the clock ticks,

The page is printed.

       (Ted Hughes.  'The Thought-Fox').

The Pink Room

Where I am safe.

When you get to the pink room

do not forget to leave her

a rose.

I want her to know

we have remembered the pink room,

I want her to remember me.

I dreamt of the pink room last

night, of a time when it kept me safe,

a time when it kept her safe.

The pink room is hidden from view

now, has been stripped bare of the

lilac, the silver – someone

I will never know has carelessly

splashed blue paint over my memories.

If you should go to the pink room,

you know you will see me there.

I never could leave the pink room –

remember to leave me a rose.

From Martyr Doll.  Edited by Rehan Qayoom, (2011).