La Rou de la fortune Erik Volet

The Human world intersects with those of animals, plants and the spirit world which is gestured towards. There are also beings halfway between these worlds—transitional beings with the ability to move through these different worlds with ease. Multiple time periods intersect & the world of myth and the past blends with the present-day time of contemporary reality.

Erik Volet

Reclining nude

Beggars Banquet

Woman in Blue Shawl and Poet’s Dream

Language of the Birds

Erik Volet (b. 1980) is a painter & illustrator from Canada who has exhibited in Canada, the US & Europe. As well as producing paintings he has published art books, made zines, illustrated books, and maintained a consistent involvement with painting murals on the street and in the public sphere. Influences, which continue to be important to his art practice are comic book art, graffiti, hip hop culture as well as surrealist theory and practice.

ERIK VOLET

Relatos breves de Victoria Morrison 

Por la ventana

Confío más en tus huesos que en tu carne, por las noches sigo amando tu fantasma que huele a tierra infiel, confío más en tu bufanda roja detenida en el tiempo, el pasillo de nuestra casa gime llanto muerto, flota mi cuerpo en la tina, agua de árbol con espinas.
Recogí mi pelo mojado en tu vieja toalla de mi melancolía, arrojé todos tus libros por la ventana.

Imperfecto

El hombre frente a la tumba desprende de su boca su prótesis dental, la envuelve en un pañuelo blanco, la oculta entre el pasto y la tierra de tumba, solo frente a sus muertos puede ser él, así de imperfecto.
Ahí descansa su llanto desdentado, se sienta sobre la piedra, saca de una bolsa de papel café una lata de cerveza y bebe deseosamente el sorbo de vida a su garganta de flores mareadas que iluminan su rostro, suenan campanas a los lejos.
Allí, frente a sus ancestros sonríe a carcajadas recordando alguna anécdota pasada, nadie lo juzga ni lo critica, allí frente a sus antepasados puede revelar su sonrisa imperfecta.

Tierra seca y olvidada
(desierto)

El cerebro atormentado resuena en el grito del árbol abandonado en tierra antigua de la cuál brota maleza de llanto. El sol neurálgico y odiado nos quema la piel y el sudor es el brillo de su reflejo que nos tortura y nos humilla en esta hermosa y vacía tierra donde los hombres caminamos sobre arena hirviendo.
El único árbol sobreviviente no tiene hojas ni semillas, es un muerto de pie frente al inmenso viento de arena en la boca y los ojos. Ahí, cuelgo mis pertenecías, en sus ramas de volcán. Mancho mis dedos y pinto mi cara de maquillaje negro, dispongo mi improvisado refugio, mi instinto animal es más poderoso que mi humanidad inservible en esta atmosfera.

Pan y caldo con arena refuerzan mi sacrificio.

El florero de tu madre

Visito tu sepulcro con una sonrisa camuflada, retiro minuciosamente pétalos muertos, (flores que dejan tus viudas amantes), uno a uno recolecto en mi bolsillo de lana hojas secas en distintos tonos, agua limpia dejo caer en el florero de tu madre; flores frescas para ti, leo tus poemas para recordarte.
-Ya no vengo a llorarte al campo santo- a veces cuando se hace de noche, descanso sobre tu tierra de muerto, hago el amor contigo.

Abril y mayo

Dos retratos en dos marcos diferentes, dos fechas de nacimiento, dos nacionalidades, dos identidades. Ella no abraza a los árboles, los besa apasionadamente, la sangre que brota de su boca rota es savia dulce.
No es blanca ni negra, ni adinerada ni necesitada, ni culta pero tampoco ignorante, educada y también puede llegar a ser una marginal.
Por las noches se acuesta en su tina caliente, los cabellos que flotan en el agua talvez pertenecen a esa mujer que no existe.
Dos retratos en dos marcos diferentes; la adolescente que escribe poemas de amor aullándole a la luna, el otro, la belleza de una anciana de ciento veinte años moribunda, declamando sus últimas palabras a la muerte.

Cama de hoja


Cuando lloro por los vivos, son mis muertos quienes me consuelan, no los veo, conozco sus nombres, su edad los huelo, susurran delicias a mi oído de hierba fresca.
Florencia es la mujer fantasma y ciega que toca el piano entre ramas del bosque.
Mi cuerpo pequeño cubierto de hojas secas; he descubierto que a los árboles también le gustan las melodías de cuna.

Herencia de lo mágico


Tengo el don de la sensibilidad, ver, oír con gran sutileza lo que nadie, y los fantasmas recorren el bosque conmigo; placentero como fumar a escondidas sobre enormes arboles retorcidos en donde reposa mi silueta delgada, hija del hombre, herencia de lo mágico, el humo se cuela por las hojas, canta la rama, silenciosa raíz mágica, dulces espinas te embellecen.

written by ©Victoria Morrison

Victoria Morrison, Chile 1977, Trabajadora social, escritora de poesía y cuento. Miembro actual y activa de SECH (Sociedad de escritores de Chile) P.E.N Chile (Poetas, ensayistas y novelistas) Su poema Ñamku fue premiado con el segundo lugar del “Concurso poesía Indígena”, realizado por el “Museo de la memoria y los derechos humanos” en Chile el año 2020. Libros publicados: Una habitación en el infierno (2016) Ediciones La Horca. Poemas desahuciados (2017) Editorial Ovejas Negras. Pupilas de loco (2020) Rumbos Editores
Sus escritos se caracterizan por evocar temáticas psicológicas. Amante de la naturaleza, la autora explica que en cada palabra existe sanación; si asimilamos esa palabra a las raíces de cada planta pues, así como existen semillas imperfectas, también hay humanos imperfectos; no son acaso los bienes llamados “árboles torcidos” los que, sin agua, sombra, ni tierra fértil continúan respirando en la tierra. (Si la frágil planta resiste el frio, la intemperie, la carne humana cobijada en lana y bufanda debería agradecer y callar, oír en silencio, el congelado y valiente canto de la hora escarchada).

https://www.facebook.com/marielavictoriapoeta
https://www.antartica.cl/pupilas-de-loco-9789567295753.html
https://www.rumboseditores.cl/pupilasdeloco
https://www.instagram.com/victoria_morrison_/?hl=es

Feature art: Mitchell Pluto

Oracle Painting by Sarah Whitmire

I believe that I died when I was a child. Or perhaps a part of me died and something different was brought back. After that, things were not the same for me. I had several more brushes with death and suffering moving forward. These experiences shaped who I would become. They taught me about the uncertainty and duality of life and also brought me to a fierce inward state of being.

Decisive Action

I grew up in a world of adults. I was told that children were to be seen and not heard. I was given long stretches of time to play on my own. I turned to art and creative pursuits as a way to escape into the worlds I preferred to create. I built elaborate doll houses and loved magical wilderness spaces. I was inspired by the world of Fae that Brain Froud so beautifully captured. I was fortunate that my mother took me to art museums where I fell in love immediately with the language of art.

Transform

I believe that art has the power to heal, inspire and awaken; it has saved my life more times than I can count. As an adult, I have been lucky to keep my curiosity and magic alive. I pride myself on growth and becoming more and more who I prefer to be. I have now trained for over a decade in mystic and spiritual disciplines with the mission to inspire the world with my connection to what I call the Muse.

Allies

When I paint, I am moved by intuitive Muse forces from moment-to-moment, making marks with a variety of implements from my hands to brushes and handmade tools. I create from an empty meditative space, not knowing what will come out. There’s a huge amount of surrendering as I have to allow things to be as they are. Ugly or beautiful… I have to release all judgement. It’s one of the hardest things I do. It feels very vulnerable for me to allow “what is” when people are watching. And that is part of my work.

Glamour

What comes next often depends on the energy in a place, or time, or the viewers themselves who I feel pull the work through me. Over a period of 6-12 hours, sharp images, texts, and shapes are revealed as profound messages. Through abstraction, the art becomes the Oracle and represents the literal and metaphorical power of transformation. My art is in a constant state of service.

I Surrender All

The method I use requires a forgiving material like acrylic paint that permits rapid revisions. I think of my work as evolving in the moment.

Weight of Heart

Some parts gets covered up and pushed back and others change and are pulled forward. The pieces tell their own narrative as they become deeper with layers and more defined. I work on large 6 foot x 4 foot pieces of birch and frequently layer with colored pencil, watercolors, oil pastels, pouring paint, acrylic ink, China marker and more.

Gallery

When the pieces are ready we work hard to meticulously scan them at high resolution and make them into Oracle cards. I have always believed that these images are for others and sharing them is important as meaning makers for others. I release new each series of cards as they become available. Currently series 1 + 2 are available and I am painting pieces that will become Series 3 + 4 now.

I have performed this oracle painting performance every week at festivals, clubs and events, and online for the past 6 years. I believe the true magic is that these pieces are not only for viewing but can also be experienced. I invite you to journey with me as I discover the messages the Divine Muse will uncover next!

written by ©Sarah Whitmire

You can find me and my social media links at whitmireart.com

Skinwalker by Lauren Scharhag

Skinwalker

It’s not like in the werewolf movies
where I wake up naked in the forest,
not knowing how I got there or why
I have the taste of blood in my mouth.

It’s not like the stories where curses
make beasts of men. No, it’s more akin
to those Eurasian primordials of whose tree
I am but another branch, where turning men

into wolves was the rite of hunters and
warriors. No moon governs me, and I know
exactly what I am and where I’ve been. It’s in
my very name, by means of it, it goes on all fours.

Some say it started when the Spaniards came,
and if you don’t know the story of those years,
I probably don’t have to tell you the story
of those years, the age of ruthlessness and

conquerors. Sometimes, I think it must be because
for so long, we were nomads, and you don’t just
shrug off three millennia of wandering, trekking
across ice bridges and down the rugged coasts,

but only the Creator knows for sure, they
who conjured light from the east, and Earth
from a single yellow grain. Sometimes, I think
I was born to this, that I only unleashed what

was already there, my nature mutable as the
golden tortoise beetle, the snowshoe rabbit,
or certain tree frogs. Nothing in my cosmology
says I must forgive. There is only balance

and imbalance, and imbalance must be corrected.
The sort of trauma that washes down through
the generations, like litter in the stream of our DNA,
and it’s not as if the atrocities ever stop. I am

the endless Night Chant, waiting for the world to heal,
the tireless ceremonial dancer, the ultimate hand trembler,
for surely we must remove the source of the malady.
I take the darkness into myself, and when our enemies

tell us we are less than they, I am ready
to fling it back at them. I am ready to don
the forbidden animal skins, to sow terror and
harvest a crop of bones. You could see why

I would trade the Pollen Way for blood, why
I would call upon the powers of wing and
fang and claw, why I would become pitiless
as the hawk’s unblinking gaze. I pray you

never know the pain that drives someone
to become this, that you never have to pay
the price to become this, the agony of
transformation: my fingers, once so skilled

at weaving, hardening into talons, canines
overtaking my omnivorous mouth, forsaking
forever the taste of corn and beans, my feet
into paws, and then the aftermath of becoming,

in which I am no one, neither living nor dead,
perpetually half human, half creature, all monster,
the stench of mass graves and privation. Once you
start down this path, there can be no turning back.

And yes, I can be dog, coyote, wolf, bear, cougar,
owl and crow, but I would rather be the deadly
bacteria destroying you from within, the brain-eating
amoeba lurking in the water, the compulsion

that seizes people to pet a wild thing that could
maul or trample them. The medicine men try
to pray us away. Those who know of us do not
speak of us, for fear we will hear. Admittedly,

we are not hard to distract. There’s always some new
imbalance to chase down. Dip your bullets in ashes,
and if you know the Skinwalker’s human name,
then speak it, and they will be destroyed. If you know

my human name, then speak it, and I will take you
with me. Unlike you, I don’t fear the world’s end.
I know more are waiting if we could but rise
to meet them.

written by ©Lauren Scharhag

Lauren Scharhag (she/her) is an award-winning author of fiction and poetry, and a senior editor at Gleam. Her latest poetry collection, Midnight Glossolalia (with Scott Ferry and Lillian Necakov), is now available from Meat for Tea Press. She lives in Kansas City, MO. https://linktr.ee/laurenscharhag

Links to purchase the book:

Meat for Tea Press

https://meatfortea.com/chapbooks.htm

Midnight Glossolalia Paperback – February 11, 2023 by Lauren Scharhag (Author), Lillian Necakov (Author), Scott Ferry (Author)

Tierra Profunda Rene Ortega

René Ortega utiliza fórmulas de liminalidad para iniciar al espectador a experimentar los misterios del inframundo. Hay una puerta de flores, una escalera de anillos a túneles, afinada con un aro de colores. Todo esto está aquí dentro de los secretos de nuestra tierra. En estos pasos buscamos un centro que ya es un estado completo, un lugar unido por los opuestos e igual a sí mismo. René agrega esquinas al círculo giratorio para crear una faceta para ver otros espacios y otros tiempos.

Mitchell Pluto

TIERRA PROFUNDA

Mi enfoque se enfatiza en la búsqueda de las respuestas transcendentales las problemáticas ecológicas y sociales de la humanidad que enfrentamos actualmente.

Con mis obras pretendo hacer conciencia para situar al ser humano como parte importante de la naturaleza es el volver encontrándose con muestro yo interno y nuestros sentidos que se encuentran en un estado dormido es el volver a mirar y observar como un niño para situarnos en las profundidades de los infinitos subsuelos y planos de tierra imaginaria de mundos micros organismos vivos subterráneos que se transmutan constantemente en máquinas orgánicas voladoras y así te llevo transportándote a mi imaginario poético donde danzan líneas interminables y planos de vida que se juntan y separan al mismo tiempo incansable búsqueda de lo desconocido como las estrellas y la naturaleza transmutando a infinitos planos profundo de colores y formas que voy realizando atreves de esta incansable y cambiante movimiento y sonido de la vida.

Escrito por ©René Ortega

Rene Fernando Ortega Villarroel

René Ortega, fue uno de los ganadores en la bienal internacional de arte contemporáneo 3 de octubre de 2022. René ha expuesto obra en Chile y Argentina. Está involucrado en muchos programas de arte cultural que se han relacionado con hospitales, niños y la enseñanza del arte profesionalmente. Su muestra más reciente fue Mental Labyrinths en la galería de arte del Centro Cultural Til Til el 18 de junio de 2022.

“Mi preocupación es la figura humana como sentimiento de estados primitivos e irracionales, cuyo punto principal son las cabezas, pensamiento universal de la creación del hombre y centro del universo. Todo ello condujo a una mutación del lenguaje plástico y pictórico”.

Mon Univers et ses Étrangetés Muriel Albert

La création est en soi un acte de transformation.

C’est un aller-retour entre le monde intérieur et l’effort pour
l”ex”térioriser.

Dans ce va et vient, les ressentis s”ex”priment et l’objet externe se
construit et la découverte relance le processus créatif.

La toile du “cri kintsugi” illustre la douleur vécue et la transformation.

Le personnage central porte un masque de joie qui s’effondre pour laisser place à sa tristesse.

Il engage à accueillir les émotions et à lâcher prise.

Les cicatrices peuvent alors devenir une force. Dans le tableau les
cicatrices sont magnifiées par l’utilisation de papiers dorés.

Au cours du processus de création, je transfère, je transforme, je
m’allège. La joie authentique peut alors s’exprimer.

écrit par ©Muriel Albert

Muriel Albert

Muriel Albert Facebook

Muriel Albert Instagram

Eric Capron’s Circus of Dreams

Eric Capron is a self-taught artist. He discovers the arts of the circus and the world of the puppet.

Eric Capron. Artiste autodidacte au parcours singulier. Dès son plus jeune âge, la dyslexie le marginalise. Enfant solitaire, il quitte très tôt les bancs de l’école et l’univers familial. Commence une vie de saltimbanque, découvre les arts du cirque, le monde de la marionnette.

Artiste en perpétuelle mutation. Dorénavant un travail quotidien permanent de production d’œuvres en papier mâché : des corps mis en scène. Des corps non genrés, incolores, sans modèles, mais étonnamment présents à nos regards amis. Ils existent pour eux-mêmes, d’abord.

Les sculptures sensibles d’Eric Capron racontent l’âme humaine, la fragilité de nos destins. L’artiste revisite les mythes fondateurs, puisant ses références dans la mythologie, l’art sacré et profane, l’univers onirique, les grands textes de la littérature.

« J’ai le sentiment d’être l’instrument de quelque chose qui me dépasse, une sorte de miracle, une boite de Pandore qui s’est ouverte…» nous confie-t-il.

Recipes for Horizons by Enrique De Santiago

BLENDED IN THE HOURS
From the place where the abrupt sound of the loica ventures

(1)
the evanescence of your future breath appears
among the vegetation that hides your name
and the blue and gray stones of the primal mystery
there I will drink from the mist that shouts the perpendicular miracle
the only reason at all
that moistens the vegetal belly of the beloved
and shines the incessant desire.
How long does the star take to announce your coming?
or there will be no signs in this already long life of chordates

(2)
while the empty horn waits for its winds
and the opaque flame of sleep leans into oblivion

(1) Signature and unpredictable bird before being (A) bird
in the light areas that are shaken by the wind
mythical and loving red that drew a smile on a child
to open the celestial fields of my pupil
that stirred my early neurotransmitters
before the new cycle (B)
(A) Before being
Before discriminating the gray hours from the clear ones
I inhabited the only and always proud clarity of my imaginary friend
(B) New cycle
My lymph is rocked by the wind
in a theater of new opportunities
those that favor the sweetness of the coots of sober stride
mating in the repetition of miracles
so that the aromas perpetuate my arcane name
and the wandering clouds welcome their polar persistence.
I had the option of ascending to lightning by the cosmic warp
where perhaps the root of the word would have questioned
in coming times of etheric colors
where time would have curved for your eyes
and I would raise your elusive silhouette that lies in the angle of a sunset
irretrievably withers the thaumaturgical vowel (B1)
as simple as a smile
or the collapse of a galaxy
since everything is corresponding
and apparent
with its prodigious lightness (B2)
Like a breath from the forest.

TRAVEL
I went down to the inside of your belly
caressing the rafters of your cosmic cloud
the one that received me with the aroma of the sacred bulbs.
There you were the clear love of wood
and the vegetal wisdom that embraces the ancient verb
when the wind ceases its journey on the shoulders
of the floral liturgy
How many skies inhabit your seed that furrows the seer’s eye?
Is there a niche of smoke that hides your salty voice?
Or simply the root of everything has its home in that mystery.

Each step collects behind you, the daffodils
that inevitably lose your mark
the one that wanders in the deep sands
that in the empire of shadows shelters you.
The messenger has a singular noise
I’ll feel it that dreadful day
I will know then that the epitaphs for the sepulcher arrive,
where nothing else needs to be done,
the metal swallows are an illusory replacement,
since the truths remained in the lock,
and blind to certainties,
I only rest for a few moments
to give me strength in the pilgrim sea,
the one who confuses the epistolary tides
and enjoys seemingly innocuous sacrifices.

I will kiss your lips according to the prophecy

while the breeze will speak the unfinished language

And you will see me with your green eyes

that are not green

are brown

But when you laugh they turn green

and you can draw a different morning

with an approximate solstice

with snakes in the window,

so my useless life becomes useful

because I’m a hobo of solar systems

and I become a wanderer in your body,

as a geographer of your corpse altar

and intruder in your zodiac cenith.

At this moment the end of the thread

talk about the miracle of one day

unrepeatable and mild luck

How strange of an eclipse

under the brief abyssal tides

like ghostly cardamoms approaching

in the deserts of disease

appealing to the late corrections

as it did for millions of years

moss persistence with its epicness

selecting the right humidity

with your organic and fruity hug

in that I put my hope

in what you find in front of your eyes

because I am the one who reads in the borrascas

as I advance toward your directions

who fires violent canines

before those who offend you

to heal that sadness

that leaves the middle of the night when you slip

inevitably and persistently beneath

out the door.

Chandelier in the mornings

this useless armor

And the leaves are blank

soaking up her violently dance

they burn in front of the cabinets of dubious origin.

I hear the birds giving birth to the woods, in the upper angles of a nebula.

At this moment the end of the thread
talk about the miracle of one day
unrepeatable and mild luck
How strange of an eclipse
under the brief abyssal tides
like ghostly cardamoms approaching
in the deserts of disease
appealing to the late corrections
as it did for millions of years
moss persistence with its epicness
selecting the right humidity
with your organic and fruity hug
in that I put my hope
in what you find in front of your eyes
because I am the one who reads in the borrascas
as I advance toward your directions
who fires violent canines
before those who offend you
to heal that sadness
that leaves the middle of the night when you slip
inevitably and persistently beneath
out the door.

written and Illustrated by ©Enrique De Santiago
.

Enrique De Santiago. Poet, Artist and Philosopher

Featured Image: “Beyond the visible world is the non-Euclidean horizon for the dragonfly” acrylic and ink on 250 gm Fabriano paper by Enrique De Santiago

Secret of the Air, Enrique De Santiago

Huge old stars leaning out of the
horizontal cobblestone sheets,
were dictated by an ancient manual of glorious epic forms
where I did not read the cunning locks,
from there fall lights like eagles
what they hang before your pale fortifications
and despite the fact that I descend without air
I cling to the dissected edges of this abyss
walking away from the waves of floral promises
with summer mentions that anoint you.

The amaranth silence rocks the star again
and like the silent lymph
you seek to break beyond the fundamental shell
the one that you came to know in a primitive way
in the sweet stays of belief.

Blows the hydrogen on the leaves
and many cycles are enough for oblivion,
while the trees stand
because they keep their memory in the roots,
to later give shelter to life
vertical.
I am the extended earth,
I still have memories of that
Winter will come without you realizing it.

The specificity of the meander
winding secret of the air
like the grass with its distant star.

written and illustrated by  ©Enrique De Santiago

Artist, Poet
Enrique De Santiago

Victoria Morrison, Seed Wisdom

seed wisdom

Imperfect seeds also germinate,
in a more difficult way; painful stem grows
of the tormented plant
What will this spring concoction be?
that the drug that saves it

has turned into glycine – creamy smell
bittersweet sugar, citrus undertones
in disguised purple.
Wild birds recite verses in the air
Has the song of the mother bird healed her?

Am I really here, watching
the miracle of my fertile land
or is it my mind that imitates
to the dying man who escapes from the barren land
and look for the seed to save the world?

We are the witch poets, the ones with the mark on the face
my trade is the botany of the imperfect
that mutates to the perfect, to see the beauty in the
“not graceful” is to live many lives,
give wisdom to the marrow
spinal cord of the brain
in the seed of the plant.
The noose around the neck is the plant
tied to the cross, slowly
stop breathing and die
And what is life for?
if we don’t manage to be captivated
with all the trees in the world?
the intelligence and wisdom of flowers
is assimilated to the cunning of orphaned children
nameless beautiful bastards,
no handkerchief on the lapel,
they feed on fresh drops;
Those left by loving widows
in the tomb of the dancing moon.

the dead dance
imperfect seeds also flourish,
they love dew in rain
of scarlet evenings
in the smell of smoke, fire and mapacho tobacco.

At night …
the frost settles on the petal of her lip;
nice to freeze like this, being kissed
because of the cold that rests in the water garden.
I caress each stem without prejudice to its appearance
for me, the witch plant is so beautiful
like the scent of the holy white rose.
The twisted and mutilated lemon tree
has taken refuge in the grape vine
red wine lemon

Beneath the cement has grown
blooming dandelion and sphere
healing herb for the healer and sage.
Rescuing damaged seeds is the art
of the reasonable
We are the ancient poets, the ones with the mark on the face
Here I bring roots to decorate your hair.

I resurface in my garden

The wind blows hard, breaks promises.
Catastrophic hiss, fractures everything.
My hand no longer touches your figure;
broken marble.
underwater love nest
stifled desire.
You interrupted my spring
cold storm; wet paper,
You have erased all my love poems.
What do you keep in those pockets
how much do you protect?
the wind asked me
(the burden of my corpse)
Suffering for love deforms my face
-I disappear-.
I neglect my garden, I leave it without dew,
I turn to stone
and I cry my gloomy sadness.
Decay,
I look in the rocks
the calm of my weight.

I’m sorry for you ungrateful root,
when I suffer, I become bad.
I take shelter in the dead trunk,
I am dry firewood
I have no foolish claim
to be perfect for you.
Today I have seen butterfly lilies bloom,
-They talk about rebirth-
There is no end of the world, if the birds
at night they recite poems.
I resurface in my garden, I breathe, I smile.
My flowers, my steps where I recover my voice,
my singing
My silent cat and devoted friend.
imperfect seeds,
we also bloom at dawn.
What do you keep in those pockets
how much do you protect?
the wind asked me.

written by ©Victoria Morrison

Victoria Morrison, Chile 1977, Social worker, poetry and short story writer. Current and active member of SECH (Chilean Writers Society) P.E.N Chile (Poets, essayists and novelists) Published books: A room in hell (2016) Ediciones La Horca Evicted poems (2017) Editorial Ovejas Negras Pupilas de Loco (2020) Rumbos Editores (Her writings are characterized by evoking psychological themes. A lover of nature, the author explains that in each word there is healing; if we assimilate that word to the roots of each plant, just as there are imperfect seeds, there are also humans imperfect; are not the goods called “crooked trees” those that, without water, shade, or fertile soil, continue to breathe on the earth. If the fragile plant resists the cold, the weather, the human flesh sheltered in wool and scarf I should be grateful and silent, listen in silence, the frozen and brave song of the frosty hour

www.facebook.com/marielavictoriapoeta

Pupilas De Loco

@victoria_morrison_