Autumn has always held a special magic for me, a season in which the poet John Keats aptly described as “a season of mists and mellow fruitfulness.”
Indeed, if there is an hour for magic, it strikes in the crisp dawn of an early Fall day. And further, if magic has a language, surely its language is poetry.
So I find this an appropriate time to post some of my own verse (hopefully imbued with magic itself) for your reading pleasure.
The first poem is “Ode to the Night”, and it hints at the darker aspects of this time of year, a time when pumpkins cast you crooked smiles and ghosts and goblins are generally free to roam:
Ode to the Night
To the Night, the Night, the dark delight,
The children sleep soundly in gentle white,
Breathing in time with the Raven’s flight.
To the Night, the Night, the waxen moon,
Audience of one to the witches’ croon,
Driving the tides for the sailors’ doom.
To the Night, the Night, its starlit fires,
Which guide the ghosts from funeral pyres,
Which soften the Harpy to play the lyre.
I hope you enjoyed “Ode to the Night”, and at a minimum it puts you into the Halloween spirit!
My second poem is “Melinda”, a story of lost love, and although not directly a tribute to the season was nonetheless designed to evoke a haunted mood:
Melinda
Sometimes in the lonely hours
I would walk the hill
Leaving the clamor and din behind
For headstones gray and still,
As I neared the place where the dead did lie
I knelt and bowed my head
A fool is he who visits the graves
Without homage to the dead,
‘Melinda’ read the stone I sought
Melinda, my betrothed,
Only a thief as clever as Death
Could steal the health of Melinda, my love
Often I hear Melinda’s voice
Soft upon the breeze
I answer her call of eternal love
And grow hoarse among the trees.
I hope you enjoyed “Melinda”! Last but not least is an ode to a much maligned creature, a symbol of the undead, but in reality a beautiful animal that sustains our ecosystem. This last poem is called “The Bat”:
I am recovering from major surgery nine weeks ago. I have been described by some who are nearest and dearest that I am not just an overachiever, but a classic type A personality. To which I say “Balderdash. Not in the least.” But one thing that has become all too apparent is that I love naps. At last one, if not more, a day. And while it feels like an enforced putting down of my will to write, and do, and create, and clear out, I don’t really care. My body has other plans. This is what my medical team refers to as “rest and recuperation.” Rest. Now there’s a thought.
I’m a writer – poetry, short stories, and an almost completed first novel. In all writing (and my reading) I find that the rest periods allow me, the reader, to think, to consider what I just read. One habit I recently developed is reading my poetry out loud, primarily to myself (unless there is a willing listener close by). This is not a new habit, just rediscovered, after a lapse of more than 50 years. I used to do this in college, for it helped me understand what the writer was trying to get across.
What I found in my personal poetry was timing. which phrases required slight stress, pauses, clear enunciation. And my habit of reading each one thee times allowed me to hear with different ears. The rhythm, the internal stresses, cadence, alliteration.
Poetry has always been a way of understanding the emotional frame of mind of both the poet and the listener. The oldest poetry we have records of shows that the stories and sagas were all oral, as well as aural. They transported the listener into another world, a world of magic, feeling, creation, alternate realities, explanations of heroic journeys.
And reading and hearing poetry aloud gives me a different perspective. I remember my grade school librarian reading stories to us. Magic. We could not get enough. It whetted an appetite for more, for it was a group activity led by an older and wiser person.
And the greatest value in my listening, was when she paused, created a resting spot, and then continued. I can imagine sitting around a night fire, listening to a traveling bard recite sagas. Just for me. It became personal, and valuable, and I was personally included in the vast story.
My current resting spot is in my recliner, head back, legs propped up. Napping away. I am not “shoulding” on myself as much. I am resting more, waiting for the next phrase, the next idea, the next thing I don’t have the energy to do. Resting is good, although it is contrary to my nature. But the recliner is so very comfortable!
It’s the spooky season! Let’s play Exquisite Corpse!
“What,” you may ask, “is Exquisite Corpse, and how do I engage in such an outlandishly named game?”
Before we all get the vapors…
Exquisite Corpse is a collaborative poetry game that traces its roots to the Parisian Surrealist Movement. Exquisite Corpse is played by several people, each of whom writes a word on a sheet of paper, folds the paper to conceal it, and passes it on to the next player for his or her contribution. In order to write a poem, participants should agree on a sentence structure beforehand. For example, each sentence in the poem could be structured “Adjective, Noun, Verb, Adjective, Noun.” Articles and verb tenses may be added later or adjusted after the poem has been written. The game was also adapted to drawing, where one participant would draw thehead of a figure, the next the torso, etc. The name “Exquisite Corpse” comes from a line of poetry created using the technique: “The exquisite corpse will drink the young wine.” https://poets.org/text/play-exquisite-corpse
While we cannot share a piece of paper, we can, all the same, play the game. Please join us!
The rules for this game are as follows”
SUBMIT: one line of “poetry”
FORM: The line must be arranged to have these elements in THIS ORDER ONLY as the main elements:
YES! You can add conjunctions, articles, etc., as needed, but the main words must be Adjective, Noun, Verb, Verb, Adjective or Adverb (one only), Adjective, Noun
So, this would work:
Happy frogs jumped and swam quickly, green sparks
Happy(adjective) frogs(noun) jumped(verb) and swam(verb) quickly(adverb), green(adjective) sparks(noun).
And this would not:
Frogs jumped happily and swam quickly making green sparks
Got it?
You do!
Send it to dianne@currentwords.com between now and October 29th at midnight PT, for publication on Halloween!
Make the email subject: Exquisite Corpse.
ONE entry per person!
PRIZES:
SUBMIT and you will be given a free digital copy of the OSP book of your choice!
Three lucky people, chosen at random by Robert Fleming and his random number generator, will be given a print (paperback) copy of the OSP book of his/her/their choice!
One Lucky Person (not publishing with CWP) will win a free 5-page edit from me!
OSP members and other people CWP publishes are welcome to join in, and can claim a free Kindle of their choice from OSP, but are not going to get one of the three free print books or the edit (so sorry! Let’s give those to our guests!).
YES, everyone who enters will be subscribed to OSP news through Current Words newsletter, which is sent out to email addresses one time almost every month. At the bottom of your first newsletter (and all the rest of them) is an unsubscribe button, and if you really don’t want to stay on the list, that will get you right off (Mailchimp don’t play.).Honestly, we’re not trying to bother you; we’re out to have fun!
So, let’s have fun!
Ooooo, you can already start dreaming of the OSP book you’re going to choose for your prize! Take a look at your options:
Where Art Meets Poetry: Fleming’s creative prowess knows no bounds. He’s a poet who wields images like a maestro conducts a symphony, infusing each verse with a visual narrative that ignites the imagination. Brace yourself for an electrifying literary experience that shatters the boundaries of storytelling.
A Feast for the Mind and the Eyes: white noir is more than poetry; it’s a a tapestry of emotions on paper. Featuring a striking cover designed by the author.
What They’re Saying:
“…you will see and think things you never did.” Matt Wall, publisher of Poetic Anarchy Press
“Robert Fleming is outrageous and original in word and image.” Michael Sindler, beat poet laureate of Colorado
“…a raw and curious visual journey through human history.” Crystal Heidel, author of Still Life in Blood Owner of Byzantium Sky Press
AND IF YOU WANT A FREE COPY… ALL YOU HAVE TO DO IS ASK. RIGHT HERE.
We learn from asking questions, and what better way to explore the craft of writing than through an engaging Q&A with an author! This month the author I’m interviewing is R. David Fulcher who happens to be a member of the Old Scratch Press Poetry and Short Form Collective.
R. David Fulcher is a talented author with multiple books to his name. His most recent work, a captivating short story collection titled THE PUMPKIN KING AND OTHER TALES OF TERROR, showcases his passion for storytelling. A writer of both poetry and prose, he deeply loves speculative fiction, particularly science fiction and horror. You can explore more of his work on his blog at Rdavidfulcher.com.
This is the perfect month—the season of ghosts and goblins—to delve into the exciting craft of writing horror. Most of my questions in this post will focus on the intriguing insights from THE PUMPKIN KING AND OTHER TALES OF TERROR. Let’s celebrate the art of writing together!
Q: Question
R: Response
R. David Fulcher
Q: As a writer, what is your primary goal when interacting with your readers?
R: As a horror writer, I have two primary goals: 1) Establish an “eerie” atmosphere; and 2) Elicit a physical response in the reader. Yes, I hope to stimulate the readers’ minds as well, but I primarily want to elicit fear – a racing pulse, the small hairs standing up on the back of your neck, a shiver in your spine – only good horror tales have this effect.
Q: Was there a specific moment you remember, perhaps an experience that spurred you on to want to write this particular book?
R: The Pumpkin King and Other Tales of Terror (and the follow-up volume “Asteroid 6 and Other Tales of Cosmic Horror”) is sort of a “greatest hits” collection of my short stories, so unlike a traditional novel the stories were developed over many years and inspired by many moments and experiences throughout my life.
To give a sense of the age of some of the stories, the title story “The Pumpkin King” first appeared in a small press magazine entitled Mausoleum back in 2001! Of course, all the stories have been heavily revised in the new book.
To provide an experience that spurred me to write a particular story, “Castle Marienburg” was inspired by a tour of that very castle during a visit to Germany in college.
Q: As both a horror writer and a poet, how has Edgar Allen Poe influenced your work?
R: In a way, Edgar Allen Poe led me to my genre. My high school English teacher taught a semester on Poe, and I was hooked. I started writing dark, gothic short stories that day after school and submitting them to small press magazines shortly thereafter.
Q: Writing poetry and writing prose, how has the two different types of genres influenced each other in your writing?
R: My love for both poetry and prose has caused me to experiment with inserting sequences of poetry into my fiction. Some examples of my stories that include embedded poems are “A Night Out with Mr. Bones”, “The Faerie Lights”, and “All Across the Mountain”.
Q: Did you work alone or did you rely on some feedback from others?
R: I initially write on my own, but I really enjoy it when people close to me review my work and give feedback on it. For example, my brother Dale helped proofread the manuscript for The Pumpkin King and Other Tales of Terror, and after reading my short story “Asteroid 6” my wife Lisa was really impressed with the tale, so I was inspired to title my second volume coming out this Fall as “Asteroid 6 and Other Tales of Cosmic Horror”.
Of course, my publishers David and Dianne are also tremendous editors and their feedback has been essential to my work.
Q:Do you imagine you are writing for a specific person or a certain audience?
R: No specific audience. I will say that my writing is almost always in the realm of the fantastic, so fans of my work must be able to “suspend their disbelief” and just go along for the ride, trusting me to take them to a magical, almost unbelievable ending, even if all the facts don’t line up with reality. I think fans of hard science-fiction (Isaac Asimov, etc.) will have a hard time enjoying my work.
Q: How do you approach revision?
R:This goes back to things I’d tell my former self. I used to put down the pen (yes, I write my stories out long-hand!) after a long, intense burst of writing (sometimes an entire story in a single sitting), push the manuscript back on the desk with a smile, and say “Perfect!”
I would then immediately submit the tale for publication, only to receive rejection after rejection, never understanding why.
I’ve finally learned that being a professional writer means spending almost twice the amount of time revising your work as you spent writing it in the first place. So I approach it like work. I allocate time for editing/proofreading, I set deadlines, and I hold myself to them. The difference between my original manuscript written after a burst of artistic inspiration and the manuscript after several rounds of revision is often night and day.
Q: If you could give advice to your younger self, what would you want to tell them?
R: I’d remind my younger self that the success of a book is up to me. I used to self-publish with AuthorHouse (formerly 1st Books) and believed that getting my book on Amazon and buying the publisher’s “marketing kit” would instantly propel me to fame and the bestseller’s list. I have learned the hard way over the years this is not the case. Publishing the book is just Step 1. The real work is in the marking and promotion.
Q: How did you find your publisher or did they find you?
R: David and Dianne of Devil’s Party Press (now Current Words Publishing) met at the Indie Lit Fest at Frostburg State University in Frostburg, MD. At the time they were accepting submissions for one of their Halloween Party anthologies and provided me with the information. I submitted and was accepted. The rest as they say is history!
Q: Do you have a specific horror story favorite you’ve read?
R: Several novels by modern horror writers have had a tremendous influence on my writing. They include “Something Wicked This Way Comes” by Ray Bradbury, “The Tommyknockers” by Stephen King, and “HIdeaway” by Dean Koontz.
In your own portfolio, a story you are particularly proud of?
R: I have a few favorites among my stories that don’t always correlate to fan favorites. The first is “Castle Marienburg”, which was originally titled “Eyes in the Night”. A horror editor in the small press called it one of the best horror stories he had ever read, which was very satisfying. Others include “Spectra’s Masterpiece”, a science fiction story about AI published back in the early 2000’s well before AI became a commonplace topic, and “The Land Spider” in the way that it incorporates native American mythology.
Q: Do you have a “day job” to help pay for your writing habit, and it so, has it impacted in any way your writing?
R: During my day job I work as an IT Contractor. My work with computers has spilled into my fiction with my stories “ELECTRIC”, where a boy becomes one with his home computer, and “The Witch Toaster,” where a group of programmers within an IT Department must battle supernatural forces.
Thank you for reading and visit the Old Scratch Press Website to learn more about our authors and upcoming publications.
Creative blocks can be frustrating, but they’re a normal part of the creative process. Here, I explore three common types of creative blocks that I experience on a regular basis, and share my strategies to overcome them and get back into my creative flow.
Common Types of Creative Blocks:
Self-Doubt: Feeling like your work isn’t good enough? That would be a hard yes for me, every single day. Self-doubt can paralyze creativity. Who am I to go to grad school in writing at my age? Who am I to publish a poetry book? Who am I to think I can even begin to write a mystery novel? Remember, while there are plenty of success stories out there, we won’t know our own abilities unless we give it a try. You might decide it’s not your thing, or get caught up in the process and ride the wave to the end. By all means, do not compare yourself to others, unless you think it’s really bad, in which case the thought should be, “I can do this, but better”. It really doesn’t matter what you think until you actually start something. Like the curling sticky note on my desk says: Begin.
Perfectionism: Waiting for the perfect idea or execution can stop you in your tracks. As will waiting for the perfect time, or the perfect desk chair, or external motivation. Embrace imperfection and focus on progress rather than perfection. It’s called a “shitty first draft” for a reason.
Burnout: Sometimes, the creative well runs dry. Recognize when you need rest and allow yourself to recharge (see below).
Strategies to Overcome Blocks:
Change of Scenery: Sometimes a change of scenery can spark new ideas. Go for a walk, visit a museum, or simply move to a different room. Move your body, listen to music, or anything to temporarily switch off the “I’m Stuck” reel playing in your head.
Experiment with PLAY: This is my favorite. Take a break from your current project and try something completely different—doodle, cook, or build with LEGOS. I like to cut and paste, myself. Play can reignite creativity.
Set Bite-Size Goals: Break down your project into manageable tasks, i.e. Write for 10 minutes. Completing small steps can build momentum and reduce overwhelm.
“Creative Reset”: Set a timer for 15 minutes and engage in a creative activity unrelated to your current project. The goal is to refresh your mind and relieve pressure, allowing creativity to flow more freely when you return to your work.
Finally, I once had a teacher who said there was no such thing as a creative block, and the problem was not that there was nothing to draw from, but that there was too much. Too much, or not enough? You decide.
Ellis Elliott is a published author and poet. Join her Bewilderness Writing Workshops and use free writing to find yourself and your voice on the page. Order her poetry collection Break in the Field and find out about her Work-in-Progress, a mystery novel set in the misty mountains of Appalachia.
This week author Nadja Maril released her collection of flash prose, poetry, and essays inspired by her kitchen, garden, and family memories. I sat down with Nadja to ask her some questions about the book, and her process. It’s interesting to note that Nadja comes from an artistic background: her late father Herman Maril was an artist, and his painting is the cover of her book. I have enjoyed Nadja’s poetry and flash fiction for many years now, and I am very excited for her book!
Dianne Pearce (Dianne): What inspired you to combine poetry, short form, gardening, and cooking in one book? How did these different forms of expression come together?
Nadja Maril (Nadja): In January 2020 I’d just completed an MFA (masters in fine arts) in creative writing from the low residency Stonecoast Writing Program at the University of Southern Maine and was in the midst of moving into a 100-year-old house. My husband Peter and I were the General Contractors. Both the MFA and the house were two-year projects. I’d been laboring over a complicated literary novel told from multiple viewpoints, and my daughter (the youngest of my three children ) was about to get married. Peter and I were looking forward to having the wedding at our re-built house, with the festivities primarily outside. We scurried to move into the house, plant flowers and shrubs, and revitalize the lawn. Then the pandemic shut everything down.
Want to read more? Pick up the remainder of the piece at AUTHORS ELECTRIC.
Wonderful that Google has dedicated today’s Google Doodle (August 19, 2024) to Dorothy Miles.
Miles, as it says, was a pioneer of poetry in sign language. This is significant because poetry is often still widely considered to be an oral form of creative writing, written down, yes, but meant to be read aloud, or memorized and recited, performed. But can it be performed and not be spoken?
Here are a few performances by Ms. Miles, courtesy of YouTube:
There is no sound. Can you understand the poem?
And here is a third poem:
Do Miles’ poems speak to you, without use of the voice? In a medium that began as fully performative, how does it feel to have to attend to her movements with your eyes, more than her words, the sound of them, with your ears? Are the poems lost on you? Or do they move you?
Approximately eleven million Americans are deaf, and many more have some form of hearing loss. When I watch Ms. Miles perform her poetry, one thing that struck me immediately was the feeling of being disconnected, because I could not hear her, though she looked to be speaking. Once I settled in I found the works engaging, and they really tapped into my emotions much more quickly than poetry usually does.
What makes a poem a poem? What does it mean to be a poet? Poetry has been one of the oldest and most consistently practiced form of creative writing, and it has also been some of the most exclusionary. Ms. Miles opened that door for people who could not use their ears to enjoy poetry, or their mouths to speak their poems aloud.
Ms. Miles’ career in poetry ended when her life did, after a fall from a window that was concluded to be self-inflicted due to mental health challenges she was experiencing. If you know someone experiencing a crisis please consider using the 988 helpline.
This, my friends, is why diversity is so important. Without an open system that welcomes diversity, without open hearts to give something different from the “norm,” “average,” what we’re used to, what’s traditional, or simply what we’ve come to expect, we close the door on beautiful experiences like poetry written and performed by Ms. Miles. When we celebrate poetry in all its forms, we invite more people to have the chance to share with us their creations. Not every creation is the right one for every person, but when you find the one that touches you, you will find yourself forever changed.
By Virginia Watts ( a member of the Old Scratch Press Collective)
Several years ago, I was in an online poetry workshop with a woman called Joan. Even seated far away from each other in the real world and only together in the great, cold world of the internet, I felt a connection to her. What was it exactly. Her beautiful, novel, highly creative, arresting, heart rendered poetry for sure, but it was more than that. I appreciated how much thought she put into her critique of the other poetry in the group. I could tell she had taken a great deal of time to read and reread, to think and rethink, as I do when I am involved in writing critique groups, and I have and am a part of quite a few of those. I take my role as a fellow writer offering critique very seriously. Here’s the thing. No one can critique their own writing. It’s impossible. What you need to be the best you can be as a writer are fellow writers who give it their all when reading your work. People who are willing to always comment honestly on the work you circulate. In other works, you need people like Joan.
So, imagine how thrilled I was when Joan emailed me after the online workshop ended to see if I would be interested in joining a Sunday morning critique group of six other poets. I couldn’t say yes fast enough and that started years of the best morning of the week on my calendar. We are a group of diverse styles living in different east coast states. Currently four men and four woman because another has joined our group. Each Sunday, we take turns reading our draft poem and then the floor opens up to comments. Titles that don’t do enough work are called out. Areas that are confusing, messages that seem weak or not fully realized. How the poem looks on the page. Whole stanzas that sometimes just don’t need to be there. All things poetry and how to make it better. Every single Sunday I sign off and look at my poem as revised by the group and think. There is absolutely no way I could have written this poem in the final best form it can be without them.
A few years ago, the group put together a cooperative collection of poems available on Amazon called Poems from the Circle of Seven. A Sampler to Savor. One of the members’ sons kindly assisted us with our cover art which turned out beautifully. It was special and moving to see ourselves all together on the page inside the cover of one unified book. Special because something special happens every Sunday morning that I don’t think we can explain exactly. Call it chemistry. Call if magic. We have eight now, so I am sure at some point we’ll put together another collection.
And of course, while our writing brings us together, something we all care about, love to do and literally need in our lives, now we have a group friendship too. I can speak for myself in saying that less than a year ago I had open heart surgery and seeing the faces and hearing the words of encouragement before and after as I recovered meant a great deal to me. One of our members has a seriously ill spouse and we all grieve this. One has been going through the process of retiring and moving. On the flipside we have shared countless laughs about the ups and downs of real life. We have also heard about great adventures. Recently one member went skydiving. That made for an unforgettable poem. So, to writers everywhere, if you have the chance and are lucky enough to enter a circle of fellow writers sprint there and take your seat. It will uplift you and bring the greatest joy to your writing process.
By Nadja Maril, a member of the Old Scratch Poetry and Short Form Collective
Note: Everyone who writes has a different approach. This is a repost of a blog I wrote several years ago for my Nadjamaril.com website and since then I’ve gotten a whole lot of stuff published so it could be that some of this works.
I just started listening to Chuck Palahniuk’s Consider This: Moments in My Writing Life After Which Everything Was Different for the second time. I wanted to remind myself again to put into practice some of many sage tips he gives to writers. Tips that include: use multiple points of view, active verbs, short sentences, and nonverbal communication to reduce dialogue.
Being read, being published is the end game, but it’s the act of writing which is for me most important. Before we write we read. It’s my love of reading that drew me to writing. What better charge is there than finding the perfect assemblage of words to create in someone else’s mind— a feeling, a scene, a story. I’m addicted.
This is why I write. It’s the creative process I become emerged in that has me hooked. It’s an art form that evolves. And I always want to improve my craft. This means I’m always challenging myself to try different approaches and learn from other writers.
Each writer has different visions of what they’re striving to convey, but for me I’m seeking to find new ways to describe a scene and the inner thoughts and motivations of my characters. I listen to books on tape and also like to read words on paper. Helpful are a number of books on my shelf. About fifteen years ago I picked up Steven King’s bible for writers, On Writing, published in 2000. I bought it on the remainder table for one dollar. I think initially “literary writers” were dubious that the king of pop fiction would have useful advice, but now in 2021 his book is a favorite. Open the book to the section entitled “Toolbox” and you’ll receive sound advice like, “Remember the basic rule of vocabulary is to use the first word that comes to your mind, if it is appropriate and colorful.” In his section entitled “On Writing” King explains that he gets his writing impetus not from imagining What if?. “ A strong enough situation renders the whole question of plot moot, which is fine with me. The most interesting situations can be expressed in the What-if question:
What is vampires invaded a small New England Village? ( Salem’s Lot)
What if a policeman in a remote Nevada town went berserk and started killing everyone in sight. (Desperation)
Both Palahniuk and King emphasize the importance of reading other writer’s work, one of the best books to guide you in this is Francine Prose’s Reading Like a Writer (2006). The book covers all the craft elements so important for all creative writers: close reading, words, sentences, paragraphs, narration, character, dialogue, details, and gestures. What is most invaluable, in addition to all the books she cites throughout the text, is the reading list at the end. Yes, we may all be readers, but it is important to seek out unfamiliar authors who are masters of their craft. Best sellers come and go. Books fall in and out of favor and an important authors are forgotten. While many of the authors and books on her list I was familiar with, I got introduced to Elizabeth Bowen, Henry Green and Denis Johnson (Yes, Denis Johnson who I selected for my in depth research MFA research project) thanks to Francine Prose.
Try not to repetitively read the same authors you like. Discover old and new talent.
I’ve got a number of books on writing in my library, John Gardner’s The Art of Fiction, Jon Franklin’s Writing for Story and The Half-known World on Writing Fiction by Robert Boswell, but it seems that all these books are written by men. As more women and people of color take leadership roles in publishing, perhaps we’ll see books on writing from a more diverse group of authors. Meanwhile I will close with talking about one more favorite book, number four on my list. I’ve read Unless It Moves the Human Heart by Roger Rosenblatt (2011) several times. Rosenblatt’s book shares the writing process from the teacher’s viewpoint as he interacts with his students at Stony Brook University. He taught classes in poetry, creative nonfiction, and fiction and what ensues is a thoughtful introspective dialogue that stimulates the reader to look at their own work with fresh eyes.
In closing I will repeat again for emphasis, read as well as write. You are never finished learning how to be a better writer. So what are you waiting for? Have you written, revised, and re-revised some stories today?
Follow Nadja Maril on {“X” at SN Maril or read one of her pieces at Nadjamaril.com. Check out Nadja’s soon to be released chapbook, RECIPES FROM MY GARDEN here. Don’t forget to submit your brief piece or poems on the theme “Holiday Noods” to be considered for publication in the Winter issue of Instant Noodles here.
