HEADS-UP: New York, New York and Greensboro, North Carolina … if you’re tired of all the politicos and talking heads…Salvation!

13659039_1181668861888753_5467398691388450831_nSunday, July 31 at 4 PM – 6 PM in EDT
The Parkside Lounge
317 E Houston St, New York, New York 10002
Organized by Matt Pasca and Russ Green


MATT PASCA is a teacher, editor and two-time Pushcart nominee whose poetry has appeared in dozens of journals and anthologies as well as two book length collections, A THOUSAND DOORS (2011) and RAVEN WIRE (2016). A 2003 New York State Teacher of Excellence, Matt teaches Poetry, Mythology and Literature and curates a poetry series–Second Saturdays @Cyrus–with his wife, author Terri Muuss. Pasca also advises an award-winning scholastic literary-art magazine, THE WRITERS’ BLOCK, and is a copyeditor and reviewer for the Long Island Authors Group. Matt has performed his work in New Mexico, Montana, Minnesota, Virginia, New Jersey, all around New York and has keynoted or taught workshops at colleges, conferences and continuing Ed. programs. http://www.mattpasca.com @Matt_Pasca

New York Times proclaims FRANKIE A. SOTO is a “FORCE”. A national touring & Spoken Word Poet & Author of a Weed in a Garden of Extraordinary Flowers & Forever is not enough. He was recently nominated for 2016 National Poetry Awards. Nominated & Premiered for Atlanta Hip Hop Film Festival for his HIV poem in 2013. He is published worldwide for various newspapers, magazines and articles & one of the ambassadors for fighting cancer with poetry in Washington DC

– photo © Matt Pesca



Triad Poetry Meetup, Greensboro, North Carolina

Organizer Alfred Harrell (“Like” his page)

If you enjoy having knowledge local key local poetry programs and want to support our community programming, please join us and help the continuous transformation of this group in great community of poets and poetry lovers!

What are some perks of members of this group enjoy?

• Free membership!

• Freedom to create and post community events without being a group leader as long as admission to those events are discounted or free for group members

• Poetry writing, poetry oral delivery and critique workshops

• Open mic reading and poetry slam events opportunities in a non coffee-house environment

Details HERE and HERE

– illustration © Alfred Harrell


THE SUNDAY POESY: Opportunities, Events and Other Information and News



Opportunity Knocks

GLASS: A JOURNAL OF POETRY, poetry that enacts the artistic and creative purity of glass, was Founded in Toledo, Ohio, the Glass City, by Holly Burnside and Anthony Frame, Glass: A Journal of Poetry (ISSN 1941-4137) was published online twice a year (June and December) from 2008 until 2014 by Glass Poetry Press. Beginning in 2016, it became a weekly online publication. Currently the editors have a call out for submissions for a special feature in response to the June 12 shooting at the Pluse Nightclub in Orland, Florida. Details HERE. Submissions close on July 15.

RALEIGH REVIEW LITERARY & ARTS MAGAZINE  “is a national non-profit magazine of poetry, fiction, and art. We believe that great literature inspires empathy by allowing us to see the world through the eyes of our neighbors, whether across the street or across the globe. Our mission is to foster the creation and availability of accessible yet provocative contemporary literature.[The editors] are looking for poetry, flash fiction, and short fiction that is emotionally and intellectually complex. We read every piece for its intrinsic value, so new/emerging voices are often published along nationally recognized, award-winning authors. Details HERE.

INDIANOLA REVIEW has a reading period from April 15 – December 15. It accepts fiction, nonfiction and  poetry: 3 – 5 pieces in one Word Document. We want our poetry to matter. We want to invest ourselves in the voice of the narrator. We welcome all forms, but generally speaking: if you make it a point to impress us with your format alone without investing yourself in the content, we’ll know. Of course, if you can break these rules and break them elegantly, we want your work.” Details HERE.

CREATIVE NONFICTION, True Stories, Well Told says: “Unlike many magazines, Creative Nonfiction draws heavily from unsolicited submissions. Our editors believe that providing a platform for emerging writers and helping them find readers is an essential role of literary magazines, and it’s been our privilege to work with many fine writers early in their careers. A typical issue of CNF contains at least one essay by a previously unpublished writer.” Details HERE.

BRAIN MILL PRESS “is a small, innovative publisher actively dedicated to producing a catalog of human experiences of love — all kinds of love — with a story-first approach in multiple genres. We have open submission calls a few times a year, and we host the Driftless Unsolicited novella contest in the late spring. At other times, submission is via invitation only. We are particularly interested in submissions from people of color, LGBTQIA+ writers, and women.” DETAILS HERE

Brian Mill Press was founded  “in 2014 by two bestselling authors with over twenty years’ experience in the publishing industry, Brain Mill Press is a midsize independent publisher of “love books for humans.” Our goal is to build a catalog of radically authentic stories and poetry about all facets of the human experience with love, understood as broadly as possible.”

BLUE LYRA REVIEW, A Literary Journal of Diverse Voices publishes “poetry (short, longish, free, narrative, lyric or prose), creative nonfiction, translations, art, fiction, and book reviews. Second, what we are looking for is simple: something that burns us, moves us, and makes us want to reread it. However, we are not looking for horror or erotica or western or something that will be offensive (use your judgment!). Every editor says it but this should be your goal: leave us desiring more. Send us your very best!” Details HERE. Pay attention to their reading periods and submission deadlines. Details HERE.

HEEB MAGAZINE has a sense of humor and is a Jewish magazine born in Brooklyn, NY with straight forward, no fuss guidelines. It’s editors welcome “your submissions, but we can’t promise to love everything. For best results: Keep it short and sweet. Aim for 500. The MAX is 1000 words! Your submissions should fit into one of these categories: News, Culture, Israel, Food, Urban Kvetch, Shtick Write for the universal reader. Heeb is to Jews, as ketchup is to hot dogs. We’re not interested in feeding hot dog(ma) to anyone. Don’t upload photos you don’t have the rights to. If you’re using a Creative Commons image, make sure to provide us with the photographer’s name and the original source. Thanks!”  View and Submit HERE.

AMERICA MAGAZINE, The National Catholic Review accepts submissions including poetryDetails HERE.

THE BeZINE, a publication of The Bardo Group Bequines is currently reviewing submissions – including poetry –  for its July issue.  The theme is “Faith: In things seen and unseen.”  Submission guidelines are HERE.


CLMP, Community of Literary Magazines and Presses announces its “Chinese Food Under the Manhattan Bridge: a fall gala” scheduled for November 2nd.  Details and tickets HERE.



FIRST SATURDAY POETRY IN BAY SHORE, LI, NY hosted by Matt Pasca and Terri Muuss – food, fun — OPEN MIC — bring your instruments and your poems. Saturday, July 9 at 7 PM – 10 PM Locations: Cyrus Chai & Coffee Company, 1 Railroad Plz, Bay Shore, New York


POETRY MAGAZINES “contains Poetry Library’s free access non-profit-making online archive of English 20th and 21st century poetry magazines which is part of the library’s ongoing digitisation project funded by the Arts Council England. The Poetry Library launched in 2003. It aims to reach new audiences and preserve the magazines for the future. It already holds more than 6,000 poems published in over 50 different magazines, with work by Fleur Adcock, Jen Hadfield, Seamus Heaney, Michael Horovitz, Jackie Kay, Edwin Morgan, Paul Muldoon, Les Murray, Sheenagh Pugh, Owen Sheers, Fiona Sampson, Penelope Shuttle and many more. The website has been selected by the British Library to be archived by its digital heritage web archiving project, the UK Web Archive.”

THE LONG ISLAND WRITERS HOUSE, established in Huntington in 2014, announced its transition to the Karen Rae Levine Foundation, a 501c3 nonprofit. The goal is to foster literacy, creativity and creative writing, and to encourage literary, performing and visual arts. Our concentration will be on the underserved. As an alternative to the a commercial space in Huntington (Long Island, New York), the foundation will connect Long Island’s talented artists with each other and with the community with programs across Long Island and through social media such as a Facebook group, a blog and YouTube productions. If you know of a community in need or if you’re an author or artist with insights to share, email Karen@liwriters.org. Support the arts on Long Island! Membership rates will be announced shortly. Donations can be made on the website or sent by check, payable to Karen Rae Levine Foundation, PO Box 2011, Huntington, NY 11743. Thank you!

Karen writes, “l started the Long Island Writers House on a wing and a prayer. I missed the camaraderie I shared with other writers while going to school in Manhattan for my MFA in Creative Writing. Back home, I recognized that Manhattan was not an easy trek and that was no center on Long Island where writers could learn and network. There were many places for visual and performing artists to congregate, but none for those who created their art with words. I started the Writers House at my home, offering seminars and readings. I combined genres by including performing and visual artists and explored learning methods like Yoga and writing. There were no celebrities and no red pens. My philosophy was and is that we are all in this together. When I saw interest grow, I moved it to a commercial space in Huntington. So many people walked into the space, excited and grateful. But excitement and gratitude couldn’t pay the rent. Meanwhile, I had applied for nonprofit status. With the 501c3 Karen Rae Levine Foundation, I shifted the idea of a physical meeting space to cyberspace. Writers and other artists could still network online, blog, and share their insights on YouTube productions. An as funds grow, I can reach out across this big Island, connecting experts I’ve come to know and respect to aspiring wordsmiths at any level, in their own community.”


English Poet Myra Schneider at her 80th Birthday celebration and the launch of her 12th collection
English Poet Myra Schneider at her 80th Birthday celebration and the launch of her 12th collection


CONGRATULATIONS TO MYRA SCHNEIDER on the publication of her twelfth collection, Persephone in Finsbury Park (Enitharmon Press, 2015). More news to come and apologies that I could only download the back cover.


Submit your event, book launch and other announcements at least fourteen days in advance to thepoetbyday@gmail.com. Publication is subject to editorial discretion.

LATE BREAKING NEWS: Grabbing the Apple, An Anthology of New York Women Poets by Poet Terri Muuss and Friends


Grabbing the Apple6 (click on link for list of poets)

 “The story of Eve has been, more often than not, interpreted by men. Eve has been presented as impulsive, disobedient and ignorant. But what if Eve were the real hero and mother of us all? Where would we be had she never looked for knowledge, asked the important questions, challenged the powers that be? In this beautiful collection of over 40 New York women poets, the strength, vitality and unique voices of women emerge to answer some of these questions. Energy, savvy, wisdom and power emanate from these poems, both individually and as a collection. The women whose work has been anthologized in this collection are as bold as New York, as brave as Eve. Not content to have their stories told for them, these poets grab the apple with both hands and tell it themselves. Grabbing the Apple is a powerful an amazing resource for any reader or student who wants to explore an in-depth selection of work from some of New York’s finest and strongest women poets.”

Word from Terri Muuss today is that this long awaited anthology  – Grabbing the Apple (JB Stillwater Publishing Company, 2016) – is out and available through Amazon. Congratulations to Terri and to Editor M.J. Tenerelli and all the contributing poets.

Coming soon:  An interview with Terri  Muuss along with a review of her collection Over Exposed (JB Stillwater, 2013). Terri is a poet, writer and performer. Her poetry/prose one-woman show, Anatomy of a Doll, received grants from New York Foundation for the Arts and Poets and Writers and was named “Best Theatre: Critics’ Pick of the Week” by the New York Daily News; it has been performed throughout the US and Canada since 1998.

Terri has two sons and is married to poet Matt Pasca. Matt was interviewed in these pages. His interview along with a review of his stunning Raven’s Wire is HERE.

Review “Raven’s Wire” and Interview, poet Matt Pasca

MattMatt Pasca, an American poet, teacher and speaker, is someone to watch. On February 27, his second poetry collection, Raven Wire (Shanti Arts Publishing) will launch at Bay Shore, Long Island, New York.  For those living in that area, the details are HERE.


Two of Matt’s poems are featured in the January issue of The BeZine. His work is refined, ambitious and precise. It exposes an intimacy with mythology, history, music and literature as well as a keen eye and ear for the complexities and pains of our post-modern times.

Matt demonstrates a sensitivity to the moral responsibilities of the artist and all human beings and an appreciation of social insults and human frailty that is intelligent and compassionate and able to be transformed by beauty. His work is not trite or cheapened by sensationalism or voyeurism. It invites one to read and reread to fully appreciate it.

The name of the book is a reference to the Norse god Odin’s ravens, Huginn and Muninn, thought and memory. The collection is divided into two sections, one for each category.

So … artists, I humbly submit, in addition to craft and toil, [we must] maintain a vigorous and sacred practice of Listening, becoming a receptacle that extends into the universe, hoping to return with something true. It is not Odin‘s ring, spear, or death-defying feats I wish to spotlight here, but his practice, our tether as humans seeking compassion and connection, wonder and wisdom…” Matt Pasca, Raven Wire


JAMIE: What first drew you to poetry at age eleven?

MATT: I was never much of a talker. I spent lots of time alone as a kid—just my hyper-awareness and a constant hailstorm of words banging off the windshield of my consciousness. Before writing, my only relief from the intensity of life’s stimuli was music. Then, yes, at 11, I discovered a word processing program on the Commodore 64 called Easy Script and fell immediately and unimpeachably in love with the process of making external what had been entirely internal. Not to be dramatic but it felt, as I typed, as if I were writing myself into existence—calmly, honestly and courageously, without shame or judgment or raised voices. Absolute freedom. I was hooked. As years passed and my process evolved, I learned how to hover while the external and internal intertwined and became not only transfixed by these conversations but spurred on to render them with potency.

As for the genre itself, I was around poetry often as a boy, but didn’t take much of a liking to it. I avoided it out of a sense of distaste and saturation, seeking out short stories and non-fiction instead. I remember thinking, “If there is James Baldwin in the world, why bother with poetry?” Even in Kenneth McClane’s wonderful verse-writing course at Cornell, I found poetry composition an arduous and frustrating endeavor. At some point in my late 20s, poetry suddenly “clicked” with me. It became all I wanted to write or read.

JAMIE: As you matured, what surprised you about poetry as both writer and reader?

MATT: In some ways, I think poetry finally “clicked” for me as an outgrowth of my passion for cinema. I had always loved the experience of being in a theatre, dreaming while awake—it felt familiar. When I became a trained projectionist at Cornell Cinema, the flames of my passion for film were mightily fanned. I spent countless nights up in that booth, mesmerized. I decided to sign up for a film class and was lucky enough to have the late Don Fredericksen as my professor. One day he taught a lesson on cinema’s early experimental filmmakers who said to hell with filming stage plays, let’s use this new technology to create something ONLY the film camera can do! During this lesson, we watched Leger’s Ballet Mecanique, a brief 15 minute film that capitalized on the basic principle that a huge screen and a zoom lens could create instant and utter defamiliarization. This made so much sense to me, and reminded me of how I had perceived the world even as a child: intensely, fragmentedly, impressionistically, with a different aperture and at a different speed. Poetry, in turn, more than any other genre, seemed perfectly equipped to provide me with Leger-like shortcuts to the creation of/expression of defamiliarized perception. I began to chase this as both as a writer and reader – the isolation of the familiar in a way that reframes and challenges, both artistically and emotionally. And me, with my long, detail-oriented attention span (perfect for both cinema and poetry), I do enjoy the infamously laborious process of sculpting a single page of defamiliarizing verse.

JAMIE: Your interests are quite diverse. They appear to me to influence your language and bring a multi-layered perspective to your poetry. Russian. Africana studies. Gospel music. Sports and travel. How do they move into your poetry?

MATT: I credit my family for fostering in me not only an aversion to rigid thinking but a relentless pursuit of others’ points of view. I was exposed, as a kid, to people from countries all over the world—ate their food, heard their accents, wanted to memorize the contours and colors of their flags. The more foreign a thing was to me, the more interesting it became; the more misunderstood a thing was by my more homogenous Long Island surroundings, the more sense it made to me; the more marginalized, the more attractive. Diversity is the hallmark of my cellular structure and every pursuit I undertake consists of new and dissimilar information. I don’t remember a time when I didn’t want to grab on to what I do not know and absorb it, walk around inside of it and get to know how it feels. A poet-friend of mine, Steven T. Licardi, writes in a poem about life on the autism spectrum, “Even numbers have feelings,” and I so get that. Everything seems to be alive and vibrating. As a word-lover/wordsmith, I find I want to upload every activity or subculture’s “lexical field”, to the point where a single new word or detail can trigger an entire poem. The interests I have stuck with the longest—baseball, social justice, music, travel—are also a kind of spiritual chiropractic; they align my rhythms and spaces and prepare me for poetry’s entry and excavation.

JAMIE: I think a lot of my readers will be interested to know how you carve out time for creativity with job, marriage, children, social commitments and so forth. What can you share with them that will assist them in their own work?

MATT: My wife (author Terri Muuss) and I get this question a lot and I have a few answers that may be of some use. First and foremost, my marriage is the engine that drives everything else, just as in a plane, car, ship or train. If you take care of your engine, make sure it fires on all cylinders, there is no telling what you can accomplish. (Astrologically inclined friends would say it’s because she is a Capricorn and I am a Taurus and, despite being wildly creative, neither one of us likes to be un-grounded or unorganized. Guilty as charged.) ☺ So back to the question—since, for both of us, parenting and job and marriage are non-negotiables, where do we find the time to run workshops, perform, curate, edit and write?

The simple answer, and my second point, is that we use what time we have rather than ruing its deficient quantity. We write in stolen moments at work, taking off in a plane, speaking into our phones while stopped at red lights, during faculty meetings. Once you start waiting for “enough time”, or the “right kind of time” to create, you are dead in the water. It simply won’t happen, unless you are willing to sacrifice your relationships or professional standing. Naturally, these stolen moments must be attended by some ongoing and suspended organizational system (i.e., somewhere to store the scraps and composted bits until there is time to assemble them)—that is what Dropbox, IClouds or folders are for. ☺

Thirdly, I feel I would be remiss if I didn’t offer a word about process. If one has only stolen moments here and there that require immediate generation and organization, one must be coherent and focused, with a writing process that precludes writers’ block or any notions of perfectionism. This tends to also preclude drinking and/or drugging, neither of which my wife and I do. There is no judgment in this, just a fact that does influence our ability to get so much done in so little available time. Rather than subscribe to the archetypal “artist mystique” involving inebriation and inordinate drama, we believe more can be accomplished creatively and perceptively when one stands in the honest space of clarity and fullness or brokenness, whichever is ascendant in the moment. It is hard not to get in one’s own way, but it’s awfully important to try. ☺

JAMIE: Our mutual friend, Michael Dickel, said in his interview that the job of a poet is to bare witness. You write in a different frame, so what to you is the poet’s job? What is the poet’s social and artistic responsibility?

MATT: Well I would agree whole-heartedly with Michael and posit, further, that there is no “other frame” than bearing witness in poetry. To the casual observer, there is ostensibly socio-political poetry and its more internal-leaning counterpart, but I don’t find this dichotomy convincing. No. A good poet friend of mine, Veronica Golos, once said in a Q&A, when asked, “Do you set out to write political poetry?” that she believed all poetry is political. I agree with her. The very paradigm of our individual perception at any given time is what creates our sense of reality as well as our response to it. Even bearing witness to how we witness is political.

At the micro level, how we learn to honor complexity and timelessness in an age bent on thumbs up/thumbs down exigencies and disposabilities is, ultimately, political. My hero in so many ways, James Baldwin, said, “One must know what is happening around them in order to know what is happening to them.” No, not everyone finds their way from the specific to the general, from the micro to the macro, but I believe deeply that peace begins with a more robust, nuanced and empathic perception that begins at the molecular level. This is the job of the poet: to listen, notice, pan for truth, scrape for justice and undertake the alchemic sculpting of language and space to illuminate and, hopefully, heal. In my ongoing effort to cure myself of ignorance, I want each of my poems to act as a dissertation highlighting and easing humanity’s tragic miscalculations.

review portion, Jamie Dedes; © interview responses, photograph and cover art, Matt Pasca, All rights reserved