The dawn stops dead in its ascent
Spewing flames and sparks below it.
(For the record, for we all know it).
Mooncalf. A mother giving rebuke.
Iridescent blackbirds on roof-ridges.
(These roofs are on our own heads.)
She doesn’t understand this tongue
But receives it in her mouth for life.
(In slo mo, for the sake of illusions.)
A poet, visual poet, and essayist working in Washington, DC and New York, John Vieira‘s full-length collections of poetry include 60 Tomatoes (Bookgirl, 2011), Long Shot (Score Publications, 2005) and Rainfall Data at Ocala (Artemis, 1993). He has given readings of his poems at many different venues—for instance, at festivals on both the east and west coasts including the annual “Lowell Celebrates Kerouac” festivals in Lowell, Massachusetts, at festivals in the South Pacific, at a “Poets Against the War” Washington, DC Reading for Peace & Justice, in bars in Boston, Cambridge (MA), and Washington, DC, at Adams House at Harvard University, at The Writer’s Center in DC, and at The Poetry Project at St. Mark’s Church in NYC. A lengthy essay, “Ecstatic Writing: An Appeal for the Reclamation of Poetry,” appeared in the magazines The Bitter Oleander (USA) and Bongos of the Lord (Japan) and was nominated for a Pushcart Prize. His visual poems have been exhibited at museums and galleries internationally, including Artpool Art Research Center, Budapest, have appeared in print, including in the anthology, The Art of Typewriting (Thames & Hudson, 2015), and can be found in many special collections, including The Sackner Archive of Visual and Concrete Poetry (Miami). He has also published visual poetry chapbooks, including A Songbird in Igor’s Yard (tel-let, 1995), and is listed in Contemporary Authors (Farmington Hills, MI: Thomson Gale, 2007), and in A Dictionary of the Avant-Gardes, 2nd ed. (New York, Schirmer Books, 2000).
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