Treasuring Poetry – An introduction to the poetry of Lindsey Martin-Bowen and a review

Posted: March 18, 2026 | Author: robbiesinspiration | Filed under: Book Review, Collection, Interview, Poetry, Review, Treasuring Poetry | Tags: #poetry, #RobbieCheadle, #TreasuringPoetry, Book Review, Interview, Lindsey Martin-Bowen, Treasuring Poetry, Where Water Meets the Rock, Writing to be Read | 21 Comments

A riverbed with stones, water, and grasses. Text: Treasuring Poetry with Robbie Cheadle and KAye Lynne Booth

Today, I am delighted to host talented poet Lindsey Martin-Bowen as my March Treasuring Poetry guest. Lindsey is a fellow contributor to Writing to be Read and you can read her latest post here: https://writingtoberead.com/2026/03/04/lindseys-writing-practice-out-of-this-world-writing-exercise/

Interview with Lindsey Martin-Bowen

My poetry journey: How I became a poet

I must admit as a child, I wrote more stories than poetry. And the poems I wrote then were sentimental and trite. (During grade school (from third or fourth through sixth grade), I compiled annual Christmas books containing “Christmas” stories I wrote—but each year, the manuscript also included a Christmas poem (or one about winter) and a Christmas tale from Readers Digest (which influenced me to compose Christmas books). I also illustrated the books with colored pencils the first year and I gradually moved to water color illustrations (which I sometimes marked with felt-tip pens). My sixth-grade teacher (Mrs. Ferguson) introduced us to Robert Frost and Carl Sandburg, whom I liked, but I liked Emily Dickson the best when I attended elementary school—and I still consider her one of my favorites today. (Unfortunately, at the time, I was too naive to pickup on her style (and skills).

Being the nerd I was in high school, I opted to take a journalism classl. There, for the Christmas issue (of our high-school newspaper), I wrote a humorous Christmas poem from the staff, which I illustrated with an ink sketch of Santa , his gift-filled sleigh (which included B/W head-shot photos of each new-staff member )

and eight reindeer flying through skies above my sketches of Victorian two-stories. (Even then, I preferred old homes to the contemporary ranch styles where most my classmates and I lived.)

Also in high school, I continued writing in my diary, which I used to create short stories (from events in that diary). And I submitted those stories in English classes when a teacher requested them. But my poems were overly sentimental and personal. And basically about teen angst. (For example, one was entitled “Alone.”)

In fact, during my senior year in high school, my English composition teacher enjoyed my short stories and offered encouraging comments. I wouldn’t have shared my poetry, but she’d asked to see it. So I submitted the dreary poems I’d written (mainly centering on unrequited love). She read them and returned them without comment. I mean—absolutely NO comments. No encouragement. So I figured I was no better poet than I’d been a violinist. Sigh.

Thus, my true poetry journey did not take flight until my sophomore year at the University of Missouri-Kansas City, when fellow student Robert (“Bob”) Haynes and I became close friends. Even then, he was an excellent poet—and he boosted me along the journey to poet-hood. He shared not only his poems, but pointed out many contemporary experts who’d been gaining attention in the early 1970s, , such as W.S. Merwin, Galway Kinnell (both born the same year as my father: 1927), Lawrence Ferlinghetti, and Alan Ginsburg, popular in the late 1960s.-and who gave a reading at UMKC. Bob also introduced me to surrealists Kenneth Patchen and Kenneth Koch, who inspired my frenzies, (which I didn’t write until fifty years later.) I discovered James Tate, who I’d include as a “surrealist,”too. Shortly thereafter I enrolled in the university’s poetry writing classes taught by professors Dan Jaffe and David Ray, who introduced me to an array of well-known contemporary poets, including Diane Wakoski (whom Dan Jaffe brought to UMKC to give a reading), James Dickey, Etheridge Knight, Denise Levertov, John Berryman, David Ignatow, Randall Jarrell, William Stafford, Robert Lowell, Thomas Merton, Later, I also started reading Adrienne Rich, Denise Low, and Mary Oliver.

And, I did improve—enough that my senior year, Dan Jaffe asked me to read a few of my poems at a poetry reading on the UMKC campus for the public. He also published two of my poems in an anthology he compiled, one that included many professional poets.

Favorite poem by another poet

O my goodness—I’ve read so many poets and poems, this one is a tough question. Along with the previous set of poets I mentioned, I’ve always admired Emily Dickinson’s style and work, along with William Butler Yeats (especially his “The Second Coming.” And T.S. Eliot: His “Wasteland” is remarkable, but far too long to include here. And the sounds in that poem make it come alive so much that it’s best to listen to a recording of it. Even his “The Love Song of J. Alfred Prufrock” is a bit long to include. Thus, I’ll share Yeates’s “The Second Coming,” which not only inspired one of my poems that I’ll share later, but also remains relevant to our current world situation (a century later).

The Second Coming

Turning and turning in the widening gyre

The falcon cannot hear the falconer;

Things fall apart; the center cannot hold;

Mere anarchy is loosed upon the world,

The blood-dimmed tide is loosed, and everywhere

The ceremony of innocence is drowned;

The best lack all conviction, while the worst

Are full of passionate intensity.

Surely some revelation is at hand;

Surely the Second Coming is at hand.

The second Coming! Hardly are those words out

When a vast image out of Spiritus Mundi*

Troubles my sight: somewhere in sands of the desert

A shape with lion body and the head of a man,

A gaze blank and pitiless as the sun,

Is moving its slow thighs, while all about it

Reel shadows of the indignant desert birds.

The darkness drops again; but now I know

That twenty centuries of stony sleep

Were vexed to nightmare by a rocking cradle,

And what rough beast , its hour come round at last,

Slouches toward Bethlehem to be born?

1920-1921

Favorite style of poetry and why

Although I love my surreal frenzies, I also like other forms of poetry, including sonnets, when they come “naturally.” (The two times I’d written sonnets but didn’t realize it until I re-examined them, tweaked them here and there, and voila! I’d written two sonnets without trying—the best for me). Those two appeared n my second published poetry book (the first full collection) Standing on the Edge of the World (Washburn University/Woodley Press 2008).

I’ve also fallen in love with the Japanese tanka form. (Haiku doesn’t allow enough syllables for my poems. 😉 ) Thus, I created a section of tankas in my last collection, CASHING CHECKS with Jim Morrison (redbat books 2023). More about that later.

Moreover, I generally write in “free verse” with sounds and rhythms and internal rhymes (not at the end of a line), that flow so smoothly, the rhyme doesn’t “hiccup” or stop the reader. Why is this usually my favorite form? As I’ve mentioned in a number of my bios, “poetry is my way of singing.” Thus, in most poems I write, I strive to use sound so they have somewhat the same effect that a song does.

Favourite poem of my own

O so many poems—so little time. I cannot name one favorite poem. But three of them come to mind. First, here’s my response to “The Second Coming,” which I wrote in response to the violence occuring in Ferguson, Missouri:

Re-reading “The Second Coming’ by W.B.Yeats

after Ferguson, Missouri\

No one listens anymore. No one works

in tandem. No horses pull this cart.

Now trembling, it falls apart.

The center hub’s blown, exploded.

Rioting in city squares—rioting along beaches.

Is this anarchy—or something more?

The blood of victims rushes onto shores.

Innocents no more, their lungs fill

till they can’t speak—can’t breathe.

Their passions now sneseles, uneasy—

bringing the strange revelation:

the Second coming lies on the horizon.

It’s the day, it’s the day—

O yes, it’s the holy day—

it’s the Day of the Dead.

A wide-winged beast rises above—

eyes black and gleaming, onyx

glistening through bone.

O Momma, Momma,

come back, come back

again. The world’s too cold.

No lion-bodied beast alouches

toward Bethlehem. It’s a creature

with a jackal’s head, a jackal’s soul.

Where Water Meets the Rock, p. 30 (39 WEST PRESS 2017)

Two other poems I must also count as favorites, because they seemed to write themselves.

The words came to me without me planning them. It was if they suddenly appeared in my brain, and I had to scramble to pen them onto paper before they evaporated.

The first, I wrote during the months that revealed my father was not to stay much longer on this earth. (This was when the frenzies started coming to me. Many of the frenzies are absurd—but comical. This one’s more serious. (And I’ve included it in three of my books: It must be a favorite.)

It’s Never Like the Movies—

for my father

this dying, no background chords

rising to a crescendo,

no adagio of strings.

You watch these ants instead,

trickle across peonies

They disappear. And you

can’t keep your grip

on that granite wall of reason

but slip downstream

into some wild current

till you run aground .

There, you search

for the deserted place, a Holy Land,

where Ekijah met God.

Even if you’re hiking

the Appalachian Trail, up

Standing Indian Mountain,

you watch vultures circle

in and out of clouds festering

into some murky, yellow soup.

And when lightning hits,

Father Davis says Hail Marys—

and there, on the horizon,

you see wovoka whirl

in his dance of ghosts.

Standing on the Edge of the World, p. 85 (Washburn U/Woodley Press, 2008)

Inside Virgil’s Garage, p.52 (Chatterhouse Press, 2013)

The Book of Frenzies, p. 76 (Pierian Springs Press, 2022)

And “From the Emerald City to the Mountain of Quaff” is special to me because it came to me in pieces—often as I was awaking from sleep. At the time, it seemed to be one of the most imaginative poems I’ve written. Perhaps that’s why one of my former poetry professors, David Ray selected it to run in an anthology he assembled (Whirleybird Anthology of Kansas

City Poets, 2012).

From the Emerald City

to the Mountain of Quaff

(or This Must Be Kansas)

Go out and get that long face lost, you say,

Bury me in Jerusalem, I reply.

I want to be one of the first to rise,

like yeast on a rock in the desert,

among iron stones, hills filled with brass,

in a land of olive oil and honey—

wrapped in silver and gold,

where water eats fire

and fire drowns water, and the angel

of the presence outlasts them both.

Or, if poetry must be delirious and weird,

or even a prophetic frenzy,

then bury me in absurdia,

where the lemons bloom.

Inside Virgil’s Garage, p. 7 (Chatter House Press 2008)

Kansas City Voices (October 2007)

Whirlybird Anthology of Kansas City Poets, Whirlybird Press (2012).

The BOOK of FRENZIES, p. 66 (Pierian Springs Press 2022)

About CASHING CHECKS with JIM MORRISON

This book has a strange history. Although it resulted in being a sequel to CROSSING KANSAS with JIM MORRISON (Paladin Contemporaries 2016), it wasn’t exactly planned. I wrote the first collection in about six months. It was odd, too, because it took two years for me to write and revise the book’s initial poem entitled “Crossing Kansas with Jim Morrison, which, of course, became the book title. Yet—once that poem came together, I wrote the rest of the book within six months and entered it into the 2015-2016 QuillsEdge Chapbook Contest, Although it didn’t win, it was a finalist. Concurrently, Thorny Locust literary magazine ran three poems from the collection, and Amethyst Arsenic, another lit mag, took one more.

And the Jim Morrison poems kept coming to me. So I added them and others that fit into the collection, to make a complete book, which Paladin Contemporaries published that summer. On Amazon, the book made it to number 23 or so on the top 100 Poetry Books by Women list—and stayed there most of the following year. (Inside Virgil’s Garage was on that same list concurrently, but it didn’t rise as high Crossing Kansas w/JM did.

About two years later after Where Water Meets the Rock was published, I put together CASHING CHECKS, designed around the themesof actual money becoming obsolete. (Checks, along with credit cards, debit cards, and other contemporary methods of payment don’t include actual money, correct? It money going the way of the manual—or even electric typewriter?) That collection, of course, included other sectons centering around the tanka form and the frenzies. (At present three of my collectons include a section of “frenzies,” and of course, The BOOK of FRENZIES contains solely frenzies, some less zany than others).

In short, after accruing more Jim Morrison poems—I mean, Jim just wouldn’t hush, but kept popping words into my brain—I considered merging the new Jim Morrison poems with the CASHING CHECKS book.

When I submitted both versions to redbat books, both the publisher and her editor preferred the collection containing Jim Morrison. So that’s where we went with it.

What’s next?

What’s next? I’m now working on a manuscript, named for a 10-stanza poem (which can be set in five pages or in in ten, whichever works best) that’s appeared in three publications. I’ve been adding to it and hope to complete a full collection within a few months. The DARK HORSE WAITS in BOULDER, my fourth novel (third on Amazon) is scheduled to be released this spring—so that will precede the poetry book release. At present, I have one more poetry collection I’ve started but don’t see it going anywhere for a year or more. That one may be my last poetry collection, too. (Three more novels and one short story collections are ahead of that poetry collection.) And then, what may be my last novel—now in a VERY ROUGH state-of-being—just may allow the likely last poetry collection to supercede it .But who knows? Rock star archetype Jim Morrison may hop into one or the other manuscript and upset the entire scene.

My review of Where Water Meets the Rock

Picture caption: Cover of When Water Meets the Rock by Lindsey Martin-Bowen

I enjoy reading poetry collections that include a common thread that links all the poems together. The common thread for this collection is loss and recuperation. This theme is relatable to everyone as we all suffer loss in various forms throughout our lives and we are forced to recuperate whether we want to or not.

The collection is divided into three sections: Erosion which explores the slow build up to loss; Frenzies which seeks to unravel the immediate chaos and emotion that follows loss; and On the Shore which delves into the slow path to acceptance and continuation.

The poems are unique and make use of various techniques to either exaggerate or bring out the humorous side of deep emotion and complex thought patterns relating to loss.

A poem that resonated strongly with me in Erosion is titled Psyche in the Suburbs. For me, this poem exposed the conflicting emotions of love, resentment, and self sacrifice that arise when caregiving for aging relatives.

This is the final stanza in this poem:
“Now, lavender scents fill the air,
sending me to the Aegean Sea.
When I step onto the asphalt,
I remember the bottled water.
I must go back. Without it,
the world will know her face
grows old. And she’ll blame me.”

Another poem in this section I especially related to is entitled My Bones are Glass. I have often thought this same thing when dealing with the elderly and aging. The poet includes an apology to Mark Strand, one of my favourite poets, so the style also worked very well for me.

Section 2: Frenzies, includes a lot of humour relating to people’s eccentricities and wants in their final moments. The poems also touch on the need for the observers to fulfil every desire and make the passing easier – perhaps to alleviate the guilt of survival. I enjoyed the poems although humour in poetry is not my personal favourite style. This section lifts the tension in death and loss and will appeal to most readers.

Section 3: On the Shore was very compelling for me. It explored inevitable change and endings coupled with new beginnings of a different sort. I reminded me that we move from one phase to another in our lives without even realising it until we look back and the end and beginning stand out in stark reality. The poem I enjoyed the most in this section was Two Mothers with Kids in Winchell’s. Perhaps because my children are now adults and have both finished school so I can understand and appreciate this poem through the lens of a soon to be empty nester.

This is one stanza in the poem that I strongly related to:
“The Winchell’s mothers nod, talk in buzzing hums,
eye their toddlers, who hop, slide on linoleum.
The kids scratch glass, balance on window ledges.
The pregnant one smooths seersucker. “Guys,” she says,
“They don’t like that here. Come, be quiet, Sit down.”
Like seatbelts, her words rein them in. I frown,
wonder how she renders her voice firm but not loud.”

As a mother who always worked, this stanza fills me with thoughts about what might have been had my own path taken me along a different path. What kind of mother would I have been had I not always been struggling to balance work and home demands. A writer who can introduce such reflections has to be great.

I highly recommend this compelling collection.

Where Water Meets the Rock is available from Amazon US here: https://www.amazon.com/Where-Water-Meets-Lindsey-Martin-Bowen/dp/1946358053

Lindsey Martin-Bowens Amazon Author page is here: https://www.amazon.com/stores/Lindsey-Martin-Bowen/author/B00JA31KW0

About Lindsey Martin-Bowen

Picture caption: Author image of Lindsey Martin-Bowen

Lindsey Martin-Bowen’s CASHING CHECKS with Jim Morrison has just been released this fall (2023) by redbat books (a La Grande, Oregon publisher) as part of its Pacific Northwest Writers series. She serves as a Literary Consultant for Pierian Springs Press, which published The BOOK of FRENZIES in April 2022 (hardback copy in December 2022–BEFORE she became its Literary Consultant). She has taught Criminal Law and Procedure (online) at Blue Mountain Community College, Pendleton, Oregon since January 2019. Until August 2018, she taught writing, literature, and Criminal Law at MCC-Longview and taught literature and writing at the University of Missouri-Kansas City 18 years.

A Pulitzer-Prize nominee, her fourth full-length poetry collection, WHERE WATER MEETS THE ROCK (39 West Press 2017) contains “Vegetable Linguistics,” which received an Honorable Mention in the Non-rhyming Poetry category of Writers Digest’s 85th Annual Writing Competition (2016). Her third collection, CROSSING KANSAS with Jim Morrison, won the “It Looks Like a Million” Award for the 2017 Kansas Authors Club competition. The book is an expansion of her chapbook named a finalist in the 2015-2016 QuillsEdge Press Chapbook Contest. “Bonsai Tree Gone Awry” from INSIDE VIRGIL’S GARAGE (Chatter House Press 2013) was nominated for a Pushcart Prize. This collection was also runner-up in the 2015 Kansas Authors Club Nelson Poetry Book Award. Woodley Press (Washburn University) published her first full-length collection, STANDING ON THE EDGE OF THE WORLD, which McClatchy newspapers named one of the Ten Top Poetry Books of 2008. Paladin Contemporaries released her novels RAPTURE REDUX (2014), HAMBURGER HAVEN (2009) and CICADA GROVE (1992). Her work has appeared in NEW LETTERS, I-70 REVIEW, THORNY LOCUST, FLINT HILLS REVIEW, PORTER GULCH REVIEW, SILVER BIRCH PRESS, COAL CITY REVIEW, PHANTOM DRIFT, TITTYNOPE ZINE, BARE ROOT REVIEW, , AMETHYST ARSENIC, THE SAME, THE ENIGMATIST, ROCKHURST REVIEW, BLACK BEAR REVIEW, LITTLE BALKINS REVIEW, KANSAS CITY VOICES, LIP SERVICE, 21 anthologies, and others.

With Dennis Etzel, Jr., she edited GIMME YOUR LUNCH MONEY: Heartland Poets Speak out against Bullies (Paladin Contemporaries 2016). She holds an MA in English (creative writing emphasis) and a Juris Doctor degree.

Before focusing upon teaching and writing poetry and fiction, she served as a full-time journalist and magazine editor for THE LOUISVILLE TIMES, the Johnson County SUN, MODERN JEWELER Magazine, and THE NATIONAL PARALEGAL REPORTER. She also worked as a legal editor for the Office of Hearings and Appeals (USDI) in Washington, DC.

She has two brilliant children and contends with super Chihuahuas Chia Maria La Rue and Chico the Man, her canine companions. And often, she spars verbally with poet Carl Rhoden.

About Robbie Cheadle

Picture caption: Robbie Cheadle author picture

South African author and illustrator, Robbie Cheadle, has written and illustrated sixteen children’s books, illustrated a further three children’s books, and written and illustrated three poetry books. Her work has also appeared in poetry and short story anthologies.

Robbie also has two novels and a collection of short stories published under the name of Roberta Eaton Cheadle and has horror, paranormal, and fantasy short stories featured in several anthologies under this name.

You can find Robbie Cheadle’s artwork, fondant and cake artwork, and all her books on her website here: https://www.robbiecheadle.co.za/

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This segment of “Treasuring Poetry” is sponsored by WordCrafter Press and the Poetry Treasures series.

Get Your Copy Today!

Poetry Treasures: https://books2read.com/PoetryTreasures

Poetry Treasures 2: Relationships: https://books2read.com/PT2-Relationships

Poetry Treasures 3: Passions: https://books2read.com/u/b5qnBR

Poetry Treasures 4:In Touch With Nature: https://books2read.com/PT4-Nature

Poetry Treasures 5: Small Pleasures: https://books2read.com/PT5-SmallPleasures

LINDSEY’S WRITING PRACTICE: Book Review

Posted: February 4, 2026 | Author: Lindsey Martin-Bowen | Filed under: Anthology, Book Review, Books, Dark fiction, Fiction, Lindsey's Writing Practice, Review, Short Fiction, Stories | Tags: Book Reveiw, Lindsey Martin-Bowen, Lindsey's Writing Practice, Midnight Garden, Writing to be Read | 3 Comments

Woman with giant pencil standing next to stack of giant papers. Bookshelves in the background. Text: Lindsey's Writing Practice with Lindsey Martin-Bowen

Anthology Review: MIDNIGHT GARDEN: Where Dark Tales Grow

Book Cover: Midnight Garden, Where Dark Tales Grow, edited by Kaye Lynne Booth

Purchase Link: https://books2read.com/MidnightGardenAnthology

Readers who relish dark tales will love this collection of numerous stories that often blend humorous word play to add levity to some very dark situations. For example, this second anthology in the Midnight Anthology Series, MIDNIGHT GARDEN, opens with award-winning author Paul Kane’s “Drip Feed.” The story incorporates light-hearted word-play into a grim setting–the polar opposite of the romantic backdrop in Kane’s “The White Lady,” from the 2023 MIDNIGHT ROOST collection.

In fact, this dark tale unsettled my psyche so much, I almost refused to comment upon it until after I read it a second time. Then, I focused upon its metaphoric interpretation,which is quite valid, especially considering our current world situation. And like many stories in this group, this one reveals some strong feminist themes. Thus, I now urge readers to “hang in there” while they peruse this midnight story.
Likewise, Ell Rodman’s “The Drummer,” set four hundred years ago in “Cull County.”
(yes—look up the noun definition for “cull” to glean this story’s underlying interpretation), projects both in-depth—but frightening images. (Note it ends in a fiery place where the Drummer ”wore fitted black robes, bearing a massive wooden hammer and a dark shield.”) Along with incorporating history into this piece, Rodman’s detailed descriptions of the environment keep readers traveling a mysterious path to the tale’s conclusion.
Also suspenseful but not as grim,, DL Mullan’s “Kurst,” is one of my favorites in this collection. Set in Salt Pines, a village in Arizona, “between dreamy pine peaks and unfathomable horrors,” the story opens when Karen Kurst leaves her editing job to checkout the “Kurst inheritance” on the Toronto National Forest’s eastern edge. After she encounters Sheriff “Bear” Barrett, who offers her background about her inheritance and eading materials, this story takes readers on a wild—frightening—but fulfilling “ride.”
Another favorite, Roberta Eaton Cheadle’s “Amahle’s Demon” reveals how little we often understand about our fellow creatures, which can result in heartbreaking ends. One of six elephants comprising a “sanctuary herd” recently moved to “another kraal near the visitors’ centre, ready for the afternoon tour.” Unfortunately, a much smaller creature—and a human’s ignorance led to an ending that evoked my tears.
Denise Aparo’s “Jack Moon and the Vanishing Book” (also a favorite tale) takes readers on a magical adventure of the mind—or perhaps into a different dimension via a “much sought-after Vanishing Book that steals souls.” While enjoying this other worldly piece, readers may decide whether it’s an earthly adventure or a magical one while enjoying the ride.
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As I mentioned in my review of Midnight Roost, I’m mostly a rom-com fan, and Jon Shannon’s “Stitch” could fall into that category. But with a warning: Yes, it’s a romantic story about the characters Andy, a taxidermist and his wife, Julie, a superb seamstress, and the unusual creations they build together, which many of their colleagues consider bizarre. This tale comes with a warning, too: Its ironic humor is quite dark—and leads to a surprise “tongue-in-cheek” ending.
Julie Jones’s “Black Moon” serves as an allegory much like stories from ancient Greece. In fact, it brings to mind C.S. Lewis’s novel, Till We Have Faces, based upon Greek mythological characters.
In contrast, “Antepenultimate,” Molly Ertel ‘s first person narrative, initially evokes chuckles at the narrator’s obsession with the ticking of an antique “KIT-Cat Klock” that began “talking” to her until the narrator became obsessed with an internal urge that leads her down a terrible—and terrifying path.
Similarly, Kaye Lynne Booth’s first -person narrator in “The Puppet Men,” another of my favorites, awakens in a pitch-black room, where she encounters “A thin sliver of light coming in under the door” that clued [her] “memory” to recount she was sleeping in a dark room in her grandmothers house. There, she also hears “high-pitched , twittering, kind of chirpy” voices coming from her grandmother’s felt puppet collection. As an adult, she remains obsessed with those voices she found so threatening that she puts off back surgery to avoid the anesthetic, which she fears will bring the “evil puppets” back into her life.
In a similar vein, Alex Constance’s “The Peddler,” another “dark” tale, serves as an allegory about the downfalls of greed. And Constance’s description of the peddler, “Ichabod” reminded me of Disney’s Ichabod Crane in Washington Irving’s “The Legend of Sleepy Hollow,” especially in Disney’s cartoon version of that tale.

Although Danacka Scrimshaw’s “The Fae Game” at first appears to be a much “lighter: tale than most of those in this collection, the “flip” at its conclusion inspires in the reader feelings that are quite eerie.,

Prolific author Joseph Carrabis penned five stories in this collection, each with merit:

—“Striders,” with a “just desserts” ending, this sci-fi piece gives another nod to feminism
—“Grande Ture,” a short, intense tale that creates a strong statement about AI.
—“The Last Drop,” which illustrates ignorance and bigotry often leads to the opposite of bliss.
—And what I consider Carrabis’s literary masterpiece in this collection,“The Tomb,” a deep tale centering around a blind man who undergoes an operation to retain his sight. Although its plot varies significantly from the Val Kilmer 1999 film, At First Sight. (based upon a true case study by Dr. Oliver Sacks), it shares one of the movie’s sequence of events that creates the stories’ themes about the protagonist: being blind, undergoing an operation that gives him sight, then becoming disoriented when adapting to a visual world—and realizing he had more “sight” in his physical blindness. (Carrabis’s tale contains more “dark” physical drama in its conclusion.)

Aptly scribed with engaging (albeit sometimes weird) characters, all stories in this collection entice readers via their talented, skilled authors. And even if a story is terribly dark, most readers would likely concur it ends with characters reaping well-deserved fates—or “poetic justice,” such as those in Robbie White’s“Fire Sale at the Burdock Family Business” and Zack Ellafy’s “Self-Mutiny,”with its “poetic justice” ending. Indeed, even a narrator reaps his “just dessert in Paul Martz’s “The Blackest Ink.”

And for this well-written collection’s finale, the 2024 Wordcrafter Dark Fiction Contest winner, an engaging but eerie saga,‘The Seagull Man,” by M.J. Mallon unfolds with a detailed description of that bird-like man, who wears grey and white clothes and strolls regularly to the shore with a flock of seagulls circling him along the way. In contrast, “[t]he inhabitants of Cave Birdie knew of the Seagull Man’s reputation, his legend, and avoided contact with him.”

As the tale progresses, the reader learns why his neighbors avoid him—and most likely shares their reaction until the story unfolds in an unanticipated manner—a story that might be defined as a fantastical, especially for this reviewer who’s partial to Rom-Coms, including the eerie ones.

About Lindsey Martin-Bowen

On Halloween 2023, redbat books released Lindsey Martin-Bowen’s 7th poetry collection, CASHING CHECKS with Jim Morrison. Her 4 th collection, Where Water Meets the Rock, was nominated for a Pulitzer; her 3rd, CROSSING KANSAS with Jim Morrison was a finalist in the QuillsEdge Press 2015-2016 Contest. In 2017, it won the Kansas Writers Assn award, “Looks Like a Million.” Writer’s Digest gave her “Vegetable Linguistics” an Honorable Mention in its 85th Annual (2017) Contest. Her Inside Virgil’s Garage (Chatter House Press 2013) was a runner-up in the 2015 Nelson Poetry Book Award. McClatchy Newspapers named her Standing on the Edge of the World (Woodley Press/Washburn University) was one of the Ten Top Poetry Books of 2008. It was nominated for a Pen Award.

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This segment of “Lindsey’s Writing Practice” is sponsored by the Midnight Anthology Series and WordCrafter Press.

Midnight Roost: Weird and Creepy Stories: 20 authors bring your nightmares to life in 23 stories of ghosts, paranormal phenomenon and the horror from the dark crevasses of their minds. Stories of stalkers, both human and supernatural, possession and occult rituals, alien visitations of the strange kind, and ghostly tales that will give you goosebumps. These are the tales that will make you fear the dark. Read them at the Midnight Roost… if you dare. https://www.amazon.com/Midnight-Roost-Kaye-Lynne-Booth-ebook/dp/B0CL6FPLVJ

Midnight Garden: Where Dark Tales Grow: 17 authors bring you 21 magnificent dark tales. Stories of magic, monsters and mayhem. Tales of murder and madness which will make your skin crawl. These are the tales that explore your darkest fears. Read them in the Midnight Garden… if you dare. https://www.amazon.com/Midnight-Garden-Where-Tales-Anthology-ebook/dp/B0DJNDQJD3

Midnight Oil: Stories to Fuel Your Nightmares: 14 authors bring you 16 dark tales that explore your deepest fears. These are the stories which nightmares are made of. Tales of monsters, mayhem, and madness which will make you shiver in the dark. Read them while you burn the Midnight Oil… if you dare. https://books2read.com/Midnight-Oil

LINDSEY’S WRITING PRACTICE

Posted: January 7, 2026 | Author: Lindsey Martin-Bowen | Filed under: Lindsey's Writing Practice, Poetry, Writing, writing exercise | Tags: Imagist Poem, Lindsey Martin-Bowen, Lindsey's Writing Practice, Poetry, Writing to be Read | 24 Comments

Imagery: Here’s one method to capture a reader’s attention—and evoke feelings. In fact an entire poetry movement was formed around this element: The Imagist Movement.

A MERMAID LIVES HERE

She flicks her tail

mornings,

sprays me with

sea foam

when I

so want to sleep one

more hour

before arising

Again flicking

her tail, she leaps in

the bathtub

so smoothly

—Lindsey Martin-Bowen

Penned by William Carlos Williams, the following poem is an example of the Imagist Movement, wherein the poem was “the thing.” In other words, Imagist poets ignored symbolism, rhyme, rhythm, and other poetic elements and focused upon creating an image.

Consider this your opportunity to attempt writing an Imagist poem. Using your own words, copy merely the style—and perhaps the “beat”—of the WCW poem (on the left) to create yours. And remember to enjoy writing this.

THIS IS JUST TO SAY

I have eaten

the plums

that were in

the icebox

and which

you were probably

saving

for breakfast

Forgive me

they were delicious

and so sweet

and so cold

—William Carlos Williams*

*WCW also wrote numerous short stories that included other essential elements in writing, such as dialogue, action, symbolism and so forth. He was also a physician, who wrote between appointments with patients, some of whom he used as sources for characters in his fiction.

One of my college students (a sophomore) wrote the poem (below). I submitted it to the campus literary magazine, Shorelines, which published it:

I have ruined

your lipstick

that was hidden

in your purse

the coral

shade you wore

only

to special events

I’m sorry it

was just so rich

and soft

and so bright

—Melissa Brower

Please feel free to submit your imagist poem to me. Happy New Year, too. May 2026 bring you joy, prosperity, and other blessings.

If you would like to try your hand at this, please submit your efforts in the comments below, or post it on your own blog and link back to this post, then submit the link to the post in the comments below. We’d love to see what you come up with.

About Lindsey Martin-Bowen

___________________________________

_________________________________

This segment of “Lindsey’s Writing Practice” is sponsored by the Midnight Anthology Series and WordCrafter Press.

LINDSEY’S WRITING PRACTICE: Book Review – “Midnight Roost: Weird & Creepy Stories”

Posted: December 3, 2025 | Author: Lindsey Martin-Bowen | Filed under: Anthology, Book Review, Books, Dark fiction, Lindsey's Writing Practice, Paranormal, Review | Tags: Book Review, Linda Griffin, Lindsey Martin-Bowen, Lindsey's Writing Practice, Midnight Roost: Weird & Creepy Stories, Writing to be Read | 1 Comment

Warning: These Stories May Disturb Your Sleep

Review: Midnight Roost (Volume 1 of the Midnight Anthology series)

By Lindsey Martin-Bowen

I confess it: My preferred reading choices have leaned toward the “rom-coms,” both traditional literary and contemporary, i.e., Jane Austen’s Pride and Prejudice, Emma, Sense and Sensibility, and so forth: Emily Brontë’s Wuthering Heights and Charlotte Brontë’s Jane Eyre, James Joyce’s “Ulysses,” and his short stories, especially “Araby.” Likewise, early 20^th century novelist Daphne Du Maurier thrilled me by combining romance and suspense in Rebecca and Fisherman’s Cove. Plus, a more recent plethora of novels, (especially The Accidental Tourist and Pultizer-prize winning Breathing Lessons) by Anne Tyler, and Toni Morrison’s Beloved have enticed me to donate my hours (and cash) many times, as did Joan Didion’s Play It as It Lays.

Further, even if Edgar Allen Poe’s “The Tell-Tale Heart,” Oscar Wilde’s “The Picture of Dorian Gray,” and Franz Kafka’s “Metamorphosis” intrigued me, they didn’t match my love for the romances.

Yet after reading Midnight Roost, comprising 23 not only chilling, but well-wrought tales, I declare Move over, Poe, Wilde, Kafka, Steven King—here’s a fiction collection that matches your scary stories. And as alluring as the Twilight Zone stories may be, they’ve “got nuthin” over the mastery of the fictional elements (detailed sensual descriptions, rhythmic,flowing sentences, and strong tension buildup—interlaced wth imaginative, sometimes bizzare settings and outcomes) than these 23 tales reveal. In short, this masterfully-written collection mesmerized me. And here’s why:

The first two tension-filled stories play with the “haunted house” archetype, even though the reader can’t be sure it’s the house that’s haunted, especially in Zack Ellafy’s “House on the Plains” which opens with a sad story— after her marriage ended, Madison attempts to set up a new household—yes, on the Plains. Not only does her initial move into the house create tension, when her husband follows her to her new home, he adds to the stress by threatning her life.

The setting plays a huge role in the themes and outcome in the second tale, too. Chris Barili opens “Shaken” with a baby crying. Neither of the parents, Misty and George can make their son stop, and when nothing will stop his tears, the couple slowly realizes their child isn’t crying because of colic. And the world beyond the earth may well have caused the babe’s screams.

In contrast to the two opening stories, Joseph Carrabis’s “The Beach” occurs outdoors (on a real beach), which the protagonist “hadn’t seen in forty years,” when “[m]oss and ivy grew over the gate’ s red brick pillars, once clearly visible.” Throughout most of this tale, Carrabis’s detailed imagery engaged me up to the tense ending.

This collection includes two more Carrabis pieces combining strong imagery and symbolism, “Blood Magic,” uses the Genesis “apple” imagery intertwined with witches whose arms are tree limbs and who present humans with apples to resolve their problems. Again, his detailed imagery captures the reader. Set in a “copse of ancient, dark boled trees,” this story builds even more tension than “The Beach” and “Binky.” And Carrabis indeed knows how to twist a tale, enhance its drama by turning it upside-down, especially toward the ending, where it zaps the reader.

Then toward the end of the anthology, Carrabis’s futuristic “Binky” explores genetic markers and abortion advocates with with this frightning tale that entices readers to question today’s sociological values.

D.L. Mullan set “Mangled” in an opposite setting from the previous landscapes. In fact, it opens within what appears to be a hospital inside a space ship. Told in the first person point-of-view by a wounded female soldier, now a patient sharing visions now appearing in her heads “images splashed in my mind’s eye. My twentieth birthday party. Then a picture of my graduation from boot camp. The darkness of a moonless night, where millions of stars shone in their galaxies above filled me with apprehension . . . ” Despite all the trauma, the narrator takes the reader into an unexpected dimension hinting at hope. Insightful multi-levels of meaning exist here.

“The Easterville Glass Ghost” by Christa Planko is indeed a ghost story, and the main character Taryn studies a history of the town’s glassworks, which includes an “other-worldly” event with a likely “friendly spirit” that “she believed wanted to look out for her well-being. A foreman, maybe. Taryn could feel the spirit smile when that thought entered her mind.” Clever writing here made reading this story a delight.

Award-winning and best-selling author of more than 100 books and master at character development, Paul Kane penned a contemporary piece about an old legend, “The White Lady,” set in a blizzard that changes life dramatically for Harry Sharpe, publicist for Binge TV Productions, a man who “always believed you made your own luck.” After Sharpe gave up driving his car, he trudged through snow till he found his way to a nearby inn, entitled The White Lady. There, he encountered hints of his fate from the barman, an expert on “The White Lady” legends worldwide, who explained,

“Like so many variations going back centuries, she is said to have no

visible face.” He shrugged. “I did a bit of research when I knew it was

going to be important. You do, don’t you?”

Harry shrugged himself now; he couldn’t give a flying shit. Ex-

except he found himself saying, “And your version?”

The man smiled. “The original spirit of vengeance, ours is.”

Harry couldn’t help grinning too. “I’ve seen that one as well, only

it was Nicolas Cage riding a motorcycle.”

“Vengeance for the wronged, vengeance against—”

Harry flapped his hand, cutting the man off in mid-flow. “Urban

legends. I don’t blame you for pushing the marketing side of things,

I t’s what I’d do. Play to the tourists, the audience, right? But you can

save the spiel as far as I’m concerned.”

That conversation hooked me—and I quickly read the 23-page story. It’s now one of my favorite “thriller” stories ever.

A new addition to WordCrafter Press authors, Colorado’s Sonia Pipkin displays Disney-like appeal in “Once Upon a Time.” Not only does her tale with that phrase, but it draws readers into “a magical forest, [where] woodland creatures lived in peaceful co-existence, and not one human was the wiser.” Layering this opening with crisp descriptions of a sky “the perfect shade of aazure blue, trees with full leafy crowns,” she enforced the peaceful setting by adding, “not one drop of blood had ever been spolt on the soil in the enchanted land until that day.”

After building tension among the creatures with their response to events that transpire that day,, she recounts the “Goldilocks” tale—but with a twist—from the bears’ point-of-view.

And trust me, this story’s depth and word choices allow readers to see this is no mere “fairy tale” today. Just ask any deer who may roam in your neighborhood, as they do in mine.

Another tale, C.R. Johansson’s “She Shed Galleria,” reveals the author’s talent for developing intriguing, even odd-ball characters that can snare a reader’s heart, even if those characters are quite ornery. Such is Uluna, a portrait artist who owns the She She Galleria, dresses in mink, and likes to paint men performing work that excites them. Auto mechanic Bob describe her when she waltzed into a bar where he nursed a beer:

Having grown up surrounded by hunters, he recognized the expensive mink fur that lined the collar of the woman’s long, thick coat which swallowed her body like a giant bear. Even without the coat, he knew she was rich by the way she shook her head in contempt while she surveyed the room, as if the bar and the people were vermin.

After Bob became one of her subjects, this story twists into one that could easily find a home in The Twilight Zone among such tales with a comparable “oddball” sense of humor. I loved it. (But note, this is one for the “over-21” crowd.)

Another of my favorites, South African author Roberta Eaton Cheadle’s “The Behemoth’s Rage” exhibits flowing, descriptive language emulating sounds of the sea, which it personifies with detailed imagery. For example, the saga opens with,

The sun breached the horizon, spilling brilliant light across both sky and ocean. The water, an expanse of silver satin encrusted with clusters of glittering diamonds, paid homage, gracefully rising and dropping into curtseys.”

The light unveiled the dark grey behemoth, seated on the shore. It illuminated her edges, turning them into a froth of lighter grey lace. Shards of brilliance splashed across her sombre mourning dress. The aging face of the immobile matriarch disappeared into thick, golden edged clouds, leaving a headless hulk.

Especially significant in this tale is the word, “Behemoth,” (also known as Leviathan) alluding to the huge creature in Job 40:15-24, wherein God humbles Job by presenting the behemoth to him. With a parallel theme, Cheadle’s piece retells an old sea legend, but describes the creature as a female and adds a twist at the end—one that isn’t in Job 40.

Patty L. Fletcher’s “Casualties of War” opens with the lines,

DERRICK SAT AMONG the drunken Clear Bloods, allowing

their teasing to wash over him. He hated this role, but what choice

did he have? If he didn’t learn what plans were being set against

the Blended Lives Federation, all which he’d fought for would be

for nothing.

Ah ha! From this intro, I interpreted this story about “war casualties” was set in the Old West during the struggles between the settlers and Native American tribes. I wondered if it would entail time-travel or if it would reflect actual historical events in our nation’s early decades, which it would symbolically connect to the our nation’s contemporary situation.

Then,after a few pages, I realized my misinterpretation: Yes, the story contains aspects that apply to our nation—but dear readers, it was a tale quite opposite from what I anticipated. I won’t spoil the ending—or any possible interpretations: Both are surprises you won’t forget.

In contrast, Keith J. Hoskins’s tale, “Teddy,” centering around Quarterback Brad Jarrett, “is based on a true story,” according to its narrator. And it opens with Jarrett throwing a pigskin to the runner who scored the winning touchdown. When his team members hosted him to their shoulders, Jarrett “relished the splendor of the moment and bathed in the praise,” thinking “Could life get any better.”

Surely Hoskins expanded that story into a different dimension by making Jarrett’s stuffed Teddy bear come alive—but only to the quarterback. The ensuing battle between the two makes this surreal story a delight.

Another story that would serve well as a Twilight Zone episode, Denise Aparro’s “The Pines” leaves the reader in a strange space with female protagonist Orna Douglas, who happens to be both a nurse and a mystery writer. Opening with “The ping of brass.” auditory and visual descriptions, and quick dialogue, this story captures a reader and moves quickly. Bravo!

Likewise, Julie Jones’s “Night of Terror” opens opens with a description and rapid movement that also makes it another excellent Twilight Zone candidate:

THE FIRST SPACESHIP showed up around two o’clock in the afternoon. Doug and

Billy ran in from the sandbox to tell use about it, too worked up to notice Miss Clara

hollering about tracking up the clean floors. Their alarm cinvinced us something was ]

going on, though a UFO seemed far-fetched. We went outside to look at the sky—to

appease the upset boys, if nothing else—and there it was, just like they said.

Dear readers, his story hooked me immediately—and engaged me till its ending.

Another quick-moving tale with lush imagery and humor, Isabel Grey’s “Rabbits Cannot See Pink Fireworks,” written from a rabbit’s point-of-view, hooked me into reading it through the wee hours. The ninth-year rabbit storyteller not only provides a unique perspective, but adds nuances of social comment on a still controversial subject in our current society.

One more possible Twilight-Zone nomination, Robera M. Senese’s“Take Two” focuses upon a daughter-mother relationship. It opens showing the daughter, Sondra, revealing her perfectionism

in her profession:

“SONDRA STOOPED TO PEER through the camera focus. The camera rested

on a tripod set up in front of her usual recording location in the corner of her bedroon.

Yes, perfect. The lighting on the stool in front was just right, making the red leather

look lush. Beside her was her makeup table, styish and shining with black lacquer.

Once, she had noted in oneofher videos that the table was a little too shiny. A lovely

charcoal grey table runner took care of that problem and also stopped the various

makeup bottlesand boxes from sliding on the smooth surface.

After Sondra decides to help her aging mother, Florence “freshen” her looks, the tale

becomes more intriguing with what may be a surprise ending. Likely, many readers may

find that ending justified, too.

“Immediate Intervention” by Mario Acevedo takes on a more somber tome in this futuristic piece that may become closer to reality within a few years. Along with bringing in AI and algorithms, the story creates a frightening reality wherein The System rules human outcomes.

In contrast, Kaye Lynne Booth’s “Melina” leads the reader into the magical world of a mermaid (Melina) and her encounter with humans. Thestory opens with a delightful scene of Melina flipping her tail “playfully at her little siser, Elsbeth, who gives a mental titter and swims off . . .” Being a mermaid, Melina is able to sit with her sister by sending thought waves to her.

This allows Elsbeth (who swam too far away) to contact her sister when she becomes caught in

a fisherman’s net. In her attempt to help thr young mermaid, Melina becomes captured by humans

and begins to morph legs. Great tension here—but no spoilers. Part of this tale’s charm is its intensity.

Michacele Jordan’s “Afterwards” is a psycho-drama about Brad, riddled with nightmares after he’d suffered a car crash, an accident that killed a young woman, who re-appeared in his subsequent constant nightmares. This sent Brad to a psychiatrist, Dr. Rosenberg, whose “traffic light green” eyes haunted him while she attempts o help him regain his mental health. Albeit grounded in “reality,” this

one’s another suspenseful tale.

And speaking of suspense, Robert Kostanczuk’s “A Visitant Comes to the Window” evokes shades of imagery from Franz Kafka’s “The Metamorphosis” wherein the main character, Gregor transforms “into a gigantic insect.” This tale just may be more frightening.

Indeed, the last two stories in this collection definitely raised the hairs on the back of my neck. M.J. Mallon’s “The Cull” reflects some ideas similar to those in Oscar Wilde’s “The Painting of Dorian Gray,” but this tale is far more gastly—and heartbreaking.

And finally, Isabel Grey’s award-winning (WordCrafter’s Short Fiction Award 2023) “Red Door House” sent the proverbial chills down my spine (all the way to my toes). At first, the story brought to mind Toni Morrison’s Pulitzer Prize-winning novel, Beloved, wherein House 124 is haunted by the ghost of the character Sethe’s murdered daughter..

Yet that haunting is mild compared to the Red Door House—a house that narrates this wild tale.

Indeed, those who love thrillers will likely enjoy this one. Yes, the story is indeed well-written, especially the way it builds suspense. But the ending overwhelmed me, perhaps because my 1906 historic house may be haunted, I don’t know. Nevertheless, it was a tad too thrilling for my sensitivities—and kept me up till 4 AM., shivering. Sigh.

About Lindsey Martin-Bowen

__________________________________

This segment of “Lindsey’s Writing Practice” is sponsored by the Midnight Anthology Series & WordCrafter Press.

Midnight Dark Fiction Anthology Series, Books 1-3, from WordCrafter Press: Midnight Roost, Midnight Garden, and Midnight Oil

Midnight Roost: Weird and Creepy Stories: 20 authors bring your nightmares to life in 23 stories of ghosts, paranormal phenomenon and the horror from the dark crevasses of their minds. Stories of stalkers, both human and supernatural, possession and occult rituals, alien visitations of the strange kind, and ghostly tales that will give you goosebumps. These are the tales that will make you fear the dark. Read them at the Midnight Roost… if you dare. https://www.amazon.com/Midnight-Roost-Kaye-Lynne-Booth-ebook/dp/B0CL6FPLVJ

Midnight Garden: Where Dark Tales Grow: 17 authors bring you 21 magnificent dark tales. Stories of magic, monsters and mayhem. Tales of murder and madness which will make your skin crawl. These are the tales that explore your darkest fears. Read them in the Midnight Garden… if you dare. https://www.amazon.com/Midnight-Garden-Where-Tales-Anthology-ebook/dp/B0DJNDQJD3

Midnight Oil: Stories to Fuel Your Nightmares: 14 authors bring you 16 dark tales that explore your deepest fears. These are the stories which nightmares are made of. Tales of monsters, mayhem, and madness which will make you shiver in the dark. Read them while you burn the Midnight Oil… if you dare. https://books2read.com/Midnight-Oil

LINDSEY’S WRITING PRACTICE

Posted: November 5, 2025 | Author: Lindsey Martin-Bowen | Filed under: Character Development, Lindsey's Writing Practice, World Building, Writing, writing exercise | Tags: character, Character Development, Lindsey Martin-Bowen, Lindsey's Writing Practice, World Building, writing exercise, Writing to be Read | 7 Comments

Borrow-a-Character Exercise

For years, authors have borrowed characters from previous authors’ works. For example, Jean Rhys’s novel, Wide Sargasso Sea, details the early life of Mrs. Rochester, wife to Mr. Rochester in Charlotte Bronte’s Jane Eyre.

Likewise, other authors have followed suit: George Macdonald Fraser uses Tom Brown and Flashman from Thomas Hughes’s novel, Tom Brown’s School Days, John Gardner wrote the novel, Grendel, about the beast in Beowulf, and Joseph Heller brought the biblical King David to life in God Knows.

Now, it’s your turn.

The Exercise:

Select an antagonist or a minor character from a story or novel by someone else—select a character who intrigues you. Then, use that character as the protagonist in a scene or a story you write. For instance, what would Allie Fox’s wife say if she were to tell her version of Mosquito Coast or to write about the courtship between her and Allie? What might Rabbit’s illegitimate daughter (from John Updike’s Rabbit novels) say if she told her story?

The Objective:

To enter into the imaginative world of another writer, to understand that specific world and to build another one from it.

And, of course, to have fun with a character by taking him or her somewhere (either physically or mentally) that her original creator hadn’t imagined he or she would go.

About Lindsey Martin-Bowen

______________________________________

__________________________________

This segment of “Lindsey’s Writing Practice” is sponsored by WordCrafter Quality Writing & Author Services.

Whether it’s editing, publishing, or promotion that you need, WordCrafter Quality Writing & Author Services can help at a price you can afford.

Stop by and see what we have to offer today: https://writingtoberead.com/readings-for-writers/wordcrafter-quality-writing-author-services/

Lindsey’s WRITING PRACTICE- Review: “Jigsaw Puzzling: Essays in a Time of Pestilence” by Denise Low

Posted: October 1, 2025 | Author: Lindsey Martin-Bowen | Filed under: Book Review, Books, Lindsey's Writing Practice, Nonfiction, Review | Tags: Book Reveiw, Denise Low, Jigsaw Puzzling, Lindsey Martin-Bowen, Lindsey's Writing Practice, Nonfiction, Problem Solving, Writing to be Read | 4 Comments

By Lindsey Martin-Bowen

“I never underestimate the power of a single puzzle piece. It fits within a whole, like each moment of my unfolding life story.”

—Denise Low

Hey, Dear Readers, this month you’ve earned a break: No writing exercise. Instead, I’m posting an engaging book review by a well-known poet, professor, fiction and prose writer, and former Kansas Poet Laureate, Denise Low. Jigsaw Puzzling: Essays in a Time of Pestilence amazed me—and I had to share the experience with others. Please enjoy it!

Who’da thunk it? Such an accomplished, widely-published poet, fiction and scholarly writer, and esteemed university professor she is—yet she’s writing about and documenting info about jigsaw puzzles?

Yes!

This brilliant scholar, Denise Low, penned an insightful, in-depth, engaging and well-researched book that could suffice as a manual or textbook for the jig-sawing craft. Trapped indoors—sans travel and during the COVID-19 pandemic, she and her husband, visual artist, Thomas Pecore Weso, found fulfillment and experienced marvelous teamwork in assembling jigsaw puzzles, including those that emulate high art. (In fact, Chapter 4 , “The Great Masters in (Jigsaw) Pieces,” Lowe lists some of the painting reproductions transformed into jig-saw puzzles, among them, Vincent Van Gogh’s Sunflowers, Claude Monet’s Waterlilies, and Thomas Gainsborough’s The Blue Boy.)

Like me, Low views paintings as “more intimate than photographs.” She continues to explore this viewpoint by adding, “If [Van Gogh’s] Arles bedroom scene had been a photograph, historical documentation would give the image an aura of authenticity. The painted representation of the bedroom also has some value as documentation— what was a nineteenth century peasant room like, anyway?—and it also records his mode of painterly creation. The artist’s vivid palette and energetic, rough brushstrokes are unique to him. The puzzling apotheosis of Van Gogh, a person transformed into an artist god, overrode my experience of the original painting. (30)

Low also intertwines words from Margaret Drabble, who pointed out the integration of high art into jigsaw puzzles to Springbok Editions’ 1964 publication of Jackson Pollack’s Convergence, renowned as “the most difficult jigsaw puzzle in the world,” by a British Broadcasting Company radio show, hosted by Alan Dein. Drabble is also a jigsaw and Van Gogh admirer, Low points out, and quotes Drabble’s words about the two topics: From jigsaws, you learn about the brushstrokes of Van Gogh, the clouds of Constable, the reflections and shadows of Manet, the stripes of Tissot and Rousseau, the brickwork and tiles of the Dutch masters, the flesh tones of Titian, the undulating fabrics and limbs of Botticelli, the business of Botsch and Breughel. (31) (From Drabble’s The Pattern in the Carpet: A Personal History with Jigsaws. Boston:Houghton Mifflin, p. 250, (2009 ).

Nevertheless, Low does not limit her analysis (and resolutions) of jigsaws to historical (primarily European) paintings. She also analyzes a work by a master Indigenous artist, whose works (in jigsaw puzzles) she admits were “not as easy” to find. Fortunately, her husband, (a member of the Menominee Nation family) found (on the internet) the Lakota leader Red Cloud, (his family’s distant relative), in a jigsaw of the original painting of Red Cloud standing with a calvary officer in front of four teepees, for a reconciliation—rather than for a war.

Both Low and her husband relate strongly to Native American art. In fact, she equates the process of piecing together a “large, table-size picture piece-by-piece “as tantamount to “creating a sand painting” (33), a process wherein Native American tribes and Tibetan Monks create art by mixing various hues with the sand.

Further, Low doesn’t focus solely on painted artwork. She also analyzes engravings and illustrations, such as one of a cabinet of curiosities from Ferrante Imperato’s Deli’Historia Naturale (Naples 1599), poetry shards, mosaics, and various other topics for jigsaw puzzles—and offers histories for these varieties of subjects in jigsaws.

In the final chapters, she wraps up how the jigsawing during that frightening pandemic affected her priorities, psyche, and health. An unexpected result of immersion into Jigsaw Landria has been how colors burn into my retinas and become part of my inner life. In waking dreams, sections from Water Lilies would dance before my eyes, colors of blue-topaz, cotton-candy pink, and fern green. Other puzzles have had the had the same effect, with after images of colors entering inner sight, dreams, and early morning awakening. These colors interacted with what, a spirit body? An etheric double? An aura?

From those questions, Low analyzes the various theories on color and concludes that Color is one of our first considerations when we select a puzzle. . . we want something bright or soothing or compelling. A puzzle made of too many colors is chaotic and upsetting . . . . As COVID-19 lasts far beyond the year 2020, we look for more from Monet’s palette, the muted tones of a seascape as sunlight filters through mist, we are grateful for this respite from the grim chaos beyond our control. (93)

Indeed, Low’s brilliant insight applies to our current Zeitgeist in the U.S., too.

After teaching many years as a tenured writing and literature Professor at Haskell Indian Nations University in Lawrence, Kansas, Low now teaches at Baker University. With more than 30 poetry books published, she continues to work in her free-lance writing career.

About Lindsey Martin-Bowen

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This post sponsored by WordCrafter Quality Writing & Author Services.

Whether it’s editing, publishing, or promotion that you need, WordCrafter Quality Writing & Author Services can help at a price you can afford.

Stop by and see what we have to offer today: https://writingtoberead.com/readings-for-writers/wordcrafter-quality-writing-author-services/

LINDSEY’S WRITING PRACTICE: WACKY WAYS TO WARM UP

Posted: September 3, 2025 | Author: Lindsey Martin-Bowen | Filed under: Fiction, Lindsey's Writing Practice, Writing, Writing Inspiration | Tags: Books, Creative Writing, Lindsey Martin-Bowen, Lindsey's Writing Practice, Poetry, Reading, Writing, writing exercise, Writing to be Read | Leave a comment

Many writers I’ve known either suffer from writer’s block—or, like Ernest Hemingway—have discovered techniques to lift their minds above that block and leap over it into productive writing.. So if you suffer from writer’s block, even for a day, why try some of these

WACKY WAYS TO WARM-UP

OPEN a book—any book. Often, dictionaries work best. Close your eyes, then point to a page. Open your eyes. Start writing by using whatever word you pointed to. (No cheating here—force yourself to use that particular word.

If your finger rested on an article, such as “an,” “the,” or “a,” start with the word following it. I suggest using this focused free-writing just after you awake in the morning—or even after a nap later. It worked wonders for Ernest Hemingway.

SIT AT A COMPUTER or TYPEWRITER or next to YOUR JOURNAL with pen-in-hand. WRITE a poem. IMMEDIATELY. This need not be a prizewinner. You might begin by describing sunlight filtering through Venetian blinds or ominous clouds churning above your concrete patio. Play with the poem’s language for about fifteen minutes, then embark on your writing project.

FLIP through a MAGAZINE until you find a provocative photograph. Imagine you’re one of the persons in the photo. What are you saying? Thinking? Feeling? Why? Who are you talking with? As you were the character in the photo, write about what’s on your mind for fifteen to twenty minutes. Then start on your project.

JAUNT (or drive, if you must) to an enclosed shopping center (or perhaps an outdoor mall, if weather permits). Find an “outdoor” cafe that serves whatever beverage you prefer. Open your journal and describe your environs. Then watch the people around you. Describe their physiques, clothing, and movements. Capture their voices and words (or dialogue). Then begin your own project. I used this method to write a few chapters of my novella during graduate school. The indoor mall near my home contained a Winstead’s, which inspired me.

AND, of course, DREAM. Jot down your dreams in your journal (which I suggest keeping on a table adjacent to your bed). Respond to those dreams when you first awake. Then begin your project. I’ve also found this technique invaluable when words come to me, too. Many times I lose particular phrases if I don’t jot them down immediately—then worry about revising them later.

GOOD LUCK. If any of these techniques inspire you to plunge into your writing, please let me know. And I’d love to learn the details about which ones helped and what your writing project was.

About Lindsey Martin-Bowen

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LINDSEY’S WRITING PRACTICE: Mapping a Character’s Mind

Posted: July 2, 2025 | Author: Lindsey Martin-Bowen | Filed under: Character Development, Fiction, Lindsey's Writing Practice, Writing | Tags: Character Development, Creative Writing, Fiction, Lindsey Martin-Bowen, Lindsey's Writing Practice, Writing, Writing Tips, Writing to be Read | 1 Comment

Lindsey's Writing Practice banner: A woman with a large pencil, standing next to a stack of large papers in front of a bookcase
Text: Lindsey's Writing Practice with Lindsey Martin-Bowen

Most fiction writers realize Character & Conflict remain essential elements in writing fiction. And those concepts can work to make a poem more engaging, too. Thus, this month’s practice offers hints for creating characters—and conflict, which remain essential in moving fiction along.

First,create a mind map for at least the main characters in your novel, short story, or poem. How?

Using the point-of-view for each character, fill in the “answers” to these questions:

1. I hate . . .

2. I love . . .

3. I need . . .

4. I fear . . .

5. I am drawn to . . .

6, I get shivers from . . .

Once you’ve set up this “map,” for you main character(s), think about each character’s flaws. For example, what might urge a character to make a choice opposite from what he or she would normally do? (Remember, each character is a hero or heroine in his or her own mind.)

Consider, too, how seasons and landscapes may serve as characters that motivate the human characters. Remember: TENSION (or CONFLICT) is ESSENTIAL to move fiction along. Thus, a character must WANT something at a story’s onset—and some person, place, or situation, must block him or her from getting it. Thus, the character must try a different ploy.

Dialogue, too, can create conflict as strong as action can. (In fact, many successful stories create as much—or even more—conflict with words as with action.

Again, much of this can work in poems, especially when the poet uses an archetype for either the persona—or a character the persona loves, hates, fears, is drawn to, or all of the preceding situations.

Have fun with this—and see if it helps move a story, chapter, or poem along. Remember: writing must HOOK the reader with a character in conflict with others, a situation, or him or herself.

About Lindsey Martin-Bowen

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This segment of “Lindsey’s Writing Practice” is sponsored by WordCrafter Quality Writing & Author Services.

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Lindsey’s Writing Practice: FOCUS on the IMAGE

Posted: May 7, 2025 | Author: Lindsey Martin-Bowen | Filed under: Lindsey's Writing Practice, Writing | Tags: description, Image, Lindsey Martin-Bowen, Lindsey's Writing Practice, Writing to be Read | 4 Comments

FOCUS on the IMAGE

As many of you may have gleaned from last month’s exercise, the IMAGE remains essential to create captivating writing in poetry, fiction, and creative non-fiction works.

Then, you made descriptions more “concrete” by focusing on details. In a similar vein, an image must contain details using some or most of the five senses: sight, sound, smell, touch, and taste to make that image “hook” the reader.

Thus, for this month’s workshop, pull out a pen and one of your journals (or sheets of paper), and either close your eyes or look out a window (or depending upon the weather, venture outside). Closely study some IMAGE—something that “calls” you

Your image may suggest a location, for example, a Colorado, Oregon, New York, or Missouri scene without naming it: With a jutting cliff, a rosebud blossom, dogwood, or aspen bloom, a red leaf, a crow on a bare branch or a group of them on telephone lines, a hummingbird poking its long beak into a tulip bloom, or an eagle soaring above.

And AVOID abstractions: For this exercise, write “No ideas but in [concrete] things” (William Carlos Williams). Speaking of whom, here’s one of his well-known poems for inspiration:

THIS IS JUST TO SAY

I have eaten

the plums

that were in

the icebox

and which

your were probably

saving

for breakfast

Forgive me

they were delicious

so sweet

About Lindsey Martin-Bowen

On Halloween 2023, redbat books released Lindsey Martin-Bowen’s 7th poetry collection, CASHING CHECKS with Jim Morrison. Her 4^th collection, Where Water Meets the Rock, was nominated for a Pulitzer; her 3rd, CROSSING KANSAS with Jim Morrison was a finalist in the QuillsEdge Press 2015-2016 Contest. In 2017, it won the Kansas Writers Assn award, “Looks Like a Million.” Writer’s Digest gave her “Vegetable Linguistics” an Honorable Mention in its 85th Annual (2017) Contest. Her Inside Virgil’s Garage (Chatter House Press 2013) was a runner-up in the 2015 Nelson Poetry Book Award. McClatchy Newspapers named her Standing on the Edge of the World (Woodley Press/Washburn University) one of the Ten Top Poetry Books of 2008. It was nominated for a Pen Award.

Her poems have run in numerous lit mags, including New Letters, I-70 Review, Thorny Locust, Coal City Review, Silver Birch Press, Flint Hills Review, The Same, Phantom Drift, Porter Gulch Review, Rockhurst Review, 21 anthologies. She taught lit & writing at UMKC & MCC 25 years, and taught law for Blue Mountain College in Pendleton, Oregon. She holds an MA from the U of Mo. and a JD degree from the UMKC Law School. Previously, she was reporter for The Louisville Times and The SUN Newspapers, an associate editor for Modern Jeweler Magazine and the editor for The National Paralegal Reporter.

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Historical Women’s Fiction

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Marta: Coming in 2025

Rave Review for “The Rock Star & The Outlaw”

Posted: February 26, 2025 | Author: kayelynnebooth | Filed under: Book Release, Books, Review, romance, Science Fiction, Time travel, WordCrafter Press | Tags: Book Review, Kaye Lynne Booth, Lindsey Martin-Bowen, The Rock Star & the Outlaw | 1 Comment

Three cheers for The Rock Star & The Outlaw! Check it out.

Purchase Link: https://books2read.com/RockStarOutlaw

Review by Lindsey Martin-Bowen

BOOK REVIEW: The Rock Star & The Outlaw by Kaye Lynne Booth

At first glance, the title The Rock Star & The Outlaw intrigued me. Archetypes spur my interest, and here were two of them. Add to those archetypes, other genres: romance, adventure-thriller, time-travel adventure, and an author hooks me—a tough audience (veteran college/university literature and writing instructor/professional writer and editor).

Within this novel, author Kaye Lynne Booth created an offbeat love story that never lapses into sentimentality or becomes “precious.” Instead, it hooks the reader with precise external descriptions and character’s thoughts, actions, and crisp dialogue—beginning with the initial interplay between the two main characters, “Amaryllis,” a 2025 rock star who encounters “LeRoy,” a cowboy outlaw tossed into the twentieth century from 1887 after he watches a horse for a time-traveler Nick, who lands his time machine into the Old West. (Fortunately for LeRoy, Nick had set the controls to return a user to 2025.) After landing there, shortly afterwards, Cowboy LeRoy met Amaryllis performing at a club—while she attempted to avoid a group of thugs seeking “vengeance most foul” for the death of their leader, Amaryllis’s former paramour, Claude, whom the rock star killed in self-defense.

Although unbeknownst of LeRoy’s arrival and background, Amaryllis was ready for him. Using apt external and internal descriptions of Amaryllis, Booth prepares the reader for her initial encounter with LeRoy.

“She’d donned one of her sexiest dresses—the short black sequinned one with the

low-cut back and oval slits that ran up each side, covering the blue and purple areas on her torso

with foundation, so they wouldn’t be noticeable. This dress never failed to turn heads, and tonight,

that was just what she was after . . . There was no question she’d be sharing her bed tonight.”

After she surveyed the room again, she spotted LeRoy, “the guy she’d locked eyes with up on stage standing at the end of the bar, tall and lanky in his denims. His leather vest was cut to display his muscular biceps through the chambray fabric of his shirt. This guy looked like he just walked out of the pages of a western novel. He wore a red bandana around his neck, a black felt cowboy hat . . .dusty cowboy boots . . . and … ooooh … a gunbelt on his hip, complete with six-shooter. A real live cowboy, right here in the middle of Las Vegas. My, my.”

Obviously, Amaryllis didn’t realize how apt her perception was of a “real live cowboy,” because he perplexes her when he lights her cigarette with a stick match. “I guess you’re just an old-fashioned kind of guy,” she said . . . “I like that.”

Yet LeRoy’s reply, “I guess you might say that . . . Some of this new-fangled stuff is kind of overwhelming to me,” perplexed her. She wondered if he was “genuinely naīve or if he was putting on a convincing act.” Nevertheless, she found him “refreshing and different,” perhaps “even a challenge to get into bed.”

After awhile, when the two of them escaped from the backstage entrance to avoid Claude’s gang-mates, she became frustrated with what she considered LeRoy’s personna, especially after he looked “puzzled” when she asked him to point out his car.

“Look, drop the country bumpkin act,” she retorted and was shocked to discover he’d arrived at the club on his horse.

Meanwhile, when she maneuvered her Corvette like an Indiana-500 driver, applying techniques she’d learned from a former boyfriend, who was a professional race-car driver, LeRoy was impressed.

And thus, the romance took off. Together they loved the speed, the adventure of escaping the gang pursuing her. This ensues for awhile, albeit mainly by horseback. And they fortunately are still riding horses when they hit the setting on the time machine to send them to 1887.

So do they settle in 1887, away from Claude’s gang? Or do they gallop into more misadventures there? Well, dear Readers, I urge to read the novel to discover what happens.

Nevertheless, I offer one hint: At the story’s end, I screamed, “Sequel! Kaye Lynne must write a sequel.”

And guess what? Today, I discovered she did, and it will be available in May. Check out both this incredible novel and its sequel on Facebook’s Global Writers and Poets, artists or on Kaye Lynne Booth’s Writing to be Read at https://www.facebook.com/groups/writingtoberead/

I’ll bet fifty cents you’ll be glad you did.

—Lindsey Martin-Bowen, author

Poetry collections include Where Water Meets the Rock,

CROSSING KANSAS with Jim Morrison,

CASHING CHECKS with Jim Morrison;

Fiction: Cicada Grove, Hamburger Haven, and

Rapture Redux