#Andrew milward

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[bookofsarcasm]

The Jupiter Literary Prizes

University of Massachusetts Press

The Juniper Literary Prizes showcase distinctive and fresh voices and share their work with a wide array of readers. Every year, faculty-judges from the distinguished University of Massachusetts MFA program select two winners in poetry, two in fiction, and one in creative nonfiction, and the awardees each receive an honorarium of $1,000 and a publication contract with the University of Massachusetts Press.

For poetry, the judges award one prize for a first book of poems, and they select a second winner for an author who has been published previously. For fiction, the judges choose a novel and a collection of short stories. One prize is awarded for a work of creative nonfiction, including (but not limited to) essays, biography, or memoir.

The Juniper Prize takes its name from Fort Juniper, the house that the poet Robert Francis (1901-1987) built by hand in the woods of western Massachusetts. To honor Francis’s poetry and creative life in the Valley, the Press and the MFA program launched the Juniper Prize for Poetry in 1975. They added the Juniper Prize for Fiction in 2004 and the Juniper Prize for Creative Nonfiction in 2018.

Previous winners include: the poets Lucille Clifton, Lynda Hull, Richard Jackson, and Arthur Vogelsang, and the fiction writers Rod Val Moore, Andrew Malan Milward, Dwight Yates, and Lynn Lurie.

[banjosbourbonbarrelsandbluegrass]

New collection guides on ExploreUK!

What does feminism, horse racing, veterans affairs, folk art, and the Lexington Philharmonic Orchestra have in common? Well, they are all topics documented in the newest batch of collection guides that have been added to ExploreUK. Check out the full list below.

 P.S. We’ll be announcing newly digitized content next week.

New Collection Guides

Human/Economic Appalachian Development Corporation (HEAD) records, 2014ms0102

The Human/Economic Development Corporation (HEAD) records (1954-1985, undated; 64.3 cubic feet; 54 boxes and 3 flat boxes) comprises administrative, financial, project plans and reports documenting the activities of HEAD and its efforts to assist community economic development in the Appalachian region.

Leslie Clark films, 2015av014

The Leslie Clark films (dated 1946-1949; 0.2 cubic feet; 3 reels, 1 digital file) consists of three rolls of 8mm color and black and white silent moving image film, documenting life on the University of Kentucky campus and in the city of Lexington, Kentucky.

National Society for Arts and Letters records, 2015ms046

The National Society of Arts and Letters records (dated 1949-2011, undated; 4.35 cubic feet; 4 record cartons, 1 document box) comprise conference and competition programs for the annual NSAL meeting, award fund financial reports, administrative manuals for regional chapters, and national membership directories and newsletters that document the Society's mission to support students of the performing, literary, and visual arts.

John A. Joyce papers, 2015ms092

The John Alexander Joyce papers (dated 1900, undated; 0.23 cubic feet; 1 box) comprise a collection of poetry, a handwritten poem, a sketch book, and two photographs that document John Alexander Joyce, Civil War poetry, and the Civil War in Kentucky.

Collins family papers, 2016ms026

The Collins family papers (1781-1968, 1.68 cubic feet, 5 boxes) primarily include Lewis Collins' financial documents and correspondence. The collection also includes documents such as leases, wills, ledger sheets, genealogy notes, newspaper clippings, and obituaries of other Collins family members.

James W. Holsinger papers, 2017ms029

The James W. Holsinger, Jr. papers (dated 1928-1994, undated; 15 cubic feet; 15 boxes) primarily comprises reports, transcripts of congressional hearings, program updates, organizational resources, and office publications that document the operations of the US Department of Veterans Affairs from 1978-1994.

Headley, Garr, Bassett, Lee papers, 2017ms044

The Headley, Garr, Bassett, Lee papers (1810-2004, undated; 2.01 cubic feet; 18 boxes, 3 items) consists of diaries, correspondence, ephemera, and photographs that document members of the Headley, Garr, Bassett, Lee, and Pettit families of Lexington and Central Kentucky.

John Bell Jones papers, 2017ua010

The John Bell Jones papers (dated 1880s-2017, bulk 1924-1946; 1.27 cubic feet; 4 boxes and 1 flat box) primarily comprise J.B. Jones' school work in; agriculture at the University of Kentucky, 1935-1939, Future Farmers of American-related items during the time he taught in high school, and biographical/genealogical information about Jones and his family.

The Kentucky Fair and Horse Show Programs Collection, 64m114 The Kentucky Fair and Horse Show Programs Collection, 64114 (dated 1899-1968; 1.13 cubic feet; 3 boxes) contain programs from fairs and horse shows throughout the state of Kentucky. The William H. P. Robertson manuscript, 65m21

The William H. P. Robertson manuscript (dated 1964; 0.8 cubic feet; 2 boxes) consists of an edited, unbound typescript draft of The History of Thoroughbred Racing in America.

The Boone County historical records, 65m187

The Boone County historical records (dated 1766-1963; 0.45 cubic feet; 1 box) primarily contains booklets and typescripts concerning the early history and early residents of Boone County, Kentucky. The Shackelford Genealogy Collection, 65m199

The Shackelford Genealogy Collection (dated 1945-1957; 0.23 cubic feet; 1 box) primarily consists of copies of the Shackelford Clan Magazine. The magazine is an extensive tracing of the family from 1658 until 1957.

The Barkley Statue Advisory Committee records, 66m15

The Barkley Statue Advisory Committee records (dated 1960-1965, undated; 0.63 cubic feet; 2 boxes) contain correspondence, programs, audiotapes, photographs, and a marble sample documenting the commission of a statue to memorialize former Vice President Alben William Barkley, a native of Kentucky.

The Joe Downing exhibition records, 69m26

The Joe Downing exhibition records (dated 1957-1964, undated; 0.45 cubic feet; 1 box) contains correspondence, photographs, pamphlets, invitations, and a broadside relating to a showing of Downing's artwork at Kentucky State College in 1964.

Burton Milward Lexington Leader editorial scrapbooks, 69m34

Burton Milward Lexington Leader editorial scrapbooks (dated 1946-1966; 2.1 cubic feet; 6 boxes) consists of scrapbooks containing newspaper editorials written by Burton Milward from 1946 until 1966.

The Kentucky women's and feminist collection, 94m4

The Kentucky women's and feminist collection (dated 1970-1988, undated; 0.9 cubic feet; 2 document boxes) primarily comprises fliers, clippings, newsletters, and reports that document women's issues and feminist organizations in Kentucky in the 1970s and 1980s.

The Lexington lesbian and gay community collection, 95m2

The Lexington lesbian and gay community collection (dated 1988-1997, undated; 1.01 cubic feet; 1 document box, 2 poster boxes) primarily comprises gay rights advocacy brochures, fliers, and posters by student and community organizations that reflect aspects of lesbian and gay life in Lexington, Kentucky during the late 1980s and the 1990s.

The Charles William Headley diaries, 1997ms294

The Charles William Headley diaries (dated 1861-1918; 2 cubic feet; 2 boxes) primarily consist of 17 diaries, which document the life of horse breeder Charles William Headley and the operation of his farm, Allandale, near Harrodsburg, Kentucky.

The Dr. Andrew Todd family papers, 1997ms470

The Dr. Andrew Todd family papers (dated 1789-1862; 0.23 cubic feet; 1 box, 1 folder) consists of the correspondence, legal documents, and receipts of the family centered on Paris, Kentucky. The papers document family land disputes in Kentucky as well as other states, medicine in the late eighteenth century, religion, shipping and shipwrecks, and slaves and slavery in Kentucky.

The Aaron Burr letter to Rev. John Gano, 2006ms047

The Aaron Burr letter to Rev. John Gano (dated 1793-1802, undated; 0.1 cubic feet; 1 folder) consists of a one page letter from Burr to Gano, a small lithographic portrait of Burr in 1802 when he was Vice President of the United States, and a typescript of the letter.

The Michael Bernard Gratz horse and cattle pedigree book, 2007ms088

The Michael Bernard Gratz horse and cattle pedigree book (dated 1838-1937; 0.1 cubic feet; 1 folder) contains entries of horses and cattle owned or bred by Michael Bernard Gratz at Canewood, his farm near Spring Station in Woodford County, Kentucky.

The Henry Clay plant mining ledger, 2009ms178

The Henry Clay plant mining ledger (dated 1946-1947; 0.88 cubic feet; 1 item) consists of one 792-page ledger documenting the operation of the Henry Clay coal mine in Pike County, Kentucky.

The Joseph L. Massie papers, 2010ms050

The Joseph L. Massie papers (dated 1907-1996, undated; 0.9 cubic feet; 2 boxes) consist of poetry, monograph research notes, newspaper clippings, and a notebook that document the writings of James L. Massie and William K. Massie.

The Lucy Dupuy Craig Woolfolk diaries, 2012ms351

The Lucy Dupuy Craig Woolfolk diaries (dated 1863-1864; 0.1 cubic feet; 3 folders) consists of two diaries documenting the daily activities and observations of Woolfolk, a resident of Woodford county, Kentucky. The collection includes a typed transcript of the diary entries. Since the diaries have torn pages and loose boards and need to be handled carefully, researchers may be advised to consult the transcripts.

The George Zack papers, 2012ms381

The George Zack papers (dated 1954-2012, undated; 38.05 cubic feet; 15 record cartons, 5 shoe boxes, 1 oversize box, 1 oversize folder, 367 reel-to-reel audiotapes) comprise correspondence, administrative files, reel-to-reel audiotapes of orchestral performances, and concert programs that reflect the violist's decades of leadership as an acclaimed conductor, primarily with Kentucky's Lexington Philharmonic Orchestra (LPO) and Ohio's Warren Chamber Orchestra (WCO).

The Dr. David William Barnett diary, 2013ms0101

The Dr. David William Barnett diary (dated 1851-1857; 0.02 cubic feet; 1 folder) records Barnett's personal and local events in the area of Germantown, Kentucky, during the 1850s.

The James Taylor papers, 2013ms0104

The James Taylor papers (dated 1811-1812; 0.1 cubic feet; 1 folder) includes receipts for military deserters during the War of 1812 in Kentucky. These rewards were signed several times by Colonel James Taylor, the paymaster of the Northwestern Navy Barracks.

The Lexington Central Woman's Christian Temperance Union ledger, 2013ms0172

The Lexington Central Woman's Christian Temperance Union ledger (dated 1928-1932; 0.3 cubic feet; 1 folder) include the reports of the local Lexington chapter of the larger, national organization.

The Ernest C. Doll Air Force diary, 2013ms0409

The Ernest C. Doll Air Force diary (dated 1947-1950; 0.1 cubic foot; 1 folder) describes the career of Sergeant Doll from the time of his discharge from the US Naval Reserves to his career in the US Air Force.

The Marketing Appalachia's Traditional Community Handcrafts (MATCH) records, 2014ms0103

The Marketing Appalachia's Traditional Community Handcrafts (MATCH) records (dated 1900-1987, bulk 1970-1987; 63.3 cubic feet; 74 boxes, 2 case folders) comprises administrative, financial, grants and loans, projects, and reports documenting the activities of MATCH and its efforts to promote development in the region through crafts and folk art.

The Anne MacKinnon coal research files, 2016ms008

The Anne MacKinnon coal research files (dated 1866-1977, undated; 3.23 cubic feet; 1 record carton, 11 shoe boxes, 1 oversize box, 1 oversize folder) comprise photographs, research notes, grey literature, and reports that document the former Kentucky journalist's research for an unpublished book on coal and its impact on Appalachia and Kentucky communities.

The Robert Straus Escape from Custody research files, 2016ms011

The Robert Straus Escape from Custody research files (dated 1943-1975, undated; 0.75 cubic feet; 4 boxes) primarily consist of correspondence between Robert Straus and Elliott Stone, the subject of Escape from Custody. (Digital copies of these files are coming soon!)

The Ambrose Seaton family papers, 2016ms033

The Ambrose Seaton family papers (dated 1787-1946, undated; 0.9 cubic feet; 2 boxes) consists of legal and financial documents, business materials, correspondence, newspaper clippings, and two daguerreotypes that document the Seaton family in Amherst, New Hampshire, and across the state of Kentucky from the late eighteenth to the mid twentieth century.

The F. J. Floyd Jr. photographs, 2017av011

The F. J. Floyd Jr. photographs (dated 1931; 0.1 cubic feet, 10 items) consists of three scrapbook pages containing eight black and white photographs of the construction of the Lucy Jefferson Lewis Memorial Bridge in Smithland, Kentucky taken in 1931 by F. J. Lloyd, Jr., the engineer in charge of construction.

The Emanuel G. Weiss papers, 2017ms071

The Emanuel G. Weiss papers (dated 1944-1970; 1.2 cubic feet; 2 boxes) comprise memoranda, correspondence, notes, draft opinions, printed opinions, bound volumes, and photographs that document Weiss's duties as a law clerk for Stanley Forman Reed, Associate Justice on the Supreme Court of the United States, during the October 1945 term.

 Revised Collection Guides (major revisions and additions)

Victor Howard collection on Civil Rights and Church-State, 2009ms014   

Kentuckians for the Commonwealth records, 2010ms005

Jewell family papers, 2011ms063          

May Ringo Thompson papers, 47m83    

Benjamin Forsythe Buckner papers, 48m39

Kentucky Patrons of Husbandry records, 66m10

Isaac Shelby papers, 68m105

Chauncey Hawley Griffith papers, 72m31

Ila Earle Fowler papers, 84m3

Robert W. Scott journals, 87m35

Bradley family papers, 87m64

Alice Todd Field diary, M-368

Thomas Henry Hines papers, 46m97

Kentucky Park-to-Park Committee reports, 54m16

Lindsay Family papers, 54m59

Cora Wilson Stewart papers, 58m25

Teagarden and Shryock account book, 63m148

Playreaders' scrapbook, 65m194

Kentucky Constitutional Revision Assembly records, 67m159

Catherine and Howard Evans papers, 72m15

John Adam Walters, Jr. papers, 2012ms606

Study of the Care of the Insane in Kentucky during the 1850s typescript, M-205

[engnewforest-blog]

Ancient discovery begins to rewrite the New Forest’s history

An archaeological dig in the New Forest has unearthed new evidence that may play a role in finding out more about when people first settled here.

Analysis of charcoal found in what was believed to be an Iron Age hillfort at Matley Heath, has dated the monument much further back to the Earlier Neolithic period.

With a 95% probability of dating between 3347 and 3097 BC the evidence, together with previous isolated finds in the New Forest, raises new questions around the history of human settlement and land-use in the New Forest and Hampshire.

The discovery was made during a programme of conservation and investigative works at the monument undertaken by a team from Forestry England, the New Forest National Park Authority, archaeologists from Bournemouth University’s Archaeological Research Consultancy (BUARC), and local volunteers.

Through a process of geophysical surveys and an archaeological excavation the team were able to locate the charcoal deposits in buried soil deposits at the base of the large ditch of the monument. These were removed and underwent specialist radiocarbon dating analysis to  provide an objective age estimate for the charcoal.  

Andrew Norris, Planning Officer with Forestry England, said: ‘This site has always been a bit of a mystery, referred to as an ancient hill fort but on very low ground making it a curious location for this kind of feature. There is still much to find out about it but this investigation has given us a big piece of the puzzle. By dating the settlement much further back than we thought it potentially resets the archaeological clock for when people first began settling here in the New Forest. ‘Alongside the dig we have conducted some important conservation activities at the site to protect it from further erosion and damage. Preserving the cultural heritage of the New Forest is an important part of Forestry England’s work and we would like to thank all of the partner organisations and volunteers who supported this project.’

Lawrence Shaw, Archaeological Officer for the National Park Authority said: ‘This fascinating discovery has raised more questions than answers about this amazing site and certainly increases the significance of the monument both locally and nationally.

‘What is particularly great about this discovery is that it is a result of extensive partnership working by several different organisations. The monument itself has been on the At Risk Register for a number of years and this work has been one of many steps towards bringing the site back into favourable condition, so that it survives for many more thousands of years.’

There are several other archaeological features close to the monument suggesting there was a large prehistoric complex at this location. A clearly marked drove way runs alongside the monument and leads into its main entrance, suggesting this was a structure made to bring people to and directly in front of this important area. There are also several burial mounds in the area signifying that this may have been an area of special significance.

Jon Milward, Senior Archaeological Consultant from Bournemouth University’s Archaeological Research Consultancy (BUARC) who led the fieldwork, said: ‘It has been a pleasure to have been involved in this project, which has been a great success. Taking the opportunity to undertake a controlled archaeological excavation alongside the repair and conservation works has provided a wealth of information that can be used to inform long term conservation and management plans and any future research projects.

‘We now know a lot more about the characteristics of the earthworks around the feature and the nature of the buried archaeological remains, as well as having new dating evidence that defied expectations and proposes the monument is at least 2,500 years older than previously thought’.

The project at Matley Heath is part of Forestry England’s ongoing programme of monitoring and preserving 158 different ancient monuments in the New Forest.

Frank Green, Senior Archaeologist for the National Park Authority said: ‘The dating evidence from this site is really exciting, increasingly we are seeing evidence for the Neolithic period being found in the New Forest that is changing our understanding of how the landscape was used. The suspicion was that this particular site was not Iron Age as previously thought. The dating evidence has confirmed this and is really important in establishing that the construction of landscape monuments started before the Bronze Age.’

[tattooedwitch95]

Harry Edward Milward Styles being adorable with Nicholas Peter Andrew Grimshaw on Radio 1. 😍😍😍😭😭😭 #harrystyles #nickgrimshaw #harry #grimmy #harryandgrimmy #harryonradio1 #radio1

[netmyname-blog]

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[penamerican]

The PEN Ten with Andrew Malan Milward

The PEN Ten is PEN America's weekly interview series. This week, we speak with Andrew Malan Milward, the author of the story collections The Agriculture Hall of Fame and most recently, I Was a Revolutionary, which explores questions of history, race, and identity in Kansas from the Civil War to the present day. He lives in Hattiesburg, Mississippi, where he teaches at the University of Southern Mississippi’s Center for Writers and is editor-in-chief of Mississippi Review.

When did being a writer begin to inform your sense of identity?

Probably about the time my sense of identity stopped being informed by being an athlete, which would have been about age 20. I’d gone to college to play basketball and left aspiring to be a writer.

Whose work would you like to steal without attribution or consequences?

So many folks, but how about W.G. Sebald and Marilynne Robinson for starters. The perfect marriage of eloquence and depth of thought in their work consistently astounds and inspires me, though the darker side of that is a kind of envy. But the more I think about it, I know stealing from another writer would make me feel horrible. It’s mighty tempting in a regrettable-late-night-food-decision-coming-home-from-the-bar kind of way. I’d crave it in the moment and then feel utterly ashamed in the morning.

Where is your favorite place to write?

When I was starting out, I felt like there were too many temptations at home (guitar, TV, my bed, etc.) so I used to like to write in cafes. However, I realized I wasn’t very productive there either because I was often people-watching or distracted by music and commotion. So I developed a stronger sense of discipline and now I like to write at home in my office. I have a beautiful desk that used to belong to the local high school here in Hattiesburg, Mississippi. It’s a huge table, perfect for spreading out my writing and research, full of carvings of middle fingers and phalli in various states of tumescence as well as graffiti that says things like Fuck Mike and I Heart Sally.

Have you ever been arrested? Care to discuss?

No.

Obsessions are influences—what are yours?

It sounds weird, but I’d have to say history, Kansas, and basketball seem to be my biggest obsessions. The first two go somewhat hand in hand. Central obsessions for me as a writer up until this point have been my interest in where I grew up, Kansas, and that has lead me to become interested in the history of that place. But I’m also pretty fascinated by the notion of place in general. Everywhere you go is pretty interesting if you look at it long enough. So yes, Kansas, but also the state where I live now: Mississippi. Hopefully Kansas is almost out of my system and I can begin to write about somewhere else soon. The third obsession, basketball, also has a lot to do with where I grew up since basketball is a form of religion in Kansas. I grew up around the game and played at a very high level for many years. Even though I gave it up some time ago I’m still obsessed by the game, especially my beloved University of Kansas Jayhawks. In fact, I’m writing a book about that obsession at the moment.

What’s the most daring thing you’ve ever put into words?

It certainly wouldn’t be from one of my books. Too safe. It would be the times in my life when I’ve had to tell people I love that I knowingly caused them serious pain and that I was sorry. Of course, saying this to people you don’t love or who are strangers also feels brave in a way, too. I suppose it’s sad that honesty and admission of guilt sometimes feels daring, and perhaps that says way more about me than I’d care to admit, but so it goes.

What is the responsibility of the writer?

Boy, what a question… I think the responsibility of the writer is honesty, even when, like me, you’re writing fiction and making things up. That obligation to tell the truth as best we know it and as clearly as we see it is the “one commitment [a writer] can’t betray without destroying himself,” as E.L. Doctorow, a writing hero of mine, once said. That responsibility to honesty means you also have to have a certain amount of contrarianism and courage. Don DeLillo, another figurehead on my Mount Rushmore of writing, spoke to this point when he said that the writer must be someone in opposition. When necessary, the writer has to be willing to take a colder eye and write about hard, unflattering, and ugly things—the sorts of things we, especially in America, are not really encouraged to think about because we’re too busy being told how wonderful we are by those in power. You have to be willing to be the skunk at the garden party sometimes. You have to be willing to take a stand against people and entities—political leaders, governments, the wealthy and privileged, corporations—far more powerful than you feel as an individual.  

While the notion of the public intellectual has fallen out of fashion, do you believe writers have a collective purpose?

I think writers have individual pursuits and purposes that mostly happen to be similar or constellationary, and thus do have a general, slightly amorphous collective purpose that the best I can tell seems to revolve around the notion of trying to capture some truth inherent in the density of human experience, something about what is hard, beautiful, devastating, hilarious, and complicated about being alive. It seems that whatever else we might think we’re up to, we’re all doing this at a base level and so I think we do have a collective purpose, even if we’re adamant that we don’t. That’s one of the interesting ironies of being a writer: It’s something you do in isolation and yet it’s something that connects to and unites, not only other writers but all people. I say that’s the irony of writing, but of course that’s really the magic of writing. The acts of writing and reading are profoundly humanizing and civilizing pursuits, I think. When honestly and earnestly engaged, they foster empathy, understanding, and an appreciation for complexity.  

What book would you send to the leader of a government that imprisons writers?

I’d probably send them Michelle Alexander’s The New Jim Crow along with a note that said, “You may think you’re totalitarian by locking up more writers, but we incarcerate our population, particularly people of color, on a level that would make Stalin proud.”  

Where is the line between observation and surveillance?

The line seems to be obscured and problematized by authority and power. Citizens observe one another, the events and people around them, and most of it is harmless, except for certain psychologically aberrant behavior of the stalker/pervert/voyeur variety. In fact many would say writers are observers or witnesses. But when power, whether economic power in the form of massive private corporations or power in the form of a theoretically public entity like the State, does the observing, it’s usually not innocuous and quickly becomes surveillance. Surveillance from private power is always driven by the needs of capitalism, which happen to be at great odds with the needs and well being of the population. Surveillance from the State is more complicated. We are told it’s done to keep us safe, which in part it is, but it’s also done to keep us in line, which is pretty despicable because it’s usually couched in the not-so-implied implied threat of: If you don’t let us infringe on your civil liberties and abuse our powers evil people will come and do not very nice things to you and your fellow citizens. The logic of it is that if I scare you enough, I know you’ll let me get away with anything.  

[asuddenline]

"Night" and Its Reading

He held my poem in his hand. "You really Should've typed this," he said. I know, I said, But there's something special about the poem That's written on notebook paper. He didn't laugh. My poem on college ruled paper was between His thumb and index finger. His cuticles were Quite bad and I wanted to pull them out.

"Lets start with the title. Why do you call it 'Night'?" Did you read the poem, I ask. "It's Something I like to ask, just as a preliminary Sort of thing, but oh well forget it. Why don't you Read it for me. A poem should really be heard." I took the paper from his hand and give a dramatic Throat clearing.

       Night

     The dark butterfly of the poet      Gave way to lemonade and      Carrot cake. And we walked into      The desert night, swearing we'd      Make more stars.      You whispered secrets to trees      And I defended your honor from      The cockroach.

     The night, sheltered in the sauna      Of the apartment, laying down,      Listening to sad songs--only to      Get hungry and make pasta.      Throwing it on the wall, "and don't      You know it's a sin to break the pasta."

     Later: embrace, turn of the head,      Nestled in shoulders, "Goodnight      Sleep well."

He listened with his right index finger on his upper Lip. "I see. Thank you. That was a very nice reading." I fold the paper in half and he takes it from me and Unfolds it. "I like your poem. Not about this title. Do you Really want it to be so general, just 'Night'?" Yes, I like it quite alright, I say. "I only ask because there's Probably a million poems with the title 'Night.'" Yes, I Imagine so but that's fine with me. "How about this 'dark Butterfly of the poet' line. He signaled he was quoting by Making his fingers like bunny rabbit's ears. "What's so funny?" Nothing, I was just thinking about something someone said earlier. "I see, well lets try to stay focused, okay. 'The dark butterfly of the Poet,'" he said doing the bunny thing again, "Now I'm not so sure I Follow that. I'm not saying you need to tell me what you mean, but It might help to clarify things. It's a little abstract. Surely it's not literal, So it must be a symbol, right?" Actually, it's quite literal. There was a Dark butterfly on the poet. It was a shadow. "Oh I see. Interesting. But I don't know if people will get that from the reading--I didn't."

Andrew Milward