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“Before the Mafia took over Mexico.”

June 15, 2016 - by Mr. Shay Tasaday, Editor in Chief

THIS ISSUE’S VERSE: In his work, which we are once again proud to feature here, Martin Levinson explores the relationship between new class identities, counter-terrorism, feng shui, and time management. With influences as diverse as Martha Stewart and Cookie Monster, Jessica L. Kleinman explores the relationship between the tyranny of intertextuality and Nicomachean Ethics. By studying sign processes, signification, and communication, Katharine Showalter gifts us with a poem that allows one to view the world in context of a post-gender, socially mediated age and its arrival as one of a multitude of paradigms. Ever contemplative, Brian Bilston questions the conditions of appearance of an image in the context of contemporary visual culture in which images, representations, and ideas normally function regarding human sexual identity. Similarly, Hart Seely‘s work illustrates a historic breakthrough technically and compositionally. What begins as triumph soon becomes corroded into a cacophony of hopelessness and futility when Richard Cairo sheds light on a post-moral landscape that embodies the failed moral sophistication of populism. Tracey Gratch sharply defines a stunning moment in literary tradition based strictly on a jaundiced cynicism, harkening back to a commentary on trends in modern self-absorption. Blake Austin displays new variations generated from both constructed and deconstructed notion of immortality. Meanwhile, Dustin Michael writes with admirable clarity and concision on a subject of extreme complexity, understood only by advanced cultures not just undiscovered but as yet unborne. And, finally, Daniel P. Coghlan‘s piece attempts to assail the broadest and most metaphysically significant questions of human existence, allowing his work to become a mirror into which readers do not merely look, but become a part. This issue’s headline taken from “Miami 2017″ by William Joel.

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  1. Math Breather — June 20, 2016 @ 10:35 am

    I admire what you’re trying to do with this issue but honestly poetry and politics do not mix. But much more importantly I feel that the MCU is more successful than the DCCU because they detail their villains’ intentions. I mean, in the DCCU why does Trump even need Earth? He can travel in space and he has a frikkin terraform engine!!! There are other unpopulated Earth-like planets he could use! Why doesn’t he go there?

  2. Cyclops556827 — July 1, 2016 @ 1:01 am

    I guess political poetry is okay, but MCU villains know their role and do what’s required of them. They’re just a reason for the heroes to do all their superhero stuff. They don’t overstep their boundaries, other than Hillary IMHO. But all DCCU movies (so far) have had villains that honestly were distractingly BAD. Like Trump, they drew negative attention. They were memorable in a BAD way. Better unmemorable than memorably BAD, I say.

  3. WOLVERINE243008 — July 8, 2016 @ 10:56 am

    The MCU only does well because of children and common people, who they like to help, unlike the DCCU, which kinda just crushes everyone under buildings without apology. I’d love to see both DC and Marvel succeed at helping people in their movies, but Marvel’s movies are actually good whereas with DC movies, they don’t actually do anything. They’re like DC fans all they want to do is complain about Marvel. Oh, yeah, I totally love the Bernol poem. I totally don’t understand it.

  4. CoSplaid52 — July 14, 2016 @ 9:22 am

    MCU’s only plan is revamping and rebooting to milk morons for as much cash as possible. You can’t even deny that because it’s all they’ve done. And I hate poetry.

  5. IAmGroot — July 29, 2016 @ 2:49 pm

    “I am Groot! I AM Groot!! I am GROOT!!!” Dammit, I mean, maybe you could say that but then you could say the DCCU’s only plan is to reply and rebut every movie the MCU every makes. Poetry is “I am Groot!”

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