Red Wolf Editions

New Site!
Red Wolf Journal’s digital collections has a dedicated new site
at Red Wolf Editions here.

Red Wolf Editions is an online poetry space.

It is the publishing imprint of Red Wolf Journal. In these days of self-publishing, we are a mere drop in the ocean. But then you might find resonance with us if you wish to collaborate and see us as a platform for getting your work out there. We feel poems speak to our soul and constitute a living testament of it, be it individual or collective.

Our digital collections are available in PDF format, published under the Red Wolf imprint. From 1 October 2017 we offically launched a website just for our digital collections over at Red Wolf Editions. Do visit us there for our new digital collections.

We invite you to submit poem manuscripts to us (20-30 poems). You may email your manuscript for our consideration at redwolfeditions AT gmail DOT com. If you have a cover artwork proposal, kindly submit it together with your manuscript. If not we will propose a cover, and the final artwork shall be at our discretion. We will not be laboring too much over the cover artwork as we’re not professionally paid to do so.

Submit via email here.

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dah gauguin cover1

Dah’s poetry collection, Say This In A Whisper, should perhaps come with an advisory: there are sexually charged poems such as “How To Love A Lover”, “Summer, Ocean”, “Pulsar” and “Underwater, Still Breathing”.

Their nexus is the relationship between lovers which leaves you in no doubt about where the potency lies. “Summer, Ocean” carves out physical intensity in an almost predictable way yet doesn’t strike you as being facile:

“You, the matador
drinking the bull’s blood
Me, the bull goring you into ecstasy
until we lay finished off
our bodies trembling
smelling of ocean summers”

The collection’s first poem, “Oceans Of Rain”, sets a kind of framework by disavowing religion. The speaker is “an old inmate” with the gravitas of age:

“Now, I’ve seasoned
to this gray winter
an old inmate
waiting for light
to reap darkness
waiting for darkness
to bear down

Dah writes with disarming physical candor in his love poems. There is so much light and shadow in them, that it’s most certainly spiritual while being physical. But after the ecstasy comes the agony. The lover’s absence leaves the speaker emotionally stranded. The poems segue to a requiem. Every poem shines a different light on the grieving process of remembering. There is savagery in “you were the feathers/plucked from my mouth” (“A Missing Story”) to distraction where “we drink wine each night/to reach that neon glow/in the dark of a cloistered room” (“Pictures of You”).

Sure, there’s pathos there, but someone has said, if you haven’t loved deeply enough, haven’t had that kind of physical experience, you don’t know anything much. Such pathos may be another path to transcendence, if not through religion. Why, to speak of eternity as “a strange fracture/always breaking/before one reaches the line/the mood variations, another farewell” in “Another Picture of You” to the discernment of trees in “Pulsar”:

“I look through the grille
of bare trees
through the mineshafts
of shadows”

A tender, riveting read for all lovers!

Download the collection here.

Say This In A Whisper by Dah

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rwj-green-weak-1-cover

A daughter’s labor in grass-cutting epitomizes these elegiac familial poems. The three sections of this endearing collection act together as memory and catharsis, with an overall tone of love and whimsy. The first “green-weak” section opens with the remembrance. It defines the father-daughter relationship, its roots in the practice of scissoring the cardboard found within her father’s Roxy shirts into a child’s hand-made cards.

The poems take us through art and illness, a mother’s sense of lack, a brother’s divorce and other undoings. At heart the poems honor the perfection of imperfections: “And I loved him/to the end/despite a lifelong lack/of luster.” (Song for the Colorblind Artist). The collection’s title refers to her father’s congenital “green-weak” colorblindness, a faulty perception of reds and greens.

Her idyllic musings while cutting grass by scissors is at center, a meditation (glimpsing “the conjuring garden knot, its green snaking”) serving as transition to the third “regreening” section. It deals with death and loss. It is grief contained by noticing “an opened bag of nougat and milk/chocolate truffles” at her mother’s cremation and tellingly endured through the arrayed riches of Morocco. The reader takes each mouthful of poems, cupping them, full of weight and weightlessness.

Green is the trope, whether in the Moroccan silk of “Paradise Green”, or in grass’s “emerald blade”, or “the neon L sprouting from Google’s trademark.” How deep sorrow, how deep the green.

Download the collection here.

green-weak_poems-by-therese-broderick

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Our first two poetry collections were announced here.

Having Taken Vows collection cover

Cover artwork: Carmen © by Catrin Welz-Stein

HAVING TAKEN VOWS
By Christopher Hileman

Christopher Hileman’s poems in this collection shine. But if you feel the blaze in the words, you feel the ashes too. These poems are courtly, filled with longing, passion, gratitude, despair. Startlingly accessible in their human range, they oft use the lover as mage, always part of a spiritual quest. The poems feel like soliloquys. You’ll feel the tenderness and poignancy, hope and truth, dream and reality, flight and fall, all tangled up, finely wrought. As if the poet had sat at an overnight loom as he formed a blanket for spiritual comfort. In all of this, amidst all of love’s yearning, God is never far.

“I live in squirming under
God’s wide ranging eyes
And all things would shift, and I
Love you for this dream.”
–“Having Taken Vows”

These poems are about finding truth in heart.

Download the collection here.
Having Taken Vows First Collection

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DUET collection cover

Cover artwork: The Moon Ship © by Catrin Welz-Stein

DUET
By Christopher Hileman and Irene Toh

Poetry duets work as a kind of dialog, not unlike the old haiku orations of the teahouse that were made up on the spot and traded back and forth by poets gathered there of an afternoon. These poems were written in collaboration. The first poem was written on 27 March 2014, inspired by the mysterious disappearance of Malaysian plane, MH370, on 8 March 2014. It was carrying 239 passengers. The plane’s wreckage was never found. If there’s any connection at all to these poems, it is perhaps the mystery of life on our planet. We come up with stories. That’s all we can do. These poems mythologize, speak a kind of ineffable love whose essence is both permanence and fragility. In the process, they seem to weave a precious, breakable thread that runs through life and art. The last poem in this collection, dated 20 June 2014, may be viewed simply as part of a piece of tape that had been snipped off.

“So which secretion is yours,
from ripeness and sun
and which mine from sour
grapes all in a bunch?”
–Christopher Hileman, “I So Very Much Love You”

“What is heaven except in stooping
to sweet apples fallen? Sphere
an Edenic fruit: to know is heaven.”
–Irene Toh, “Heaven Is A Deacon”

Download the collection here.
Duet Collection

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