Catherine Chandler

Edward Hopper's Early Sunday Morning

In every work of genius we recognize our own rejected thoughts;
they come back to us with a certain alienated majesty. —Ralph Waldo Emerson

There's something comforting and intimate
           about the line of small shops in the glare
           of Sunday morning. Something clean and spare,
           bounded, but suggesting infinite
extent. Then all at once we take a hit
           to the solar plexus—we become aware
           of storefront windows whispering beware,
           and that the quietude is counterfeit.
The atmosphere is placidly bereft,
           devoid of movement or of human face;
           the softened desolation of the street
suggests a hyper-emptiness, a trace
           of absent presences, a bittersweet
           tristesse, as though the world's been left
                     alone to face the heft
of enigmatic darkness to the right,
a monolith that leads our line of sight—
                     through Hopper's scumbled light—
away from consolation to concern
as we approach our point of no return.

shadow art streaming from sly stone angels


the mute roar
billows still
in one singing
marked faintly
like dubious


late shy lovers
fields of perfumed
songs from streams
and now


as with
the tulip's death
these angels
of faith
cannot touch
your unimaginable


art created eternity
and the mystery
all this unfurled
and O


between a love and
stone vaults
I kneel inert
could I?


the day remaining
sly survivor
living danger
foolish fruit
half-green hard
in love


dispossessed nothing
the caught world
magnificent and
tiny streaming living
no room

"shadow art streaming from sly stone angels" is a series of erasure/compression sonnets taken from the following sonnets by women poets whose lifetimes span the past two hundred years: "Written Near a Port on a Dark Evening" by Charlotte Smith (1749-1806), "To a Daisy" by Alice Christina Meynell (1847-1922), "Sonnet" by Alice Dunbar-Nelson (1875-1935), "Praise" by Jane Cooper, "Aperture" by Ann Lauterbach, "Foolishly, Halved, I See You" by Elizabeth Macklin (1952-) and "Sonnet in E" by April Bernard (1956-).


Catherine Chandler was born in New York City and grew up in Wilkes-Barre, Pennsylvania, where she received her B.A. in French and Spanish Literature. She completed her postgraduate studies in educational philosophy at McGill University, Montreal, Canada, where she lectured in the Department of Translation Studies for many years, and also served as the university's international affairs officer. Her first collection of poetry, Lines of Flight (Able Muse Press) was shortlisted for the Poets' Prize. She is also the author of Glad and Sorry Seasons (Biblioasis) and The Frangible Hour, winner of the Richard Wilbur Award, as well as two chapbooks. Her "Coming to Terms" won the Howard Nemerov Sonnet Award in 2010, and her sonnet "Chiaroscuro" won the Leslie Mellichamp Prize in 2014. A dual American and Canadian citizen, she currently lives in Saint-Lazare, Quebec.


Catherine Chandler
Rebekah Curry
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The most recent addition to The Mezzo Cammin Women Poets Timeline is Jane Kenyon by Susan Spear.

Gail White and Nausheen Eusuf are the recipients of the 2017 Mezzo Cammin Scholarships to the Poetry by the Sea conference.

Alice Mizrachi is a New York based interdisciplinary artist working in the mediums of painting, installation, murals and socially engaged art. Her work explores the interconnectedness of individuals and community through the dual lens of compassion and empathy. Through figurative work that reinforces both personal and community-oriented identity, Alice aims to inspire creative expression and a sense of shared humanity through art.

Alice has worked as an arts educator for nearly twenty years for a variety of organizations including BRIC Arts, The Laundromat Project and The Studio Museum in Harlem. As a pioneer in the field of socially engaged art at the local level, Alice has been recognized and selected to develop arts education curriculum for organizations such as HI-ARTS (Harlem, NY), Dr. Richard La Izquierdo School and Miami Light Project. She has also been a panelist discussing community-engaged art for events at Brown University and The Devos Institute of Arts Management.

As a painter, Alice maintains both a studio practice and an extensive body of work as a muralist. Her work have been featured in exhibitions at the Museum of the City of New York, the National Museum of Women in the Arts, UN Women and the Museum of Contemporary Art in DC. She has been commissioned as a mural artist for projects in Amsterdam, Berlin, Tel Aviv, and across the United States by organizations and museum including: Knox-Albright Museum, Buffalo, NY; Worcester DCU (Worcester, Massachusettes); Wall Therapy (Rochester, NY); La Mama and Fourth Arts Block (NYC); Miami Light Project (Miami, FL); and, Chashama (Harlem, NY), among others.

Alice's mural and installation work has been constructed in galleries and public spaces as part of site-specific arts education and community development projects. Her work often engages local neighborhoods and reflects positive visual responses to social issues. Her process activates a shared space of love, hope, optimism and healing as a means to connect with participants. Frequent topics include identity, unity, migration and the sacred feminine.

Alice and her art have been featured in a variety of publications including the book, 2Create, Outdoor Gallery: New York City, the New York Times, and Huffington Post and The Architectural Digest. She has a BFA from Parsons School of Design and was an instructor at the School of Visual Arts in 2015. Alice was also the co-founder of Younity, an international women's art collective active from 2006-2012. She has received grants from The Puffin Foundation and The Ford Foundation. Her recent projects include a residency in Miami with Fountainhead, a residency with Honeycomb Arts In Buenos Aires and a mural with The Albright Know Museum in Buffalo. Alice currently holds a studio space at The Andrew Freedman Home in the Bronx. Her upcoming projects include a workshop/ panel at Brown University and a book release in Summer 2017.

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