Ann Christine Tabaka
Nonsense Rhyme
Or/ Dementia Creeps In
Blue sequins
On the floor
Counting pennies
Like before
Someone knocking
At the door
Seeking answers
They implore
Day one
Is now day two
I cannot
Find my shoe
What am
I to do
The sequins
Are still blue
Time passes
Lives change
Memories
Rearrange
Everything
Seems strange
Counting pennies
For change
Silly verse
Crazy rhyme
Makes sense
In time
Pennies now
Are a dime
The sequins
Are still mine
October Dying
Green to brown to dust.
Iron to rust.
Summer songs to dirge.
Colors all purge.
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| AUTHOR BIO |
| Ann Christine Tabaka was nominated for the 2017 Pushcart Prize in Poetry, has been internationally published, and won poetry awards from numerous publications. She lives in Delaware, USA. She loves gardening and cooking. Chris lives with her husband and three cats. Her most recent credits are: Ethos Literary Journal, North of Oxford, Pomona Valley Review, Page & Spine, West Texas Literary Review, The Hungry Chimera, Sheila-Na-Gig, Synchronized Chaos, Pangolin Review, Foliate Oak Review, Better Than Starbucks!, The Write Launch, The Stray Branch, The McKinley Review, Fourth & Sycamore.
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| POETRY CONTRIBUTORS |
 Barbara Crooker
Alexandra Donovan
Jehanne Dubrow
Kathleen Goldbach
Colleen S. Harris
Brittany Hill
Katherine Hoerth
Lynne Knight
Jean L. Kreiling
Angie Macri
Carolyn Martin
Kathleen McClung (Featured Poet)
Mary Mercier
Ann Michael
Leslie Schultz
Myrna Stone
Jean Syed
Ann Christine Tabaka
Sally Thomas
Doris Watts
Joyce Wilson
Marly Youmans
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| Megan Marlatt:Looking like large puppet heads, it was "anima", the root of "animation", that led me to the making of the big heads, (or "capgrossos" as they are called in Catalonia where I learned the craft.) Anima is the soul or what breathes life into a being and to animate an inanimate object, an artist must insert a little soul into it. However to bring attention to what is invisible, (the soul), I chose to mold its opposite in solid form: the persona, the ego, the big head, the mask. Nearly every culture across the globe has masks. They allow performers to climb into the skin of another being and witness the other's world from behind their eyes. While doing so, the mask erases all clues of the performer's age, gender, species or race. In this regard, I find them to be the most transformative and empathic of all human artifacts.
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