Blue Unicorn – Volume 23, Number 2 (Feb. 2000)

Description

CONTENTS

Frontispiece/Marvin A. Ehrlich/Cartoon of the Devil’s Deciples/4
Horace S. Mazet/Homage to the Fallen Heroes/5-6
Kenneth Pobo/Snowdrift/6
Jay Griswold/I Don’t Want to Go on Praise/7
Kurt Jon Fickert/Understanding the Past/8
John Thomas/If a Poem Continues/8
Robert Cooperman/Tom Banjo―From “Mountains of the Moon”/9
Martha E. Bosworth/Ballade of Dead Unicorns/10
Marjorie Power/Watching a Painting Called Death Watch/11
Judith DeGroote/Persephone’s Summer Vacation/11
Matthew Brennan/Winter Sonata/12-13
Tom Riley/Programmed Reply/13
Alexis Levitin/The Clear Cry/
                Presence [translations from the Portuguese of Antonio Ramos Rosa]/14
Kathleen Spivack/Milking Schedule/15
E.G. Burrows/Fair Play/16
Judy Klare/Dreaming of Lost Ships/17
Fred Ostrander/Directions (4)/18
Norman Kraeft/Weather Forecast/18
Ray Skjelbred/A Memory of Blue Light/19
Bob Hudson/To Make A Dead Boy Laugh [translation from the French of Tristan Corbière]/
                Grandmother [translation from the French of Gérard de Nerval]/20-21
Ida Fasel/Green Peace/21
Juan R. Sequeira/Para Nicaragua/22
Robert Lavett Smith/Ciro on the Night Before His Wedding/23
David Chorlton/Twenty Years Later/24
B.Z. Niditch/Then and Now/ 24-25
Ray Skjelbred/My One Drama/25
Ruth G. Iodice/Haiku for R. D. W. (1919-2000)/26
Joyce Odam/Tray in Window Light/26
Daniel J. Langton/One Side, The Other Side/27
Michael Scofield/Squatter’s Rights/28
Edmund August/First Love―Then What?/28/
Art Schwartz/Sweyn Forkbeard/29
Julie Schnebly/Prayer [translation from the Russian of Marina Tsvetayeva]/30
Notes on Contributors/31-32

The cover design features a unicorn scene executed in French Papier Tole, or, as the artist, Charlotte Fritz Strauman, expressed it, “paper made to look like tin.” This art technique creates the illusion  of life-like depth and dimension from a flat picture by coating a second, third and fourth identical print with a polymer medium to strengthen the paper so the various parts can be cut out and assembled on the original print, beginning with the objects furthest back in the picture and building the construction toward  the front of the piece.