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Issue 54

I’ve speculated many times on what makes a ghazal. At the moment, I think that at the heart of a ghazal is its unwillingness to make flat statements of fact, its way of gradually circling the inexpressible as the poem comes closer and closer to its own truth. This seems true of both the traditional and more modern forms. My own path to ghazals began after a career working with research science journal articles, a world where ambiguity is a dirty word and there’s only one kind of truth. It’s fascinating, and something of a relief, to find a world where dervishes and differential equations both fit in. Reading other people’s work has been an essential part of my path. I’m grateful to Gene Doty for inviting me to help out, and I’m grateful to all of you whose work I have looked at, puzzled over, and (always) enjoyed.

—Mary Cresswell

This issue presents particularly strong ghazals. I much enjoyed working on it with Mary Cresswell: it is better because of our working together. As an observation, it looks like the Persian/Urdu ghazal is being widely accepted as the default in English. There is still room for ghazals in the Arabic style, as well as the “free” ghazals. My heartiest thanks to Mary and to the poets represented in this issue.

—Gene Doty

Contents
Linda Umans April Ghazal
Jennifer Burd AT DUSK
COME BACK
EVERY YEAR
Laszlo Slomovits GHAZAL— ONCE YOU’VE SEEN THE DEEP
GHAZAL— ON THE PATHWAY THROUGH THE STARS
Fergus Carty PATAGONIA
The Moon
Time
Judith Skillman Afterimages
Suzanne Niedzielska Not Much
Ann Howells SUITCASE FULL OF POETRY, POCKET FULL OF ROCKS
TEMPUS FUGIT
Jean L. Kreiling PARTY-GOER’S GHAZAL
A NO-GARDEN GHAZAL
Suzanne Herschell AMAZING LOVE
APOCALYPSE

About larrygates

Web developer of Ghazal Page. Sometime pseudonymous ghazalkar.

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