Friday, December 8, 2017


I'm still trudging along. 

Current Progress-

The Withering- 51 poems
Diary of a Vampyress- 24 poems
Project 3- 14 poems
Project 4- 24 poems

I had planned Project 4 to be, well, my fourth project/collection.  I just took a look at it today and realized it had more poems in it than I thought.  I'm thinking that maybe it should be bumped up to number 3's slot.  We'll see.  I'm trying not to focus too much on 3 and 4 right now.

Altogether, that's over 100 poems; definitely enough for a collection on it's own, but that would be a hodge podge mess.

Friday, December 1, 2017

The Time of the Sorceress — An Interview with Ashley Dioses by David E. Cowen

The Time of the Sorceress
Weird. Most dictionaries will include in its definitions of this word the phrase “suggesting something supernatural; uncanny.” H.P. Lovecraft, an imperfect human who strove to perfect his craft, referred to his work as “Weird Fiction” S.T. Joshi’s classic “The Weird Tale” (University of Texas Press 1990) states in the preface that the Weird Tale “does not exist as a genre but as a consequence of a world view.” The Weird Tale has been a stable of horror for many years. Ms. Dioses has emerged as a rising star in a subset of this body of work: Weird Poetry. Ms. Dioses is a frequent contributor to Spectral Realms (Hippocampus Press) a journal edited by S.T. Joshi and devoted to this subgenre. It is perhaps no coincidence that Hippocampus Press is the proud publisher of Ms. Dioses first volume of weird poetry Diary of a Sorceress.

Highly stylistic, the poems send the reader back to more traditional poems using rhyme, meter and mythical allusions. This volume is not an imitation of Poe as the images and work draw from more ancient muses. Ms. Dioses book has won high praise from many circles and is sure to be remembered long after the current cycle of hopefuls for the Stoker award.

Q: Let’s start off with the easy questions. Even the cover notes state clearly that your work falls under the classification of “contemporary Weird Poetry.” Educate the reader what this is and the influences you have drawn upon to create this volume.

A:  Weird contains aspects of the supernatural with an emphasis on atmosphere.  My poems are rich with atmosphere and contain many supernatural and fantastical themes.  My strongest influences come from Poe, Clark Ashton Smith, H. P. Lovecraft, and David Park Barnitz.

Q: All of the poems use rhyme heavily which is a more traditional form and a trademark of weird poetry. Some use meter and some do not. Is this driven by the nature of the poem, your style and preferences or some other ambition?

A:  All of them, actually, use meter and they tend to vary from the common iambic pentameter to iambic hexameter, also known as Alexandrines, and others, depending on the mood of the poem.  I find that certain themes call for certain meters and I follow what my instincts tell me to use.

Q: I’ve seen a strain of those adhering to Weird Poetry who have absolute disdain for contemporary free verse; even calling it fake poetry.  Is Weird Poetry the antithesis of free verse? Why do you choose this over more contemporary forms of writing? Is it akin to a seamstress who prefers hand stitching to a machine? The art of crafting the cloth being its own reward?

A: I think that when it comes to poetry, it’s not necessarily the form of poetry being written that makes it Weird, but the themes in the poem itself. Wade German and Ann K. Schwader, for instance, are amazing contemporary Weird poets and they use free verse.  The flow of formal verse is more musical to me and it fits my style of writing.  Writing free verse is just not to my taste and therefore, I don’t write it.

Q: Your poetry draws upon a number of archetypes: wizards, the god Pan, zombie-like Valkyries, warlocks, goblins, and other fantastical creatures. I sense a more fantasy realm than horror much different from the works of Lovecraft (with his penguin eating old gods and tentacle faced monsters).  Many of the poems hint of love and lost love as well. I am taken to the works of a number of fantasy writers reading your poems. So I see a bridging of fantasy and the Weird Tale with your poems. Do you consider your work true horror or a hybrid bringing fantasy, the Weird Tale and horror into a merged road?

A: Fantasy was always my first love and blending it with my second love, horror, seems to be what Weird is all about. A lot of Weird fiction and poetry is supernatural and have fantasy elements and, though I may not write about giant albino penguins (though what an awesome idea that was!), I like to blend my horror with fantasy and/or the supernatural. 

Q: Have to ask. Several poems are dedicated to a K. A. O.” even making a reference to a “Crimson Tome” related to this person. Who is this mysterious person and how has he or she influenced your work.

A: Oh my, where to begin? K. A. O. is Kyle Opperman, or known on social media as K. A. Opperman and he is my beloved of five years.  We met online.  Kyle was a poetry editor for a now defunct zine called Dark River Press and I had just gotten published, for the first time, at The Horror Zine.  He read my work, emailed me, and invited me to submit for Dark River Press.

Before Kyle, I had never heard of Weird fiction or Weird poetry.  I never heard of H. P. Lovecraft, Clark Ashton Smith, Robert W. Chambers, M. R. James, and others before knowing Kyle.  I think it’s safe to say that my work would be entirely different without him.  He also still remains my poetry editor.  Every poem I write goes through him before I submit them anywhere.

Q: What’s next up for you?

A: I have two projects I’m currently working on. The first is a collection of juvenilia horror poems called, The Withering.  It will contain about 50 poems from my pre-teen and teenage years.

My second project is my next poetry collection called, Diary of a Vampyress.  Unlike Diary of a Sorceress, which has sections divided by themes (fantasy, nature, romance/erotica, horror), Diary of a Vampyress is divided by subject, as this collection will be focused more on Gothic and supernatural horror.  Diary of a Vampyress will loosely follow the story of Nadia, who makes her appearance in Diary of a Sorceress, in the first 4 sonnets of her sonnet cycle.

A Queen in Hell

To Edgar Allan Poe

Upon a moonlit eve, we strolled along the shores
Of a still lake, all atrament save for the bright,
Rich, hoary moon-glow, which threw wide dark, eldritch doors
Into a hell of reeking hells that stole her light.

My love, my gorgeous love, how could you abandon me?
What haunting daemons lured you to your early grave?
How could you not perceive that you were always free?
Why, why was it not you, my love, that I could save?

The years have passed and sadly I stand so alone
Beside you, by your grave, yet in my heart you dwell.
Your kinsmen knew of your great beauty, and it’s known
That we lament so deeply for a queen in Hell.

On Amaranthine Lips

My purple font of his desire
Invites the tongue of my vampire.
He tastes the nectar sweet therein,
And drinks his fill of darkest sin.
His kiss on amaranthine lips
Delivers bliss down to my hips.
Forever his caress is cold,
Yet how I itch for him to hold
Me in his arms, for every star
Above to see us from afar.

Lover’s Witch

The Sun’s gold gleams beneath her skin,
And gives its warmth with every touch.
Her eyes are gems, the Moon’s blue twins,
Which sparkle, barely hinting much.

A promise of sweet Heaven’s kiss
Forever lures me to her hold.
Her gaze upon me is pure bliss,
And that was how my soul was sold.

Her love, a spell, is wound around
My soul, like lingering perfumes
That emanate from floral crowns
Of belladonna all abloom.

She is the star and its fierce fire,
The Moon and its deep darkest phase,
The red, red rose of the great briar,
The center garden in the maze.

When those in favor fall from grace,
Her skin sears with Hell’s hottest flame.
Her eyes grow dark with new Moon’s face,
And lips give way to fangs’ quick aim.

I am her lover; she, my witch.
She, my desire, for only I
Can coax the Moon back from the pitch,
And the fine gold from flame’s last cry.


In dark cathedrals and woodlands mist-laden,
A horror lurks in realms beyond, unseen.
Few fae are pretty and appear to maidens—
Most of their kind are cruel, and ugly green.

A door can lead to their true territory—
The Otherworld, where anyone might stray.
It changes Paradise to Purgatory,
And all cold shadows pave, for you, the way.


Elysian daemon worship is more than it seems,
For many fiends reside in the deep haunted reaches
Of our vast psyche. Shun them, and they escape through dreams.
Approach them with respect; wait what the daemon teaches. . . .


Ashley Dioses is a writer of dark fiction and poetry from southern alifornia. Her debut collection of dark traditional poetry, Diary of a Sorceress, was released this year from Hippocampus Press.  Her poetry has appeared in Weird Fiction Review #5, #7, and #8 (Centipede Press, 2014, 2016-17), Skelo Issues 1-3 (Skelos Press, 2016-17), Weirdbook #31-34 (Wildside Press, 2015-17), Black Wings VI: New Tales of Lovecraftian Horror (PS Publishing, 2017) and others.  Her poem “Carathis,” published in Spectral Realms 1, appeared in Ellen Datlow’s full recommended Best Horror of the Year Volume Seven list. She has also appeared in the Horror Writers Association Poetry Showcase 2016 for her poem “Ghoul Mistress.”  She is an Active member in the HWA and a member of the SFPA.  She blogs at

Need a Poetry Christmas List?

HWA poets have amazing new volumes of poetry available. Here are some but certainly not all of the newest volumes currently circulating:

Satan’s Sweethearts (Weasel Press 2017) by Marge Simon and Mary Turzillo. Poems that bring feminism to mass murder chronicling female mass murders over the centuries.  (I assisted editing this so I get to add a short blurb on it)

Visions of the Mutant Rain Forest (  ) by Robert Frazier and Bruce Boston.

PseudoPsalms: Sodom (Bizarro Pulp Press – JournalStone 2017) by Peter Adam Solomon.

No Mercy: Dark Poems (Crystal Lake Publishing 2017) by Alessandro Manzetti.

Escape Claws (CreateSpace 2017) by Angela Yuriko Smith.

Meanderings of a Dark and Lonely Cycle Path (er … um … Psychopath) (Amazon Digital Services LLC 2017) Randy D. Rubin’s third dark poetry collection.

The Lay of Old Hex (Hippocampus Press 2017) by Adam Bolivar. Another contribution to Weird Poetry.

A Collection of Nightmares (Raw Dog Screaming Press 2017) by Cristina Sng.

When the Night Owl Screams (MoonDream Press 2017) by Michael Hansen.

Til Death: Marriage Poems (Raw Dog Screaming Press 2017) by Janice Leach and James Frederick Leach.

Love for Slaughter (Strangehouse Books 2017) by Sara Tantlinger.

The Cabin Sessions (Hellbound Books 2017) by Isobel Blackthorn.

and of course

HWA Poetry Showcase Volume IV (HWA, D. Cowen Editor, 2017)

Saturday, November 18, 2017

Infernal Ink Magazine Copy

I have finally received my copy of Infernal Link Magazine.  My reprint, Maenads, appears in this issue.

Maenads is one of the 10 poems that have a black and white illustration in Diary of a Sorceress.

Table of Contents

Notes From the Editor by Hydra M. Star
Our Bond Complete by Mark A. Mihalko
Howling in the Night by G. Large
Calender Witches and Steel Interview with Paul Sherman
Short Memoir of an Ed Gein Disciple by Steven Allen Porter
Thought's In Bed with Pain by Patrick Winters
Act of the Loathsome Intimacy by Norbert Gora
The Chocolate Box by Holly Flynn
Defrosting by Robert Beveridge
The Predator by Timothy C. Hobbs
There is No Sin by John Siney
Valium by Jessica Williams
A Fetishistic Feast of Indulgence by Rick Powell
Horny by Evelyn Eve
Tormentor by TheByStander
Maenads by Ashley Dioses
The Author Bordello with Alder Strauss

Tuesday, November 7, 2017

Review of The Rat in the Rabbit Cage

Tangent reviews Weirdbook Annual #1: Witches by Wildside Press, edited by Douglas Draa and gives a brief review of every fiction piece in the anthology.  Unfortunately Tangent never reviews poetry, so this is the first time they have reviewed my work.

“The Rat in the Rabbit Cage” by Ashley Dioses

"Emily is visiting her distraught sister, Theodora, in this short horror story. After accepting a strange white rat from her equally strange neighbor, Theodora’s pets are disappearing. Color changes in the rat convince Theodora that it’s eating each pet. The rat acquires a patch of fur the same color of each pet when that pet disappears.

Emily hears how Theodora returned the rat to her neighbor, but her new dog still goes missing soon after she brings it home. Now she has convinced Emily to go and confront the old witch next door.

The intrigue about the rat provided enough pull and the writing craft was okay. It was an interesting story that left the reader mystified."

Not bad for the first review on my first published story.  I'll take it!

A Horror of Poets at GreyDogTales interviewed by John Linwood Grant

I was recently interviewed by John Linwood Grant, editor of the amazing Occult Detective Quarterly, along with two other poets, Angela Yuriko Smith and Anita Stewart.  You can find the interview on the greydogtales blog.

(This is awesome!)

The Poets Speak

Greydog: We’ll start with a political statement. John Barr, President of the Poetry Foundation, once wrote:

“…different kinds of poetry don’t communicate, don’t do business with one another… The advocates of each know what they like, and it’s definitely not what the others are doing. The result is a poetry world of broad divides, a balkanized system of poetries with their own sovereign audiences, prizes, and heroes. The only thing they share is the word poetry, and that not willingly.”

Is that something you recognise when writing and disseminating your work? Is horror or dark poetry an even tinier corner of the Poetic Balkans?

Angela: No, I don’t agree with Barr on the divisiveness in poetry. Yes, we tend to stay close to the genre closest to our hearts. As a child, I read Poe. When I started writing, of course I tried to mimic him. I have remained close to that vein. I didn’t know what genre was, I just knew what I liked.

I don’t see poets as divided as much as just different. I view poetry the same way I see nationality and race. No race or culture is better than another. Rather, the diversity is complimentary. The best culture and poetry cross-pollinates.

Lately I’ve been borrowing elements from science fiction and romance as well as trying out new poetic forms. The wonderful thing about poetry, and art in general, is the experimentation.

Anita: Certain things appeal to certain people of course, but enforced divides seem a bit silly and unnecessary to me, and I rarely pay attention to those partitions. I write poetry. Period. I write about different ideas in different ways, but it all comes from me. Sometimes I’m in the mood to pen fantasy or sci-fi verse, sometimes it’s all about the emotional angst. And sometimes I just need to raise the undead or let the serial killers wax poetic. It’s all about the whimsy of the muse with me. My books are usually a poetry mishmash, my volumes of horror haiku being the exception.

Ashley: That’s definitely something I recognize when submitting my work and I do think genre poetry (speculative genre) is in a tinier corner. There seems to be a clash of metrical poetry and free verse and then restricting that further by making it horror themed.

Greydog: And when it comes to reading poetry for pleasure, rather than writing it, are you more a classical or a modern enthusiast? Is there a particular period which enthuses you, or do you regularly flit across the borders?

Angela: I’m very fickle in my reading and tend to read whatever is in front of me. Even badly written work is good to spark ideas and new perspectives. I do have poets I tend towards. I admire the work of both Ashley and Anita. Recent new favourites include Marge Simon, Bryan Thao Worra, John Reinhart, Linda Addison, Bruce Boston and new poet Laura Duerrwaechter.

My comfort poetry, however, is usually classic. I adore Edgar Allen Poe. I have read “The Highwayman” by Alfred Noyes still makes me swoon and wish I had long black hair to plait dark red love knots into. I also like Frost, Bradbury, Carroll… and anything irreverent, in poor taste or rude.

Anita: Although I’m game to read most any poetry whatever the style, I’m more of a classical gal at heart. I lean towards the Romantic Era and poets like Coleridge, Poe, Byron and Shelley, as well as Victorian Era poetry and writers such as the Brownings and Tennyson. I do like a lyrical, flowing style as reader, more so than the often irregular rhythms used by more modern poets.

Ashley: I tend to read more classical poetry than modern for it seems you can find more formal verse in the classics than in modern poetry. Victorian era to the 1930’s, roughly.

Greydog: What do you see as the virtues of writing poetry, as opposed to prose? Does poetry bring freedom, or discipline, for example?

Angela: I see poetry and prose as facets of the same jewel. I like to play and write the same story in both. My story, “The Braid” has a poem written to accompany it. I am writing a story to accompany my poem “Death Waits.”

Poetry allows us to tell a story in a different way, in nuance rather than detail. It’s the difference between an experience, and dreaming of an experience. It takes prose down to the shadows, warps the edges and thins the veil. It’s the same horizon viewed sideways, while squinting, in twilight.

All writing is discipline. Poetry pulls out the essence of a story. It’s a way to see the bones of a thing.

Anita: For me, poetry is the more emotional of the two processes, and I put more pieces of my soul in my poems. I find there’s added freedom in writing poetry over prose, for while they both have their own discipline and rules of the craft, poetry is far more forgiving towards breaking those rules. With poetry, especially when doing free verse, there’s a sit down and let it flow attitude, a more spontaneous combustion of creation. I think there is an added independence of expression in my poetry, and maybe some subversive undertones as well. I like the naturally subjective nature of poetry that allows for more commentary on the human condition and the philosophical nature of existence. Plus, I can rhyme stuff.

Ashley: Poetry tells tales without cutting back, or out, rich language and vivid imagery. Prose’s point is to get a story across and often sacrifice’s imagery and even descriptions of people and settings. Poetry encourages us to pull out every piece; every scent, every texture, every sight, and put it on paper. It gives us freedom to be creative and imaginative in our descriptions but if you write in form, it requires discipline to fit every piece perfectly into the puzzle.

Greydog: What are the major themes you use your own poetry to explore?

Angela: Major themes in my work include freedom from fear and acceptance of flawed and damaged self.

It galls me that we program our children with fear as they grow. We think we are protecting them, but really we are emotionally shackling them. We gasp when they are near a spider, scoop them up and run away. Then we go back and squash the offensive creature that was merely trying to live, no threat to anyone.

We watch the fictional mob attack the monster with torches and pitchforks and think we aren’t like them. We fool ourselves to think we have understanding and compassion for that which doesn’t fit on our scale of acceptance. We switch the TV off then and grab our pitchforks. We lie to ourselves. If I could squash anything, it would be fear. Fear is justified ignorance.

One of my favourite soapboxes is also accepting ourselves as we are. I dislike how we are told to think outside of the box, but scolded if we colour outside of the lines. We are told to be anything we want, and then given a list of appropriate career paths. We tend to hide who we are to be acceptable, but I bet if we could strip away all the pretence we would see that we are all pretty monstrous—and it’s okay. Maybe if we were more open and accepting of our flaws they wouldn’t fester so much.

Anita: Generally themes that keep repeating in my poems are Celtic myth and places, death, the moon, the sea, outer space, pain, and TV shows. I like to set the light against the dark and explore the “what ifs” and the “maybes” of the universe and folklore.

I also write about things I take an interest in or enjoy, as with my Celtic themes and the aforementioned TV shows. To date I’ve enshrined Supernatural, Doctor Who, Game of Thrones, Copper, and Justified in the indelible ink of poetry, and I have a nice collection of Irish and Scottish themed poems.

Ashley: I like to tell stories, or hints of stories, in my poetry. My poems often tell a why, a how, and a who like prose, but does not sacrifice imagery, detail, and language. My poems encompass horror, dark fantasy, fantasy, and Gothic themes.

Greydog: We’re not hung up on meters and feet, but do you have a form in which you particularly like to write?

Angela: I do write a lot of haiku when I’m busy or exhausted. They are quick, creative little nuggets that satisfy my creative itches and I like to feel like they connect me with my Asian side, although American haiku isn’t anything like traditional, Japanese haiku, I found out.

Lately I’ve been playing a lot with pantuoms. When I first saw a pantuom I thought it was a stifling, artificial poetry vehicle, so I had to try it. I fell in love. It reminds me of cutting letters out of a magazine to make a ransom note. The phrases are cut up and re-pasted, creating different meanings. They feel distant to me, slightly surreal. I find that appealing.

Anita: I’m glad we’re not hung up on meter; I avoid writing metered poems as my attempts tend to leave me with a headache. I prefer forms with repetition, such as the Chant, Catena Rondo, the Trimeric or Cascade. I like writing forms that interconnect or build on themselves. And I also enjoy the haiku, and other non-Western forms.

Ashley: I tend to write in iambic pentameter but I am also fond of writing in Alexandrines (iambic hexameter). You’ll find sonnets, couplets, and rondels in my work.

Greydog: You’ve all published your work. What’s it like trying to get your poetry into the marketplace?

Angela: I’ve been very lucky. I’m impatient, so I’ve self published mostly, but that has opened a lot of doors for me because I have a large body of work to show. I’ve just started seeking to be published in other publications in the last year and have done well. Just about everything I’ve submitted has been accepted. I attribute that to all the self publishing I did.

We all write crappy in the beginning. I lucked out because I published all my crappy stuff myself instead of collecting rejection notes. I’ve recently gone and taken everything I think is terrible out of print. As far as being paid for poetry, though, I couldn’t live off of it. I write speculative fiction and poetry out of love. I write children’s books because they sell.

Anita: Getting it into the marketplace is easy. Getting it to do more than sit on a virtual shelf like a lump, that’s the real trick. If I ever master it, I’ll let you know. As of now, my poetry books are more of a labour of love than commerce.

Ashley: It was extremely hard for me to find outlets that publish horror and dark poetry. While I was trying to hit my 10 paid with pro rates ($5) mark, to qualify for HWA Active status, I was struggling to find publishers who fit that requirement. I decided that I would make a list of pro rate paying speculative genre poetry markets. I searched every horror market listing and checked out every publisher, magazine, press, and ezine to see if they took poetry and paid pro rates for it. This took over 2 years to do. That included submitting to the markets to see how they worked as well as emailing editors to ask if they did take poetry (if it wasn’t clear). I currently have my list and it contains 69 pro paying speculative genre poetry markets. I’m waiting for Occult Detective Quarterly to make it number 70 (Ashley’s list link is given later below).

Greydog: Finally, do you like the work of Edith Sitwell? If not, why not. This is a crucial test question.

Angela: I confess, this is the first time I’ve heard the name. Upon a quick bit of internet research, I will say I want to know her better. My impression is that she is a lady I would have been friends with. She seems to have had a total disregard for social propriety, ignored sexual ‘correctness,” and proper fashion. I share her view of parents.

I also liked the fact that she didn’t keep herself in a vacuum, dedicated to only one art. Creativity in all its manifestations was welcome in her world. She seemed to be an exuberant, improper bon vivante.

As of this moment, I have only read “Tournez, Tournez, Bon Chevaux De Bois.“ I love it. Insightful, unconventional and with cutting humour, just as I picture her from my brief glimpse. Ask me again in a few months what I think of her. She is on my reading list now.

Anita: Oh dear. I’m afraid I have no opinion as I haven’t read her work yet. Did I fail the test?

Ashley: I’ve never heard of her until I got this question. I quickly looked at a few of her poems and have to say she’s not bad.

Greydog: Everyone is, of course, forgiven on that last one. We offer our thanks to Angela, Anita and Ashley for participating. Whether you’re duck-mad for horror poets, a passing browser, or a sceptic, you should be able to find something of interest in their work. Do check them out below.


Angela Yuriko Smith’s published works span multiple genres. Her writing career includes writing, editing and publishing for newspapers and writing both non-fiction and fiction. She has nearly 20 books of speculative fiction and poetry for adults, YAs and children. Her first collection of poetry, “In Favor of Pain,” was nominated for a 2017 Elgin Award.

Angela’s online home is at  and on Facebook She’s on Twitter, Instagram and all, and her books can be found on Amazon at:

The books she is working on now are Bitter Suites, about a hotel that specializes in recreational suicide experiences, and a poetry collection titled Alters and Oubliettes. Both will be released in 2018. For the rest of this year she is writing children’s books for the Everly Everywhere series with her husband, R. A. Smith, editing his first fantasy novel and promoting her poetry memoir, Escape Claws.


Anita (A F) Stewart is a steadfast and proud sci-fi and fantasy geek, born and raised in Nova Scotia, Canada, who still calls it home. The youngest in a family of seven children, she always had an overly creative mind and an active imagination. She favours the dark and deadly when writing—her genres of choice being dark fantasy and horror—but she has been known to venture into the light on occasion. As an indie author she’s published novellas and story collections, with a few side trips into poetry and non-fiction.

In addition to her existing and forthcoming speculative fiction, Anita’s second book of horror poetry, Horror Haiku Pas de Deux, has just been published. You can find her across the web in various guises:




Facebook Page:

Facebook Fan Group:

Saturday, November 4, 2017

Writing Update

As Diary of a Sorceress turns a month old, I've been sluggishly trying to move forward with my next poetry collections.

The Withering, which is a collection of juvenilia poems, currently has 52 poems and is divided up into 4 sections: Nature, Supernatural, Psychological, and Physical.  Unlike Diary of a Sorceress, which contains fantasy and romantic/erotic themes, the Withering is various shades of horror.  Vicseral, raw, gory horror to supernatural to psychological.  Raw fun.

Because the poems in the Withering are old and horribly written, meter and structure-wise, it is agony to edit.  I have no idea when this will be done.  Some poems I have edited and cleaned up so well that I have taken them out of this collection and put them in my other collection, Diary of a Vampyress.

Diary of a Vampyress is my next 'official' collection.  It currently has 23 poems and is roughly divided into 6 sections.  Unlike Diary of a Sorceress, which has sections divided by themes (fantasy, nature, romance/erotica, horror), Diary of a Vamyress is divided by subject, as this collection will be more focused on Gothic and supernatural horror with possibly some dark fantasy elements.   Subjects, so far, include femme fatales, Halloween, Vampires and Werewolves, Witches and Devils, and the Apocalypse.


Tuesday, October 24, 2017

Dark Poetry Special: The Crimson Circle by The Grim Tidings Podcast

This is the first time I have ever been interviewed for a podcast!  It was really fun.  Hopefully, I don't sound too bad.  I had a few drinks that night.  Other interviewees include The Crimson Circle, comprising poets of me, KA Opperman, Adam Bolivar, and David Myers, as well as Obadiah Baird and Dan Sauer.

Just click the link to listen to the episode, Dark Poetry Special: The Crimson Circle by The Grim Tidings Podcast.