Think the Native American Flute is Strictly a Man’s Instrument? Think Again

Need a laugh?

Native American flutes have always been known primarily as “love flutes” or “courting flutes” and were generally played for no other reason than courting rituals by a young man serenading his intended bride, although some men played them for their wives as a sign of love.

The above statement—paraphrased from an “authentic” Native American flute history and instrument websiteis baloney, indicative of the uninformed, misogynistic belief of many, if not a majority, of modern Native American flute fans, crafters, and musicians. Rather than research and discover the flute’s rich background, they’ve adapted the love flute myth as history—that the flute was developed as a courting tool for men only—while ignoring the instrument’s true background and multitude of uses by native people. When confronted with reality, they respond with claptrap like the following halfwitted comment in an online native flute forum: “Granted, everyone had their own traditions and norms about flutes, and I’m sure someone will jump in here and say ‘oh sure, women have always played flute in my tribe.’ But as a generality women were kind of kept off the business end of a flute.”

Sadly, most Americans of both native and immigrant heritage have been brainwashed to believe certain stereotypes and false “history” of early native life, especially that of native women, stereotypes created by early European invaders and perpetuated in magazines, books, and, later, movies. When the native flute’s popularity surged in the mid-twentieth century, accepted stereotypes did what they do best—smothered the instrument’s true history with nonsense.

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Before Europeans landed in the New World, native cultures were matriarchal and celebrated men and women as equals. The mother’s ancestral line, not the father’s, determined a child’s lineage. In community affairs, women became shamans, had the right to vote, could impeach a chief if a majority became dissatisfied with leadership, served in advisory positions, assisted in managing village affairs, spoke in council meetings, had the power to veto war, and even fought in battles themselves. And the flute? Yes, it was as much a woman’s instrument as a man’s.

So why are we saddled with this love flute myth malarkey as history? Gullibility and laziness. While failing to explore fact-based sources, we’ve accepted and internalized the erroneous accounts of American Indian life by European invaders. To undermine native culture, Europeans deftly exaggerated accounts of Native American life and lied about women and their status. They portrayed native women as obedient, subservient to “red devils” who attacked and scalped good Christian explorers whose only goal was to bring patriarchal European civility, social harmony, and redemption to an evil and barbaric world. In reality, Europeans could not cope with the independence, power, and equality of native women compared to the role of European women. So they set about transforming native culture into a crude version of European culture.

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Pre-invasion cultures developed a deep connection to their past through stories and music, but that ended in the nineteenth and early twentieth centuries as Europeans forcibly took native children from their families and sent them to “Indian schools” where teachers required native children to speak only English, wear western-style clothing, and study western-based history rather than preserving native history and heritage through traditional sources and methods. As Europeans forced Native Americans to assimilate into the European, Judeo-Christian lifestyle, the cultural status and equality native women had once enjoyed vanished, and their share in power and authority disintegrated.

Erosion of women’s status extended even to the native flute. The flute had traditionally been a social instrument, used for the sheer joy of making music. Songs and music were like breath itself, an integral part of existence. Native people embraced music to honor the Creator. Shamans utilized music in medical cures. They integrated music into ceremonies to call rain and locate hunting game. Children incorporated music in their games, while adult tribal members included music in vision quests, harvest rituals, war, and death rituals. Although customs and practices differed between cultures, the flute was common to most. Plains Indian tribes could be identified from a distance by the songs they played as they traveled. Members of some tribes played flutes to announce their peaceful approach to a new village. In what’s now the southwestern U.S., the Hopi people not only valued flautists of both genders, they nurtured a flute clan responsible for developing the talents of flautists. Each autumn, a girl and boy, side-by-side, both playing flutes, would lead a procession and ceremony to honor the gods to ensure good rains and crops. Even today, despite dominance of the love flute myth, Native American flutes are used in ceremonies other than courting rituals, including weddings, worship ceremonies, and political ceremonies.

Many early Europeans noted in their writings that native people used the flute as a social instrument to make a joyful noise. In June, 1528, while exploring the west coast of Florida, Alvar Nunez Cabeza de Vaca wrote that “a chief approached, borne on the back of another Indian, and covered with a painted deerskin. A great many people attended him, some walking in advance, playing on flutes of reed.” Had only men been playing, it’s likely the writer would have said so. In 1539, a member of the Hernando de Soto Spanish expedition to Florida wrote that “some Indians arrived to visit their lord, and every day they came out to the road, playing upon flutes, a token among them that they come in peace.” In yet another account, the same writer, describing events in what is now Alabama, wrote “the Cacique came out to receive (de Soto) … and he was surrounded by many attendants playing upon flutes and singing.” Note the writer chose the word “attendants,” not “men.”

In Pueblo country around 1540, Pedro de Castaneda wrote about his travels that “the people came out of the village with signs of joy to welcome Hernando de Alvardo and their captain, and brought with them into the town with drums and pipes something like flutes, of which they have a great many.” Around the same period, Antonio de Mendoza wrote, “The Indians have their dances and songs, with some flutes which have holes on which to put the fingers. They make much noise. They sing in unison with those who play, and those who sing clap their hands in our fashion … five or six play together, and some of the flutes are better than others.” Pedro Fages, writing about an encounter in California in 1769, described a dance for which “only two pairs from each sex are chosen to perform the dance, and two musicians,” presumably of each gender, “who play their flutes.”

Then came the turning point in flute accounts when artist George Catlin in 1832, capturing the European desire to romanticize and diminish native life, described the flute as strictly a courting instrument. Writing about the Plains flute while in Upper Missouri, Catlin said, “In the vicinity of the Upper Mississippi, I often and familiarly heard this instrument, called the Winnebago courting flute, and was credibly informed by traders and others in those regions that the young men of that tribe meet with signal success, oftentimes, in wooing their sweethearts with its simple notes, which they blow for hours together, and from day to day, from the bank of some stream—some favorite rock or log on which they are seated, near to the wigwam which contains the object of their tender passion until her soul is touched, and she responds by some welcome signal, that she is ready to repay the young Orpheus for his pains with the gift of her hand and her heart.”

Europeans latched onto the courting aspect while ignoring that marriage and courtship rites varied from culture to culture, that the courtship period itself could last more than six years, that the girl had the power of choice, that the genealogical line was through the mother’s family, that women were held as equal individuals within the culture, unlike women of Western society, that the flute certainly was not a courting requirement. The flute became an effective tool in the Europeans’ determination to assimilate native peoples and erase native women’s status. The first Europeans to migrate to North America, especially those steeped in Puritan, Catholic, and Quaker Christian traditions, did not tolerate women in prominent positions of government or societal decision-making. Portraying indigenous society as barbaric and the people as savages, Europeans systematically eliminated indigenous women’s power within tribes and clans. Portraying the flute as a man’s-only instrument helped achieve that goal.

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In last few decades, native women have begun to regain their rightful places in tribal life. Even female deities and original matriarchal native mythologies have enjoyed a resurgence among many native peoples. A quarter of federally recognized tribes are now chaired by women. In 2014, 147 native women were elected to serve as tribal leaders—26 percent of 566 federally recognized tribes. Female tribal leadership in 2015 decreased slightly to 24.5 percent.

Nevertheless, the resurgence of power doesn’t thrill everyone in the Native American community. Since Wilma Mankiller became the first female chief of the Cherokee Nation of Oklahoma in 1985, some male candidates in various tribal races have continued to ridicule female opponents as inept, unable, and too female to make the important decisions required of a chief—as if men have proved themselves more qualified than women in anything. Women are changing the face of tribal governments as they become administrators, teachers, and community organizers, regaining positions of authority like those held by their ancestors. And they’re playing the flute, demonstrating once again that it is not a man’s instrument, that it’s an instrument of the people—all people.

The Native American flute has grown so popular today that it has taken on mystical qualities with some claiming it will help lead the world into salvation. For those who prefer to leave mysticism to the mystics and simply enjoy an instrument solely for its music, the native flute is a welcomed addition, finding itself in the capable hands of both male and female artists. Rather than wrongly claim the flute has served only a courting function for native men, we should accept the fact the instrument is no more masculine or feminine than life or death. It is now, as it always has been, an instrument that adds beauty and dimension to music without regard to the musician’s gender.

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For a comprehensive list of references from which the above information was taken, please refer to the bibliographies of The Native American Flute: Myth, History, Craft and Native American Flute Craft, both available from Amazon.com, iTunes, Books-A-Million, Barnes & Noble, and other online and local bookstores.

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Ancestors ~ WindPoem IV ~ Native American Flute Meditations

Ancestors ~ WindPoem IV ~ Native American Flute Meditations is now available through Bandcamp and coming to other CD and digital music stores, including Amazon, iTunes, Google Play, and others. It will soon be streamable through internet music services, including Pandora, Deezer, and more. The album features nine Native American flute instrumentals—53 minutes of music—perfect for meditation and relaxation. View the trailer below. Preview the entire album at Bandcamp.

Ancestors instrumentals feature Tegan Fuqua on percussion and C.S. Fuqua on wooden and bamboo Native American flutes, both single-barrel and double-barrel (drone) flutes custom-crafted by C.S. Fuqua. In keeping with tradition, some tunes incorporate nature and other ambient background sounds. “Grandfather” also features a Hang tank drum. Several cuts include contrabass flute that may not be rendered adequately through laptop speakers and some earbuds due to speaker low frequency limitations.

Ancestors is available today from Createspace  in CD format for $10.95 plus shipping and Kunaki for $5 plus shipping. Available soon at Amazon. If you want the best CD price, Kunaki is the place to go—the total less than the Amazon and Createspace base price before shipping! 

The digital album is available for immediate download from Bandcamp and Kunaki for $8 and will soon be available from iTunes, Amazon, Soundcloud, and many others. 

Ancestors will soon be streamable at Pandora, Deezer, Spotify, and a host of other streaming services.

Please spread the word!

Popular mythology portrays the primary historical use of the Native American flute as a courting instrument used by men, but the courting aspect was only one of the flute’s functions, much like a guitar or any other instrument, and it certainly was not an instrument limited to use strictly by men. Men and women played the native flute for entertainment, in fertility rites, during celebrations and mourning rituals, and simply as a distraction. WindPoem albums celebrate the flute’s rich and inclusive heritage. 

For more information on the history, mythology, and crafting of the instrument, check out Chris’s books, The Native American Flute: Myth, History, Craft and Native American Flute Craft, available through most local and online bookstores.

WindPoem III was slated to be final album in the WindPoem series to feature strictly native flute meditations. Plans obviously changed. I hope you enjoy the results.

Chris is available for musical and historical presentations regarding the Native American flute. For more more information, please contact him by clicking the email icon.

WindPoem Music & Flutes

Stream C.S. Fuqua’s WindPoem albums and Sinner’s Suite EP on Pandora’s C.S. Fuqua station and SpotifyLicense Chris’s music for your projects at C.S. Fuqua ~ WindPoem


Books detailing the history, mythology, and crafting of the Native American flute.

Native American Flute Craft ~ Ancient to Modern

Interest in crafting the Native American flute has grown steadily since the 1980s, but reliable, specific crafting instruction has been as scarce to come by as reliable accounts of the flute’s history and development. Now there’s Native American Flute Craft, a fully-illustrated manual for crafting Native American flutes, perfect for beginner and pro alike.

In 2012, Cooperative Ink published C.S. Fuqua’s The Native American Flute: Myth, History, Craft, which explores the instrument’s true history and mythology while also providing a section on crafting, geared primarily to experienced woodworkers. In response to suggestions from readers, Fuqua produced Native American Flute Craft, an in-depth manual for crafters of all levels to build the Native American flute, including the ancient Anasazi flute, modern two-chamber flute, drone, contrabass, and more. Easy-to-follow, illustrated instructions provide thorough direction to crafting personalized instruments from a variety of materials, including wood, bamboo, and PVC.

Native American Flute Craft is now available in print and electronic formats.

The Native American Flute ~ Myth, History, Craft

Now available through most bookstoresThe Native American Flute: Myth, History, Craft explores the flute’s rich mythology and history to provide a better understanding of the instrument’s true place and function in ancient and modern cultures. The book’s final section provides crafting instructions appropriate for intermediate to advanced crafters.

The Native American flute is popularly known as a “love” flute, an instrument used by males in courting, but it is much more and has been played throughout history by children, women, and men. The commonly accepted mythology of the native flute does nothing but reinforce the negative view of native women as subservient to the male. Take, for example, entries on various internet sites that claim that only men played the flute—no matter the culture or tribe—that its power is completely destroyed by the slightest touch of a woman. Such stories are strictly chauvinistic myth and not accurate history. While hunting and courtship were, indeed, associated with the flute, its uses were more diverse in intent—from celebrations, fertility rites, entertainment—and certainly not restricted to the male.

Discover the true history and mythology of the Native American flute and learn to make your own, including the ancient and modern versions.

Music now available in CD and digital download

Besides his work as a professional author, C.S. Fuqua is also a multi-instrumentalist and craftsman of Native American flutes. His custom flutes are available in wood, bamboo, and PVC and are played by musicians around the world. Contact him for more information if you’re interested in purchasing a custom flute. Scroll to the bottom for a price list and an instructional video to make your own F# Native American flute in PVC.

Ancestors ~ WindPoem IV ~ Native American Flute Meditations available

Ancestors ~ WindPoem IV ~ Native American Flute Meditations is now available through Bandcamp, Amazon, iTunes, Google Play, and others. It will soon be streamable through internet music services, including Pandora, Deezer, Spotify and others. The album features nine Native American flute instrumentals—53 minutes of music—perfect for meditation and relaxation. Preview the entire album at Bandcamp.

Ancestors instrumentals feature Tegan Fuqua on percussion and C.S. Fuqua on wooden and bamboo Native American flutes, both single-barrel and double-barrel (drone) flutes custom-crafted by C.S. Fuqua. In keeping with tradition, some tunes incorporate nature and other ambient background sounds. “Grandfather” also features a Hang tank drum. Several cuts include contrabass flute that may not be rendered adequately through laptop speakers and some earbuds due to speaker low frequency limitations.

Ancestors is available from Createspace and Amazon.com in CD format for $10.95 plus shipping and Kunaki for $5 plus shipping. If you want the best CD price, Kunaki is the place to go—the total cost is less than the Amazon and Createspace base price before shipping! 

The digital album is available for immediate download from Bandcamp, iTunes, Amazon.com, and Kunaki

Spread the word!

Popular mythology portrays the primary historical use of the Native American flute as a courting instrument used by men, but the courting aspect was only one of the flute’s functions, much like a guitar or any other instrument, and it certainly was not an instrument limited to use strictly by men. Men and women played the native flute for entertainment, in fertility rites, during celebrations and mourning rituals, and simply as a distraction. WindPoem albums celebrate the flute’s rich and inclusive heritage. 

For more information on the history, mythology, and crafting of the instrument, check out Chris’s books, The Native American Flute: Myth, History, Craft and Native American Flute Craft, available through most local and online bookstores.

WindPoem III was slated to be final album in the WindPoem series to feature strictly native flute meditations. Plans obviously changed.

Chris is available for musical and historical presentations regarding the Native American flute. For more more information, please contact him by clicking the email icon.

New EP: Sinner’s Suite, a musical metaphor of life

Announcing release of Sinner’s Suite, a work encompassing five instrumentals that symbolize the stages of a lifetime by combining elements of jazz, New Age, meditative, progressive, Americana, and indigenous styles, utilizing guitar, Native American flute, bass, percussion, and synthesizer.

Thanks to Tegan R. Fuqua for the cover image. Full preview of songs and purchase available now at BandCamp. Also available from iTunes, Amazon.com, and GooglePlay, and streamable through Pandora and other music streaming services.

WindPoem I, II, III, IV ~ Native American Flute Meditations

WindPoem I, II, III, and IV are now available. WindPoem instrumentals, perfect for meditation and relaxation, feature wood and bamboo Native American flutes accompanied by Hang drum, traditional drum, and nature sounds. WindPoem V is in pre-production. Chris’s music can be licensed directly from him or through Pond5.

 

 

WindPoem Flutes ~ Simplicity for the Musician’s Sake

chrisflute

C. S. Fuqua has been researching, playing, and crafting Native American flutes for nearly three decades, penning two books—The Native American Flute ~ Myth, History, Craft and Native American Flute Craft—and marketing his bamboo, wood, and PVC flutes under the WindPoem banner. Flutes are custom-handcrafted from naturally-downed bamboo, budget-priced PVC pipe, and sustainable wood. WindPoem flutes are available in a variety of keys.

Though the origin of the Native American flute is shrouded in mystery, flutes were common to Native American nations and played by women and men in various activities. Unlike ancient native flutes, crafted and tuned uniquely by the craftsman, modern Native American flutes are tuned in the standard pentatonic scale. The Native American Flute: Myth, History, Craft and Native American Flute Craftavailable through most bookstores and online book dealers, provide a detailed account of the Native American flute’s history and include complete instructions for crafting both ancient and modern versions of the flute.

Chris concentrates first and foremost on sound quality. Most of his flutes are functional in design, but he will craft specially requested artistic flutes with custom-carved fetishes if desired. Although specially-carved fetishes will increase the cost of the flute considerably, the sound quality will prove no better than the sound of a standard flute with a simple fetish.

 

WindPoem Multi-Barrel Flute System

system

After years of making Native American flutes, Chris wondered if a system of interchangeable flute barrels utilizing one head would offer a quicker, more cost-effective method for Native American flutes crafted with PVC. The PVC system he developed utilizes a single head for two or more interchangeable barrels of different keys. The system provides key versatility while cutting costs and time expended on the more tedious construction of a fipple/fetish/head for each flute. The system he crafts includes the keys of E, F, F#, and G. With early models, he crafted a slide-on PVC fetish like that pictured in the graphic below, but he prefers a conventional tie-on fetish for a cleaner, stronger sound. The system pictured above is typical of those he now crafts. Many thanks to good friend, writer, and musician Dick Claassen for creating the flute system chart below.
systeminstructions

 

Sample Flutes & Sounds

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PVC Flute System

system

High D Bamboo

High D

Low D Bamboo

Low D

F# Bamboo

F#

E Wooden Drone

Drone

A Bamboo

a-1

G Bamboo

g-2

G# Bamboo

g-3

F Bamboo

f-5

Low D# Bamboo

d-5

Low B Bamboo

b-6

E Wooden

E Wooden

fetishes

wolf

dolphin

horse

Flute Pricing

Custom fetishes add to the cost considerably, in many instances doubling it. The sound quality is the most important factor in all flutes. Flutes with a basic fetish sound as good as flutes with a custom-carved fetish. The goal is to craft instruments that sound their best, whether they are basic or ornate in design. Prices below include only the basic fetish.

Wooden flutes available in the keys of E, F, F#, and G. Prices begin at $100 plus shipping for basic design flute and fetish.

Bamboo: I am now located in New Mexico, no longer have direct access to a bamboo grove to select bamboo appropriate for flute crafting, and have, at least for now, depleted my stock of bamboo. I will again offer flutes in bamboo when I establish a relationship with a reliable supplier of appropriate quality bamboo. Standard prices for past bamboo flutes ranged from $45 to $175, plus shipping. Please inquire on availability to fuqua.cs@gmail.com.

PVC standard flute in E, F, F#, G, A—Start at $40 plus shipping

PVC Low C#, D, D#—$50 plus shipping

PVC single head/multi-barrel system—available barrel keys E, F, F#, and G:

  • 2-barrel system: $60 plus shipping
  • 3-barrel system: $80 plus shipping
  • 4-barrel system: $100 plus shipping

Orders & Inquiries

To inquire about flute availability or to place an order, contact me. I do not accept pre-payment. Flutes are made to order. Upon completion, sound and image files will be provided. If you’re happy with what you see and hear, payment is then accepted and the flute shipped.

Make your own flute!

For those who want to make their own instrument, please check out the video below, providing complete instruction for crafting an F# PVC Native American flute. Please note that the sound hole placement listed in the video is incorrect. Sound hole placement should be 14 centimeters from the blowing end, not 40 centimeters as listed. I apologize for the typographical error.

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Presentations & Workshops

 

Creative Writing

Creative writing workshops can be tailored for beginner-to-advanced writers, addressing the needs of specific groups. Workshops incorporate interactive exercises to encourage students to develop skills specific to their writing goals. Students engage in various activities to improve ability and inspire confidence within a fun, nonjudgmental environment. Workshops cover fiction, creative nonfiction, and poetry, exploring story and poetic elements such as plot, character, voice, dialogue, description, setting, pacing, and point of view. Some of the techniques utilized include:

  • Exploring events in students’ lives as inspiration
  • Exploring writing as a positive outlet
  • Examining situations through multiple points of view
  • Focusing on subject development
  • Developing a story from first draft through final revision

Chris has served as a fiction writing instructor for Writer’s Digest School and has conducted numerous workshops for continuing education programs. Chris offers free single-class workshops to K-12 public schools.

For more information, please contact Chris.

Native American Flute

Educational presentations and musical performances on Native American flute explore the mythology, history, crafting, and music of the ancient and modern versions of the flute, dispelling popular but erroneous information of the flute’s development and true place in history.

Popular mythology portrays the Native American flute as an instrument used solely by men to court women, but the flute was and continues to be an instrument played by both men and women in numerous activities, from simple enjoyment of playing to use in fertility rituals honoring gods of harvest and more.

The presentation includes an overview of existing flute creation myths, flute history and use, crafting and structure information, and performance. Presentation length can be tailored to needs.

Chris is a craftsman and musician of the Native American flute. He has published two books on the history and crafting of the instrument and recorded/released three CDs of native flute instrumentals currently available under the WindPoem title. For more information or to arrange a presentation, please contact Chris.

 


 

Literary Work

Walking after Midnight now available

~ A Vietnam veteran whose mother’s love proves worse than captivity…

~ A musician who employs music to resurrect his dead wife…

 ~ A boy who flees an abusive father to land in a circle of demented faeries…

~ An Iraqi War vet who discovers compassion in a tortured, decaying phooka…

~ A sexual assault victim who burns for her victimizers…

~ An angel, wounded and imprisoned by a father desperate for divine healing of his physically and mentally deformed daughter…

~ A suicidal woman who discovers salvation in a Tokyo street vendor’s box…

More than 30 years in the making, Walking after Midnight is a literary trove, collecting 61 tales of critically acclaimed dark fantasy, southern gothic, science fiction, horror, and mainstream fiction that mine the depths of character–how we fail and triumph, accept and reject others and ourselves, and light the darkest recesses of our souls.

On sale now at Amazon.com in paperback and Kindle formats and soon to be available in paperback through most bookstores. Get a 20 percent discount if you order through Createspace. Use the code NA8BMLHK at checkout.

https://www.youtube.com/watch?v=WmRGAkS6s9M

Hush, Puppy! A Southern Fried Tale

“Who doesn’t love a good children’s book encompassing a sweet message, exquisite, color imagery, and a dog gifted with the ability to whip up southern cuisine! Not only is [Hush, Puppy!] a delightful read of fantasy and enchantment, but [readers] will be astounded by the illustrations provided by Beth Young, who uses brilliant color to enhance the author’s story.” ~ Suzie Canale, Three Lifghts in the Attic book reviews

Ever wonder how fried cornbread came about? I did… Thus begins the story, Hush, Puppy! A Southern Fried Tale,  the fantasy of how an excitable puppy and a tiny baker create the southern treat, hushpuppies. “In celebration of good people and tasty food,” the book is appropriate for all ages, available from most bookstores.

The iBooks version features full print-book layout AND read-along audio, perfect for iPad and other devices.

Beth Young is an award-winning artist with an extensive background in commercial, creative, and instructional art. A specialist in Montessori Method education and state certified in early childhood education, Beth is a full-time elementary art teacher, affording her intimate knowledge of the types of illustrations that appeal most to children.


Big Daddy’s Fast-Past Gadget

It can take a long time to grow up. For Josh, six centuries isn’t enough. Enabled by Big Daddy’s fast-past gadget—a 1966 Mustang—and a device for communicating with the dead, 16-year-old Josh and companion Keala flee into a bizarre future six centuries hence that ends up looking a lot like home.

“Wry wit on socio-political problems … a refreshing look through the eyes of a youngster on the verge of manhood.” ~ MyShelf.com

“A special novel that will captivate readers and linger in the mind.” ~ Two Lips Reviews

“Action alone will keep you reading. The story contains a moral, but will humanity learn its lesson? A fun read.” ~ Coffee Time Reviews

Get your copy today!


 White Trash & Southern

Spanning nearly three decades of C.S. Fuqua’s literary career, White Trash & Southern collects 232 poems—an exploration of life’s challenges and rewards. Download an excerpt.

“With an eye for the particular and an ear for the music of everyday life, C. S. Fuqua shares with readers his brave and lyrical view of human experience. An unflinching examination of the sorrows and joys we experience while moving through the world, White Trash & Southern is a fine collection of poems.” ~ Dr. Wendy Galgan, Editor, Assisi

“White Trash & Southern is an exhaustive book of powerfully emotive poems that explore a lifetime of wounds still present and gaping. By not looking away, by taking stock and inventory of all that we’ve been through, we come to discover that we’ve become strong, hardened, and wise for all of our hardships. This is a wonderful book of poetry, and a fine achievement that will greatly enrich its readers.”~ Devin McGuire, Editor of the Unrorean and author of After the Hunt (Encircle Publications 2013)

“… gritty, insightful, humorous, tragic, and celebratory … begin anywhere, skip around, or read it from back to front … a well-written, coherent collection … however you read it.” ~Jonathan K. Rice, Editor/Publisher, Iodine Poetry Journal


“A poignant, very strongly emotional collection of poems ~ one I intend to return to …” ~ Judith B. Glad, author of Improbable Solution

In 2009, cancer took two friends. Joe had a good job that provided health insurance, but the insurance company refused to fund “experimental” procedures that might have saved his life. Rob was a waiter, working for low wages and tips, unable to afford insurance and not covered by an employee insurance program. Both men experienced inexcusable desperation and suffering–one because he had no insurance coverage, the other because he did. Many of the poems in this collection explore Joe’s experiences over the last year of his life and his family’s experiences the year following his death. All are meant to honor these two friends, both deeply cherished and missed.

Available from most bookstores.

Native American Flute Craft ~ Ancient to Modern

Interest in crafting the Native American flute has grown steadily since the 1980s, but reliable, specific crafting instruction has been as scarce to come by as reliable accounts of its history and development. Now there’s Native American Flute Craft, a fully-illustrated manual for crafting Native American flutes.

In 2012, Cooperative Ink published C.S. Fuqua’s The Native American Flute: Myth, History, Craft, which explores the instrument’s true history and mythology while also providing a section on crafting, geared primarily to experienced woodworkers. In response to suggestions from readers, Fuqua produced Native American Flute Craft, an in-depth manual for crafters of all levels to build the Native American flute, including the ancient Anasazi flute, modern two-chamber flute, drone, contrabass, and more. Easy-to-follow, illustrated instructions provide thorough direction to crafting personalized instruments from a variety of materials, including wood, bamboo, and PVC.

Native American Flute Craft is now available in print and electronic formats.

 


The Native American Flute ~ Myth, History, Craft

Now available through most bookstoresThe Native American Flute: Myth, History, Craft explores the flute’s rich mythology and history to provide a better understanding of the instrument’s true place and function in ancient and modern cultures. The book’s final section provides crafting instructions appropriate for intermediate to advanced crafters.

The Native American flute is popularly known as a “love” flute, an instrument used by males in courting, but it is much more and has been played throughout history by children, women, and men. The commonly accepted mythology of the native flute does nothing but reinforce the negative view of native women as subservient to the male. Take, for example, entries on various internet sites that claim that only men played the flute—no matter the culture or tribe—that its power is completely destroyed by the slightest touch of a woman. Such stories make for appealing chauvinistic myth, but not for accurate history. While hunting and courtship were, indeed, associated with the flute, its uses numbered many more than courting, were more diverse in intent, and certainly were not restricted to the male.

Discover the true history and mythology of the Native American flute and learn to make your own, including the ancient and modern versions.


 Muscle Shoals ~ The Hit Capital’s Heyday & Beyond

From Dexter Johnson’s garage studio to James Joiner’s “A Fallen Star,” Tune Records to FAME and Muscle Shoals Sound studios, Aretha Franklin to the Rolling Stones and the Black Keys, from the beginning to present day—Muscle Shoals: The Hit Capital’s Heyday & Beyond is an updated, expanded version of Music Fell on Alabama, the original book-length history of the Muscle Shoals music industry, first published in 1991, chronicling the cooperation of black and white producers and artists during one of the most volatile times in U.S. race relations, cooperation that produced many of the most celebrated and enduring songs of all time.

Much has been written about the Muscle Shoals music industry and even a movie produced since publication of Music Fell on Alabama, most accounts crediting the area’s phenomenal success to some mystical power divined from the Tennessee River. Myth makes for good drama, but Muscle Shoals: The Hit Capital’s Heyday & Beyond details the true source of the industry’s success: the tenacious determination of talented individuals obsessed with the desire to make a difference in music.

And what a difference they made…


Picture

 Notes to My Becca

“C. Stephen Fouquet writes about his newborn daughter with sensitivity and grace. This is a compelling, honest book.”~ Bob Keeshan, TV’s “Captain Kangaroo”

In 1995, Notes to My Becca introduced a wide audience to the societal trend of at-home fathers. NTMB is a touching, practical look at parenting on the wonder—and anxiety—of becoming a father. All editions are currently out of print, but the book may be offered as a free digital download in the future. If interested, please contact C.S. Fuqua by clicking on the email icon.


TheSwing

The Swing: Poems of Fatherhood

The collection of poems documents intimate moments of the author’s daughter from birth into adolescence, contemplating the challenges, sacrifices, and rewards of parenting, The Swing elicits “thoughts and feelings from many experiences. A must for any (parent).” ~ Willie Elliott for Myshelf.com.

The Swing: Poems of Fatherhood,  Uncial Press, 2008, EPIC winner for Best Poetry Collection.


If I Were, I Would!

Embark on fantastic adventures in a whimsical universe of poetry and art where everything is possible. Explore and celebrate the wonderful and diverse world through imagination!

“…a charming and heart-warming journey.” ~ Joanna Dreiling, M.Ed., reading specialist

“…a feeling of hope and the certainty that happiness and goodness are still out there.” ~ Cynthia Harris, author

If I Were, I Would! is available in trade paperback and digital formats. The audio enhanced iBook, available from iTunes for iPad and other devices, features print-book layout and full read-along audio to assist in vocabulary expansion for young readers. If I Were, I Would! is available in print and other formats digital formats through most bookstores. 

 


 Bibliography

Selected awards & honors

  • The Swing: Poems of FatherhoodUncial Press, 2008 EPIC winner for Best Poetry Collection.
  • “Contact is Everything”: Honorable mention in Year’s Best Fantasy & Horror 19.
  • “Magic”: Best of the Net selection, 2006.
  • “Mama’s Boy”: Honorable mention in Year’s Best Fantasy & Horror 6.
  • “Mama’s Boy”: Year’s Best Horror Stories XXI selection.
  • “Old Lady Campbell, She is Dead”: Honorable mention, 1990 Year’s Best Horror & Fantasy.
  • “The Sharps and Flats Guarantee”: Year’s Best Horror Stories XX selection.
  • “Undertaker II: Drowning”: Honorable mention in Year’s Best Fantasy & Horror 7.
  • “Walking After Midnight”: Year’s Best Horror Stories XIX selection.

 

Novels & Fiction Collections

  • Walking after Midnight, Cooperative Ink, October 2016. More than 30 years in the making, Walking after Midnight is a literary trove, collecting 61 tales of critically acclaimed dark fantasy, southern gothic, science fiction, horror, and mainstream fiction
  • Wolfshadow, Ursa Major Books, Limited edition, January 2016, no longer available. Mass market publication coming from Cooperative Ink in late 2017/early2018. Written with co-author Robert Edward Graham, the character and story’s creator. Rob died two days after we finished the first draft.
  • Big Daddy’s Fast-Past Gadget, Cooperative Ink, 2015. First published by Awe-Struck Publishing in eBook format as Big Daddy’s Gadgets, 2006. Republished in 2011 in paperback and eBook formats by Mundania Press. “For some, it takes a long time to grow up. For Josh, six centuries isn’t enough.” Big Daddy’s Fast-Past Gadget is science fiction social satire, set in present-day Hawaii and six centuries into the future. Available from online bookstores and most local bookstores by order.
  • Hush, Puppy! A Southern Fried Tale, Cooperative Ink, 2013. Ever wonder how fried cornbread came about? I did… Thus begins the story, Hush, Puppy! A Southern Fried Tale, the fictional history of how an excitable puppy and a tiny baker create the southern treat, hushpuppies. Hush, Puppy! A Southern Fried Tale is available in paperback and Kindle formats from Amazon.com and in Nook/ePub format from Barnes & Noble. Full production read-along audio for both print and eBook editions is available as an mp3 download from Amazon.com.
  • Rise Up,  Mundania Press, 2012. C.S. Fuqua’s second collection of short fiction, collecting two dozen short stories that span nearly thirty years of Fuqua’s career, features ghosts and faeries, the macabre and mundane, rich and poor, and distraught and jubilant, exploring the motivations, actions, and consequences that force ordinary people to become extraordinary. Sometimes we recognize evil’s approach; sometimes we don’t. Rise Up explores the consequences. Out of print.
  • Trust Walk, short fiction collection, Mundania Press, 2010. The 35 stories collected in Trust Walk explore the motivations of the human spirit, the qualities that lead us into temptation as well as deliverance, that make even the most ordinary among us extraordinary. The unabridged audio version was published in 2013. Out of print.
  • Butterflies Die, audio novel, Books in Motion, 2001. Currently unavailable.
  • Flight of the Omni, audio novel, Books in Motion, 1998. Currently unavailable.
  • Deadlines, audio novel, Books in Motion, 1998. Currently unavailable.
  • Death in Service, audio novel, Books in Motion, 1997. Currently unavailable.


Poetry Collections

  • Cancer, Cooperative Ink, 2015. A collection of poems celebrating two friends who died from different forms of cancer in 2009.
  • White Trash & Southern ~ Collected Poems, Volume I, Cooperative Ink, 2014. Collects more than 200 previously published poems, spanning three decades of C.S. Fuqua’s writing career.
  • If I Were, I Would!, Cooperative Ink, 2014. (A different version, entitled If I Were, was published in eBook format by SynergEbooks, 2011.) Promoting vocabulary expansion and parental interaction, If I Were, I Would! inspires deeper awareness and respect as it takes readers on an extraordinary ride into imagination. Embark on fantastic adventures in a whimsical universe of poetry and art where everything is possible. Explore and celebrate the wonderful and diverse world through imagination! And if you see the authors there, wave!
  • The Swing: Poems of Fatherhood,  Uncial Press, 2008, EPIC winner for Best Poetry Collection. Poems that document intimate moments of a child from birth into adolescence, contemplating the challenges, sacrifices, and rewards of parenting, The Swing elicits “thoughts and feelings from many experiences. A must for any (parent).” — Willie Elliott for Myshelf.com.


Nonfiction Books

  • Native American Flute Craft ~ Ancient to Modern, Cooperative Ink, 2015. Interest in crafting the Native American flute has exploded since the 1980s, but reliable, specific crafting instruction has been as scarce to come by as reliable accounts of its history and development. In 2012, Cooperative Ink published C.S. Fuqua’s The Native American Flute: Myth, History, Craft, which explored the instrument’s true history and mythology while also providing a section on crafting, geared primarily to experienced woodworkers. In response to the continuing success of that book, Fuqua has written Native American Flute Craft, an in-depth manual for crafting the Native American flute in all its forms, from the ancient Anasazi flute to the modern two-chamber flute, from the traditional to the drone and more. Easy-to-follow illustrated instructions provide thorough instruction on crafting personalized instruments from a variety of materials, including wood, bamboo, and PVC.
  • Muscle Shoals ~ The Music Capital’s Heyday & Beyond, Cooperative Ink, 2014. From Dexter Johnson’s garage studio to James Joiner’s “A Fallen Star,” Tune Records to FAME and Muscle Shoals Sound studios, Aretha Franklin to the Rolling Stones and the Black Keys, from the beginning to present day–Muscle Shoals: The Hit Capital’s Heyday & Beyond is an updated, expanded version of Music Fell on Alabama, the original book-length history of the Muscle Shoals music industry, first published in 1991, chronicling the cooperation of black and white producers and artists during one of the most volatile times in U.S. race relations, cooperation that produced many of the most celebrated and enduring songs of all time.
  • Notes to My Becca, Second Edition, Cooperative Ink, 2013, features an update, new photographs, and expanded entries, offering a touching, practical, and thoughtful look at parenting from a dad’s viewpoint while addressing the miracle, anxiety, fear, and wonder of becoming a parent. Notes documents the fear of a possible third miscarriage, tumultuous extended-family situations, and normal post-birth parenting stress. But more, the book describes the joy of father regarding his new daughter, from first breath to first feedings, first words, and first steps.
  • The Native American Flute: Myth, History, Craft, Cooperative Ink, 2012, separates flute myth from flute fact to provide a better understanding of the Native American flute’s true place and function in history and in today’s culture. The book details the development and use of the native flute by both women and men, as well as the myths that have grown up around its use. The book’s final section provides readers with detailed instruction on crafting both the ancient, end-blown native flute and the modern native flute.
  • Alabama Musicians: Musical Heritage from the Heart of Dixie, The History Press, 2011. Alabama Musicians details the history of “musical” Alabama, from the state’s contributions to folk music, jazz, country, rock and more from the 1800s through the present. The book will also feature  biographies of dozens of Alabama music stars who have had and continue to have profound effects on music, from Pinetop Smith, Michael Graham Allen, Urbie Green, and W.C. Handy to Big Mama Thornton, Ward Swingle, and Hank Williams.
  • Notes to My Becca, First Edition, Fairview Press, 1995, charts a new father’s concerns, feelings, and hopes during his wife’s pregnancy and through the first year of their daughter’s life. The late Bob Keeshan, TV’s “Captain Kangaroo,” wrote, “C. Stephen Fouquet [C.S. Fuqua] writes about his newborn daughter with sensitivity and grace. This is a compelling, honest book.”
  • Divorced Dads: Real Stories of Facing the Challenge, Fairview Press, 1996, is an unusual glimpse into the lives and relationships of some extraordinary divorced fathers, providing an intimate portrait of fatherhood beyond marriage, an exploration and examination of post-divorce failures and successes as “Dad.” Out of print.
  • Music Fell on Alabama, Crane Hill Publishers, 1991; reprinted by New South Books, 2007. The first book-length history of the Muscle Shoals, Alabama, recording industry from its inception through the 1980s. These two editions are now out of print. The content has been updated and expanded, published as Muscle Shoals ~ The Hit Capital’s Heyday & Beyond

Short Fiction

  • “The Addict,” 3PBS Radio, Melbourne, Australia; Rick Kennett, producer; 1986.
  • “All the Brave Soldiers,” Something Wicked, Inkless Media, P.O. Box 15074, Vlaeberg, Capetown 8018, South Africa; Issue #8, Nov. 2008-Jan. 2009.
  • “Ants,” Eloquent Stories (Defunct), Volume 2, Issue 5, June-August 2006.
  • “Big Daddy’s Fast-Past Gadget,” Starsong (Defunct), Rt. 2, Box 260-B, St. Matthews, SC 29135; No. 2, Dec. 1987.
  • “The Bridge,” Widow of the Orchid (Defunct), 2101 Hazel Ave., Virginia, MN 55792-3730; September 1996.
  • “The Bridge,” Bare Bone, 1742 Madison St., Kingsport, TN 37665; Issue 3, December 2002.
  • “Burial Ground,” Cabal Asylum (Defunct), P.O. Box 24906, Denver, CO 80224; Summer 1996.
  • “The Chair,” Southern Beat (Defunct), P.O. Box 11454, Norfolk, VA 23517; Winter 1993-1994.
  • “Chips Man, Act I,” Fright Depot (Defunct), 15519 Domarat Ave., Norwalk, CA 90650; No. 1, Spring 1988.
  • “Circle,” Tall Tale TV, June 25, 2018.
  • “Contact is Everything,” Bare Bone, 1742 Madison St., Kingsport, TN 37665; Issue 8, 2005. (Honorable mention in Year’s Best Fantasy & Horror 19, 2005, edited by Ellen Datlow.)
  • “Contrition,” Brutarian, P.O. Box 25222,Arlington, VA 22202-9222; No. 39, Summer 2003.
  • “Demons,” Something Wicked, Summer/Fall 2012.
  • “Dogs,” Transcendent (DNVH) anthology, 2018.
  • “Doing Time,” Tale Spinner, P.O. Box 336, Bedford, IN 47421; Summer 1996.
  • “DTs,” Gas (Defunct), P.O. Box397, Marina, CA 93933; No. 4, Summer 1987.
  • “Eyes of a Child”; Dark Regions, P.O. Box 6301, Concord, CA 94524; Issue 11, Winter 1999.
  • “Eyes of a Child”; The Dark Krypt webzine, C.L. Carnley, Editor; January/February 2006.
  • “Garbler,” Serendipity (Defunct), 4295 Silver Lake Road, Pinson, AL 35126-3307; Vol. 1, No. 1, Oct. 1988.
  • “Glass Displays,” Collages & Bricollages, P.O. Box 360, Shippenville, PA 16254; Issue 15, 2002.
  • “Graduation,” Grue, P.O. Box 370, Times Square Station, New York, NY 10108; No. 12, Winter1991. Also appeared in the on-line magazine Creatio Ex Nihilo, April 1997.
  • “Hope,” Cabal Asylum, P.O. Box 24906, Denver, CO 80224; 1998.
  • “Hunting,” Pinehurst Journal, P.O. Box 360747, Milipitas, CA 95036; Spring 1992.
  • “Hurricane,” Theme of Absence, June 6, 2015; includes author interview.
  • “Interview with the Witch,” Cyber-Psychosis Aod; P.O. Box 581, Denver, CO 80201; Issue 3, February 1993.
  • “Interview with the Witch,” Goblin Muse webzine (Defunct), Australia; Issue 2, 2000.
  • “Interview with the Witch,” 3PBS Radio, Melbourne, Australia; Rick Kennett, producer; 1989.
  • “Kid Stuff,” Shock Treatment, Peak Output Press, Box 325, Stacyville, IA 50476; Anthology,1988.
  • “The Last Mystic,” Today’s Fantasy/Future Technology, 5111 Hillrose Drive, Baxter, TN 38544; March/April 1992.
  • “Liberation,” Midnight Zoo, 544 Ygnacio Valley Road, #A273, P.O. Box 8040, Walnut Creek, CA,94956; Vol. I, Issue 3, May/June 1991.
  • “Luau,” Deathrealm, 3223-F Regents Park, Greensboro, NC 27405; No. 5, Spring 1988.
  • “Magic,” Cezanne’s Carrot, P.O. Box 6037, Santa Fe, NM 87502; Summer Solstice edition, July 2006.
  • “Magic,” Best of the Net selection, 2006, Jaimee Wriston Colbert, 2006 judge; Erin Elizabeth Smith, editor; 501 S. Elm St #1, Champaign IL 61820.
  • “Mainstream,” The Provo Canyon Review, Volume 2, Issue 2.
  • “Mama’s Boy,” Cemetery Dance, P.O. Box 18433, Baltimore, MD 21237, Spring 1992. (Honorable mention in Year’s Best Fantasy & Horror 6, edited by Ellen Datlow.)
  • “Mama’s Boy,” Internet electronic magazine Knightmares, an MDG Publications publication; April-May 1997.
  • “Mama’s Boy,” Year’s Best Horror Stories XXI, edited by Karl Edward Wagner, Box 1064, Chapel Hill, NC 27514; October 1993.
  • “Modesto 60,” Co-authored with Michael Kelly; Thirteen Stories, c/o Twilight Writers,102-1111 Jervis Street, Vancouver, BC CANADA V6E 2C5; Issue 10, June 2003.
  • “Obon,” The Big Book of Erotic Ghost Stories, hardback, Suspect Thoughts Press, 2215-R Market Street PMB #544, San Francisco, CA 94114-1612, on behalf of Bookspan and Venus Book Club; 2004.
  • “Obon,” The Big Book of Erotic Ghost Stories, trade paperback, Suspect Thoughts Press on behalf of Blue Moon Books, Avalon Publishing Group Incorporated, 245 West 17th St., New York, New York; 2005.
  • “The Occasional Demon,” Terminal Fright, P.O. Box 100, Black River, NY 13612; Number 6, 1994.
  • “The Occasional Demon,” Three Lobed Burning Eye3LBE; online issue 7; Three Lobed Burning Eye, annual print edition; 1918 NE 48th Ave., Portland, OR97213; Annual Volume II, December 2004.
  • “Old Lady Campbell, She is Dead,” 2AM, P.O. Box 6754, Rockford, IL 61125-1754; No. 12, Summer 1989. (Honorable mention, 1990 Year’s Best Horror & Fantasy, edited by Ellen Datlow.)
  • “Old Lady Campbell, She is Dead,” Gothic.net webzine, 431 Holloway San Francisco, CA 94112; 2003.
  • “The Pinpoint Tune,” Over My Dead Body!; P.O. Box 1778, Auburn, WA 98071-1778; Vol. 2, Issue 4, Spring 1994.
  • “The Pinpoint Tune,” Writers On The River, Mid-South Writers’ Association, Memphis, TN; 1994 issue.
  • “Playing the Notes,” Cabal Asylum, P.O. Box 24906, Denver, CO 80224; Summer 1996.
  • “The Poet,” formercactus; Issue 10, July 2018.
  • “Poker Face,” Short Story Digest, P.O. Box 1183, Richardson, TX 75803; No. 8, Nov. 1992.
  • “Primal Therapy,” Onionhead Literary Quarterly, 115 N. Kentucky Ave., Lakeland, FL 33801; April 1991.
  • “Reconciliation,” Sounds Of The Night, Sam’s Dot Publishing, P.O. Box 782, Cedar Rapids, IA 52406; August 2010.
  • “The Recruitment,” Midnight Zoo, 544 Ygnacio Valley Road, #A273, P.O. Box 8040, Walnut Creek, CA, 94956; Vol. 1, Issue 5, December 1991.
  • “Redemption,” Ashe Journal, P.O. Box 363, Hulls Cove, ME; spring 2010.
  • “Responsibility,” Space And Time, 138 W. 70th St., Apt. 4B, New York, NY 10023-4432; Issue 86, July 1995.
  • “Rise Up,” A Sharps & Flats tale; Bull Spec, P.O. Box 13146, Durham, NC 27709; Issue 1, 2010, cover story.
  • “Rise Up,” read by Jonathan Danz, Tales to Terrify 184, 2015.
  • “Sack Man,” Alternate Realties webzine (Defunct); May/June 2002.
  • “Sack Man,” The Edge, P.O. Box 341, Marion, MA 02738; Number 5.
  • “Samaritan,” Crossroads, 478 Waters Road, Jacksonville, NC 28546-9756; February 1996.
  • “Scream of the Panther,” Haunts, P.O. Box 3342, Providence, RI 02906; No. 15, Spring 1989.
  • “Screamer,” Fear on Demand podcast; 2014.
  • “Screamer,” The Horror Show, 14848 Misty Springs Lane, Oak Run, CA 96069; Summer 1986.
  • “Screamer,” 3PBS Radio, Melbourne, Australia; Rick Kennett, producer; 1986.
  • “Screamer,” 100 Lightnings, edited by Stephen Studach, Paroxysm Press, Sydney, Australia; 2012.
  • “The Sharps and Flats Guarantee,” Atopos, 233 Lazy Acre Road, Wausau, WI 54401; No. 1, Winter 1991.
  • “The Sharps and Flats Guarantee,” Knightmares, an MDG Publications publication; Volume 7, No. 2, November-December 1997.
  • “The Sharps and Flats Guarantee,” Quick Chills II, 22910 Summit Road, Los Gatos, CA 95030; January 1992.
  • “The Sharps and Flats Guarantee,” Year’s Best Horror Stories XX, edited by Karl Edward Wagner, Box 1064, Chapel Hill, NC 27514; October 1992.
  • “Sibling Rivalry,” Hardboiled Detective, P.O. Box 209, Brooklyn, NY 11228; No. 10, 1990.
  • “Side-Road Shack,” Nøctulpa, P.O. Box 5125, Long Island City, NY 11105; No. 1, 1987.
  • “The Simple Sound of Dead Trees Singing,” Co-authored with Michael Kelly, All Hallows, Ghost Story Society, PO. Box 1360, Ashcroft, British Columbia, Canada V0K 1A0; Issue 42, 2007.
  • “The Stain,” Barbaric Yawp, 3700 County Route 24, Russell, NY 13684; March 2001.
  • “The Tenor’s Wife,” Shock Treatment, Peak Output Press, Box 325, Stacyville, IA 50476; Anthology, 1988.
  • “Time Now,” Queered Fiction Science Fiction Anthology; P.O.B. 732, Gillitts, 3603, KZN, South Africa; September 2009.
  • “Towels,” Arabesques, Agence de Presse et de Communications, Société Arabesque, Case Postale 75, Ctr. de TRI, Chlef 02000, Algeria; August 2006.
  • “Transitions,” Round Up Literary Magazine; May 2018.
  • “Trust Walk,” Grue, P.O. Box 370, Times Square Station, New York, NY 10108; No. 8, 1988.
  • “Trust Walk,” Sounds Of The Night, Sam’s Dot Publishing, P.O.B. 782, Cedar Rapids, IA. 52407; August 2009.
  • “Undertaker I: Ashes and Dust,” Rictus, 2712 Wisconsin Ave. NW #408, Washington, DC 20007; No. 7, 1996.
  • “Undertaker II: Drowning,” Cyber-Psychosis Aod, P.O. Box 581, Denver, CO 80201; No. 7, Autumn 1997. (Honorable mention in Year’s Best Fantasy & Horror 7, edited by Ellen Datlow.)
  • “The Urinal,” Bohemian Chronicle, P.O. Box 387, Largo, FL 34649-0387; February 1994.
  • “Walking After Midnight,” Figment, P.O. Box 3566, Moscow, ID 83843-0477; No. 5, October 1990.
  • “Walking After Midnight,” DAW Books’ Year’s Best Horror Stories XIX, edited by Karl Edward Wagner, Box 1064, Chapel Hill, NC 27514; October 1991.
  • “Walking After Midnight,” Dunesteef audio podcast; http:/www.dunesteef.com; 2010.
  • “Walking After Midnight,” online magazine Other Dimension (Defunct); March 21, 2002.
  • “What We Do,” Big Pond Rumours, P.O. Box 182, Acton, Ontario, Canada L71 1117, Volume 2, Issue 7, March 2007.
  • “When I See You Again,” Space And Time, 138 W. 70th St., Apt. 4B, New York, NY 10023-4432; Issue 83, Spring 1994.

Poetry
[Duplicate titles, in most cases, refer to different works.]

  • “2 Haiku,” Birmingham Arts Journal, Birmingham, AL; July 2012.
  • “21st Century Politics,” Boston Poetry, June 2013.
  • “A Dime’s Worth,” Elk River Review, 606 Coleman Ave., Athens, AL 35611-3216; Autumn 1992.
  • “Absentminded,” The Muse, Winter 2013; purchase the international collection, published in India, here.
  • “The Accident,” Late Knocking, P.O. Box 336, Forest Hill, MD 21050; Vol. V, No. 1, October 1991.
  • “Acts of Importance,” Askew Poetry Journal, P.O. Box 559, Ventura, CA 93002, final edition, 2017.
  • “Aeroplane,” Fowl Feathered ReviewFebruary 2018.
  • “After the Fact,” Boston Poetry, June 2013.
  • “Afterbirth,” Abbey, 5360 Fallriver Row Court, Columbia, MD 21044; Issue 72, March 1994.
  • “Against the Fence,” The Screech Owl, October 2012.
  • “Age,” HouseboatAugust 2015.
  • “Age,” Writing Raw, July 2015.
  • “Aging,” Poetry Super Highway, March 3-8, 2015
  • “Air,” Bogg, 422 N. Cleveland St., Arlington, VA 22201-1424; 2008.
  • “All Part of It,” Chrysalis, Box 812, Holualoa, HI 96725; October 1991.
  • “Always?,” Poultry Broadside, Gunch Press, P.O. Box 544, Yellow Springs, OH45387; Issue No. 4, December 2005.
  • “And Music For Jeff,” Chrysalis, Box 812, Holualoa, HI 96725; October 1991.
  • “And The Wife,” Oasis, P.O. Box 626, Largo, FL 34649-0626; March-April 1993.
  • “Another Drunk,” Abbey, 5360 Fallriver Row Court, Columbia, MD 21044; Issue 76, August 1995.
  • “Another Parental Death,” Draconian Measures, 473 14th St., #A, San Francisco, CA 94103; Issue 2, 1990.
  • “Anyone,” The Poetry Peddler, Box 250, West Monroe, NY 13167; Volume 2, No. 6, October, 1990.
  • “Apologies,” Stuff, 546 Clairmont Circle, Apt. 3, Decatur, GA 30033; No. 9, July 1994.
  • “Armageddon Sky,” Mind in Motion, P.O. Box 1118, Apple Valley, CA 92307; Issue 19, Autumn 1989.
  • “Armageddon Sky,” Dark Metre, United Kingdom; January 2012.
  • “Ashes,” Chiron Review, Rt. 2, Box 111, St. John, KS 67576; Vol. Xiii, Issue 3, Autumn 1994.
  • “As I Imagined,” Fennel Stalk, 2448 W. Freeway Lane, Phoenix, AZ 85021; No. 6, 1988.
  • “Astral Dance,” Cokefish, P.O. Box 683, Long Valley, NJ 07853; Volume 1, No. 7, 1990.
  • “Atalanta’s Legacy,” Omnific, Star Route, Box 21AA, Artemas, PA 17211; Vol II, No. 3, 1990.
  • “Atalanta’s Legacy,” The Triskelion (now defunct); No. 3, 1989.
  • “At 16,” The Poetry Peddler, Box 250, West Monroe, NY 13167; October 1989.
  • “At Some Point,” Misfit Magazine, Fall 2016.
  • “At the MRI,” Howls from the Underground, Screaming Skull Press, 2018.
  • “at the point of too far,” Poetry Forum, 5713 Larchmont Drive, Erie, PA 16509; Winter 1990.
  • “At the Tire Shop,” Main Street Rag, P.O. Box 25331, Charlotte, NC 28229-5331; Vol. 8, No. 1, Spring 2003.
  • “At 30,” Omnific, Star Route, Box 21AA, Artemas, PA 17211; Issue 14, October 1992.
  • “At This Distance,” Lactuca, P.O. Box 621, Suffern, NY 10901; Issue 15, March 1992.
  • “At 12,” Piedmont Literary Review, P.O. Box 3656, Danville, VA 24543; Vol. 10, No. 3, Winter 1986.
  • “Authority Challenged,” Ink, Sweat, & Tears, March 2016.
  • “Bass,” Poet Magazine, Box 54947, Oklahoma City, OK 73154; Summer 1991.
  • “The Bayou at Your Back Door,” Confetti, Peak Output Press, P.O. Box 325, Stacyville, IA 50476; 1988.
  • “Beach,” CaKe, A Journal OF Poetry & Art, Florida A&M University, Tallahassee, FL; 2010.
  • “The Beat,” RE:AL, The Journal of Liberal Arts, College of Liberal Arts, Stephen F. Austin State University, Box 13007-Sfa Station, Nacogdoches, TX 75962; Issue 30.2, Fall/Winter 2005.
  • “Beauty,” Wilderness House Review, 145 Foster St., Littleton, MA 01460; No. 6.2, 2011.
  • “Becoming,” Lime Green Bulldozers, P.O. Box 4333, Austin, TX 78765; 1998.
  • “Between Friends,” Stuff, 546 Clairmont Circle, Apt. 3, Decatur, GA 30033; No. 9, July 1994.
  • “The Bird,” Oasis, P.O. Box 626, Largo, FL 34649-0626; March-April 1993.
  • “Bleep,” Chiron Review, 522 E. South Ave., St. John, KS 67576; 2011.
  • “Bloodline,” Howls from the Underground, Screaming Skull Press, 2018.
  • “Bonnie’s Garden,” Thrift Poetic Arts Journal, 2541 Commonwealth Ave., Charlotte, NC28205; Issue 2, March 2003.
  • “Bottom of the Glass,” Impetus, 4975 Comanche Trail, Stow, OH 44224; Male 1, Jan. 1989.
  • “Boundless,” Main Street Rag, P.O. Box 25331, Charlotte, NC 28229-5331; 2007.
  • “Brother and Sister,” Fauquier Poetry Journal, P.O. Box 68, Bealeton, VA 22712; October 2000.
  • “Bruise Me,” amulet, P.O. Box 884223, San Francisco, CA 94188; San Francisco, CA; July 2010.
  • “Bruised,” The Vein Literary Magazine, October 2012, number XII.
  • “Bulletin,” Howls from the Underground, Screaming Skull Press, 2018.
  • “Bumpers” in The Poetry Bus, Ireland; PB5, 2014. Issue includes CD of poets reading their work.
  • “Burial Ground,” Williwaw, P.O. Box 607, Brockport, NY 14420, Vol. 2, No. 1, Winter 1989.
  • “Business,” Mobius, P.O. Box 674, St. Clair Shores, MI 48080; Spring-Summer, 1995.
  • “Buzzard,” Powhatan Review, 4936 Farrington Drive, Virginia Beach, VA23455; Winter 2006.
  • “Cabinet,” Green Zero; 416 N. Duke St., #7; Lancaster, PA 17602; Issue 3, 1990.
  • “The Calm,” Spirits, Indiana University Northwest’s literary magazine; Indiana University Northwest, Gary, IN 46408; Spring 2010.
  • “Candy that Wayne,” Kalyna ReviewMarch 2016.
  • “Career,” Abbey, 5360 Fallriver Row Court, Columbia, MD 21044; 2013.
  • “Carmel,” Hunger Magazine; P.O. Box 505, Rosendale, NY 12472; 2000.
  • “Catch Phrase,” The Green Muse (defunct), Canada; July 2006.
  • “Celebration,” Moronic Ox, September 2016.
  • “Celluloid,” The Poetry Peddler, Box 250, West Monroe, NY 13167; August 1991, Vol. 2, Issue 4.
  • “Changes,” Artistica literary magazine; Issue 2, 2012.
  • “The Chant,” Rattle, 13440 Ventura Blvd. #200, Sherman Oaks, CA 91423; Issue 14, 2000.
  • “Cheap Grace,” Lunarosity Literary Magazinehttp://www.zianet.com/lunarosity; Spring 2010.
  • “Child and Man,” Illya‘S Honey, P.O. Box 225435, Dallas, TX 75222-5435; Vol. 5, No. 2, 1999.
  • “Choshi,” Bohemia, Waco, TX; July 2012.
  • “Churning,” Thorny Locust, P.O. Box 32631, Kansas City, MO 64171; August 1998
  • “Closets,” Devil Blossoms, P.O. Box 5122, Seabrook, NJ 08302-3511; Number 3, 1999.
  • “Closets,” If Poetry Journal, Rockville, MD., Issue 2, Nov. 2008.
  • “Collectible” in The Milo Review, Fall 2014, print & online.
  • “Compromise,” Thrift Poetic Arts Journal, 2541 Commonwealth Ave., Charlotte, NC28205; Issue 4, 2004.
  • “Connected,” Fade Poetry JournalJuly 2011 & in the first year collection, 2012.
  • “Connecting Lots,” Chiron Review, Rt. 2, Box 111, St. John, KS 67576; Vol. Xiii, No. 2, Summer 1994.
  • “Counselor’s Office” poem in Aji Literary Magazine, August 2014
  • “Counting Change,” Chrysalis, Box 812, Holualoa, HI 96725; March 1991.
  • “Cows,” Event Horizon Magazine, Issue 3, March 2018.
  • “Crane,” Erete‘S Bloom, 2980 Cathedral Drive, Tallahassee, FL32310; Spring 2003, No. 3.
  • “Crane,” In the Eye anthology by Thunder Rain Publishing Corp., P.O. Box 87 Alamogordo, NM 88311-0087; 2007. Proceeds from this anthology went to “Habitat for Humanity” to benefit those affected by Hurricane Katrina.
  • “Cronkite’s Nightmare,” Pudding Magazine; Winter 2013.
  • “Crow,” The Green Muse (defunct), Canada; July 2006.
  • “Currents Scattering,” Piedmont Literary Review, P.O. Box 3656, Danville, VA 24543; Vol. XVI, No. 3, March 1993.
  • “Dadhood,” Stuff, 546 Clairmont Circle, Apt. 3, Decatur, GA 30033; No. 9, July 1994.
  • “The Dark Side,” Up Against The Wall Mother, 6009 Edgewood Lane, Alexandria, VA 22310; Vol. Viii, No. 3, July 1987.
  • “Darts,” Devil Blossoms, P.O. Box 5122, Seabrook, NJ 08302-3511; Number 3, 1999.
  • “Daughters,” Pearl, 3030 E. Second St., Long Beach, CA 90803; 1997.
  • “The Day the Trailer Park Vanished,” The Macguffin, Schoolcraft College, 18600 Haggerty Road, Livonia, MI 48152; April, 1997.
  • “Debating the Problem of Simple Sores,” Blank Gun Silencer, 1240 William St., Racine, WI 53402; 1997.
  • “Decisions,” Words, Pauses, Noises, January 2015.
  • “Deep Space,” Protea Poetry Journal, P.O. Box 876, Sutter Creek, CA 95685; Issue 5, Spring 1990.
  • “The Deepest Part,” Backspace, 25 Riverside Ave., Gloucester, MA 01930-2552; Fall, 1997.
  • “Deja Vu,” Event Horizon Magazine, Issue 3, March 2018.
  • “Denial,” Misfit Magazine, Fall 2015.
  • “Diamond,” Stuff, 546 Clairmont Circle, Apt. 3, Decatur, GA 30033; No. 9, July 1994.
  • “Dignity,” Howls from the Underground, Screaming Skull Press, 2018.
  • “Dimming Wit,” Poetry Super Highway, March 3-8, 2015.
  • “Directions,” Crack the Spine; Issue 35, July 2012.
  • “Discipline,” Blood And Fire Review, P.O. Box 89, Cassville, GA 30123; Volume II, Issue II.
  • “Distracted,” Perceptions, Mt. Hood Community College, 26000 SE Stark St., Gresham, OR 97030; Summer 2011.
  • “The Drunk,” Minnesota Ink, P.O. Box 9148, N. St. Paul, MN 55109; July/August 1991.
  • “Driving with James,” Onionhead Literary Quaraterly, 115 North Kentucky Ave., Lakeland, FL 33801; January-April Issue, 1997.
  • “Dragster,” Busting and Droning Magazine, March 2014
  • “Dream,” Busting and Droning Magazine, March 2014.
  • “Drought,” Erete‘S Bloom, 2980 Cathedral Drive, Tallahassee, FL32310; Summer 2003, No. 4.
  • “Education — For Tegan, Age 7,” Lonzie‘S Fried Chicken, P.O. Box 189, Lynn, North Carolina 28750; Issue 3, 1998.
  • “Emeute,” Chiron Review, Rt. 2, Box 111, St. John, KS 67576; Vol. Xiii, No. 2, Summer 1994.
  • “Encounters,” Subtle Tea; September 2005.
  • “End,” Fowl Feathered ReviewFebruary 2018.
  • “Enemies,” MillerPond, RR 2 Box 241, Middlebury Center, PA 16935; 1999.
  • “Escalator,” Abbey, 5360 Fallriver Row Court, Columbia, MD 21044; Issue 122, June 2010.
  • “Evil,”Busting and Droning Magazine, March 2014.
  • “Expertise,” Misfit Magazine, Fall 2015.
  • “Eyes Wide,” Event Horizon Magazine, Issue 3, March 2018.
  • “Fade,” PoetryRepairs.com, Fall 2015.
  • “Fairytales,” Grub Street, Towson University’s Literary & Arts Magazine, 8000 York Road, Towson, MD 21252; 2012.
  • “Faith,” Words, Pauses, Noises, January 2015.
  • “Familiarity,” Thirteen Poetry Magazine, Box 392, Portlandville, NY 13834; Vol. IX, No. 3, April 1991.
  • “Father and Son,” Howls from the Underground, Screaming Skull Press, 2018.
  • “Father’s Day,” Stuff, 546 Clairmont Circle, Apt. 3, Decatur, GA 30033; No. 9, July 1994.
  • “Feed,” HouseboatAugust 2015.
  • “Feed,” Writing Raw, July 2015.
  • “The Final Stroke,” Protea Poetry Journal, P.O. Box 894, Pine Grove, CA 95665; Vol.7, Spring 1991.
  • “The First Stroke,” Raw Bone, P.O. Box 120661, Nashville, TN 37212; No. 11, June 1988.
  • “Flesh and Blood,” River Poets Journal, Lambertville, NJ; Spring 2009.
  • “Flight,” In Concert, Peak Output Press, P.O. Box 325, Stacyville, IA 50476; 1989.
  • “Flyer,” Askew, P.O. Box 559, Ventura, CA 93002; Issue #9 Fall/Winter 2010.
  • “Flying,” The Village Idiot, P.O. Box 66, Harrison, ID 83833-0066; 1 April 1990.
  • “The Following Days,” Gertrude, P.O. Box 83948, Portland, OR 97283; Winter 2008.
  • “For a Moment, I Shall,” Poetic Voices, P.O. Box 1684, Durant, OK 74702-1684; September 2000.
  • “For Angie, Waving,” The Village Idiot, P.O. Box 66, Harrison, ID 83833-0066; 1 April 1990.
  • “For Cathy, Growing,” Vice Versa, P.O. Box 10432, Chicago, IL 60610-0432; Vol. 4, No. 1., 1989.
  • “For No One,” In Concert, Peak Output Press, P.O. Box 325, Stacyville, IA 50476; 1989.
  • “For the New Order,” Chrysalis, Box 812, Holualoa, HI 96725; October 1991.
  • “For the Old Man,” Howls from the Underground, Screaming Skull Press, 2018.
  • “Fort Morgan,” Chili Verde Review, Box AL, 1 Camino Santa Maria, San Antonio, TX 78228-8608; Fall 1998.
  • “Full Coverage,” UP Dare?, P.O. Box 100, Shartlesville, PA 19554; January 1999.
  • “Fumble into Fancy,” The Green Muse (defunct), Canada; July 2006.
  • “The Gaza Zoo,” Delinquent, 92 Elm Road, Kingston, Surrey, KT2 6HU; Issue 15, 2011.
  • “Genealogy,” Fowl Feathered ReviewFebruary 2018.
  • “Generations,” Wandering Hermit Review, 317 Harvard Ave. E, #B, Seattle, WA98102; Issue 2, April 2006.
  • “Gibson,” New Mexico Review; May 2018.
  • “Gibson,” Howls from the Underground, Screaming Skull Press, 2018.
  • “God,” Tight, P.O. Box 1591, Guerneville, CA 95446; Vol.3, Issue 3, 1992.
  • “Goodbye,” The Green Muse (defunct), Canada; July 2006.
  • “Grains,” Falling Star Magazine, Mcgee4468@aol.com, Los Angeles, CA.; Summer 2007.
  • “The Grand Illusion,” The Blind Mans Rainbow, P.O. Box 18219, Denver, CO 80218-0219; Fall 2002.
  • “Growing,” Iodine, P.O. Box 18548, Charlotte, NC28218-0548; Spring 2003.
  • “Gulls,” Tripwire, P.O. Box 5122, Seabrook, NJ 08302-3511; Number 4, 2000.
  • “Gulls,” The Plastic Tower, P.O. Box 702, Bowie, MD 20718; Number 34, 2000.
  • “Harmony,” The Rockford Review, 7721 Venus St., Loves Park, IL61111; Winter 2004-2005.
  • “Harvest,” Mind in Motion, P.O. Box 1118, Apple Valley, CA 92307; Issue 9, Spring 1987.
  • “Have patience,” ZiggyZag Arms Poetry Journal, February 2017.
  • “He Said Wishes are as Good as Prayers, but His Friend Has Walked a Thousand Dreams,” U.S. 1 Worksheets, U.S. 1 Poets’ Cooperative, P.O. Box 127, Kingston, NJ08528; Volume 51, Spring 2006.
  • “Hidden Inside,” Protea Poetry Journal, P.O. Box 894, Pine Grove, CA 95665; Vol. 7, Spring, 1991.
  • “His Bed,” Kalyna ReviewMarch 2016.
  • “History,” The Screech Owl, October 2012.
  • “Holes,” Fauquier Poetry Journal, P.O. Box 68, Bealeton, VA 22712; October 2000.
  • “Holiday Traffic,” Inky Blue, P.O. Box 385, Comptache, CA 95427; December 1991.
  • “Holidays,” Chiron Review, Rt. 2, Box 111, St. John, KS 67576; Issue 48, Autumn 1996.
  • “Holy Days,” Not One of Us 23, 12 Curtis Road, Natick, MA 01760; Spring 2000.
  • “Home Movies,” The Green Muse (defunct), Canada; July 2006.
  • “Houses,” Event Horizon Magazine, Issue 3, March 2018.
  • “Hunchback,” Chiron Review, Rt. 2, Box 111, St. John, KS 67576; Issue 48, Autumn 1996.
  • “Hurricane,” Pinehurst Journal, P.O. Box 360747, Milipitas, CA 95036; Summer 1991.
  • “Images,” Brev SpreadIssue 15, 2015.
  • “The Immigrant,” Elk River Review, 606 Coleman Ave., Athens, AL 35611-3216; Autumn 1992.
  • “Immigration,” South Florida Poetry Journal, November 2016.
  • “Immortality,” Odin‘s Eye, 301 Lee St. SW #21, Tumwater, WA 98501; 1999.
  • “In Memoriam,” Indian River Review, Issue 1, 2012.
  • “In Shadows, They Cry,” Tipton Poetry Journal, P.O. Box 804, Zionsville, IN 46077; No. 8, Fall 2007.
  • “In the End,” Gertrude, P.O. Box 83948, Portland, OR 97283; Winter 2008.
  • “In the End,” Kalyna ReviewMarch 2016.
  • “In the End,” Zuzu‘s Petals Quarterly, P.O. Box 4476, Allentown, PA 18105; Vol. 2, Special, Issues 2 & 3, November 1993.
  • “Instrument Show,” Pennine Ink, c/o Mid Pennine Arts, The Gallery Downstairs, Yorke St., Burnley BB11 1HD, UK; Issue 29, December 2007/January 2008.
  • “Intimacy,” Abbey, 5360 Fallriver Row Court, Columbia, MD 21044; 2013.
  • “The Iron Bed,” Lactuca, P.O. Box 621, Suffern, NY 10901; Issue 15, March 1992.
  • “It ain’t the same, Casey,” ZiggyZag Arms Poetry Journal, February 2017.
  • “I Was Young,” Mobius, P.O. Box 674, St. Clair Shores, MI 48080; Spring-Summer, 1995.
  • “Jennifer,” Oxygen, 535 Geary St. #1010, San Francisco, CA 94102-1633; Issue 18, February 1998.
  • “John,” Seedhouse, P.O. Box 883009, Steamboat Springs, CO 80488; September/October 2001.
  • “John on the Gridiron,” Z Miscellaneous, P.O. Box 20041, New York, NY 10028; Vol. 2, No. 3, May 1988.
  • “Johnny,” Empirical Magazine; October 2012; Year’s best edition, December 2012, available in print and eBook formats.
  • “Journey,” Veil, 4729 E. Sunrise Drive, #326, Tucson, AZ85718; Premiere Issue, October 2003.
  • “Key of G,” James River Review; P.O. Box 11454, Norfolk, VA 23517-0454; Spring 1994.
  • “Killers,” Howls from the Underground, Screaming Skull Press, 2018.
  • “Kimono,” Snow Monkey; P.O. Box 127, Edmonds, WA 98020; No. 18, 2006.
  • “Kiss Me Onward,” Protea Poetry Journal, P.O. Box 894, Pine Grove, CA 95665; Issue 2, Winter 1989.
  • “Knees,” Iodine, P.O. Box 18548, Charlotte, NC28218-0548; Fall/Winter 2005/2006.
  • “Last Date,” Leapings, 2455 Pinercrest Drive, Santa Rosa, CA 95403; Volume 3, No. 1, Spring 2001.
  • “Last Rite,” Williwaw, P.O. Box 607, Brockport, NY 14420, Vol. 2, No. 1, Winter 1989.
  • “Last Rites Revisited,” Just West of Athens; Winter/Spring 2007.
  • “Late,” Moronic Ox, September 2016.
  • “Late Night,” Stuff, 546 Clairmont Circle, Apt. 3, Decatur, GA 30033; No. 9, July 1994.
  • “Layers,” The Cannon’s Mouth, Issue 54, December 2014.
  • “Leaves,” The Autumn Sound; October 2012.
  • “Lessons,” Lonzie‘S Fried Chicken, P.O. Box 189, Lynn, North Carolina 28750; Winter/Spring 1999.
  • “Lift,” Open Cut summer broadside from Iodine, P.O. Box 18548, Charlotte, NC28218-0548; Summer 2005.
  • “Light,” Sisyphus, 8 Asticou Road, Boston, Ma 02130-3517; Sept.-Oct. 1991.
  • “Living Room Fire,” Pinehurst Journal, P.O. Box 360747, Milipitas, CA 95036; Fall 1991.
  • “Lit Club,” In Parentheses; Aug. 8 2012 web version, October 2012 print version.
  • “Lovers,” Abbey, 5360 Fallriver Row Court, Columbia, MD 21044; Issue 95, September 2002.
  • “Lump,” James River Review; P.O. Box 11454, Norfolk, VA 23517-0454; Spring 1994.
  • “Lunch,” Abbey, 5360 Fallriver Row Court, Columbia, MD 21044; No. 56, June 1988.
  • “Machine,” James River Review; P.O. Box 11454, Norfolk, VA 23517-0454; Spring 1994.
  • “Make-Believe,” Main Street Rag, P.O. Box 25331, Charlotte, NC 28229-5331; Volume 10, No. 3, Fall 2005.
  • Making Ants Pop,” Impetus, 4975 Comanche Trail, Stow, OH 44224; Jan. 1989.
  • “Manipulation”: The Subterranean Literary Journal, United Kingdom; Issue 2, October 2011.
  • “The March,” Mobius, P.O. Box 674, St. Clair Shores, MI 48080; Spring/Summer 1994.
  • “The Mark,” The Screech Owl, October 2012.
  • “Marked,” Boston Poetry, June 2013.
  • “Mattresses,” Doggerel, 1010 Mamie St., Hattiesburg, MS 39401; Issue 6, 2002.
  • “The Medic,” Cokefish, P.O. Box 683, Long Valley, NJ 07853; Volume 1, No. 7, 1990.
  • “Melodies,” Wilderness House Review, 145 Foster St., Littleton, MA 01460; No. 6.2, 2011.
  • “Metallic Wisdom,” Lactuca, P.O. Box 621, Suffern, NY 10901; #15, March 1992.
  • “Minnow,” amulet, P.O. Box 884223, San Francisco, CA 94188; January 2010.
  • “The Minotaur’s Last Meal,” The Triskelion (now defunct); No. 3, 1989.
  • “Mistakes,” Protea Poetry Journal, P.O. Box 894, Pine Grove, CA 95665; Issue 2, Winter 1989.
  • “Modern Arts,” Miller’s Pond, Fall 2015.
  • “Modern Arts,” Unrorean, Volume XIII, Issue 1, July 2013.
  • “Monkey See,” Bottomfish, De Anza College, Cupertino, CA 95014; Vol. 13, Winter 1992.
  • “Monroe,” Main Street Rag, P.O. Box 25331, Charlotte, NC 28229-5331; Volume 6, No. 2, Summer 2001.
  • “Monument,” High Altitude Poetry, a publication of the Simon Fraser University’s High Altitude Poetry Club, 888 University Drive, Burnaby, British Columbia, Canada; Number 14, September 2006.
  • “Morning Fog,” The Arden, P.O. Box 326, Lafayette Hills, PA 19444; Vol. I, Issue 1, 1993.
  • “Mortality,” Thirteen Poetry Magazine, Box 392, Portlandville, NY 13834; Vol. VI, No. 4, July 1988.
  • “Mortgaged,” Moronic Ox, September 2016.
  • “Mother’s Lover,” Abbey, 5360 Fallriver Row Court, Columbia, MD 21044; No. 56, June 1988.
  • “Mother’s Lover Revised,” Abbey, 5360 Fallriver Row Court, Columbia, MD 21044; No. 100, anniversary issue, 2010.
  • “Moving,” Cellar Roots, Eastern Michigan University, 18b Goddard Hall, Ypsilanti, MI48197; Personal Pronouns issue, April 2004.
  • “Moving” (different from preceding poem); Grub Street, Towson University’s Literary & Arts Magazine, 8000 York Road, Towson, MD 21252; 2012.
  • “Mr. A and Mike,” Grub Street, Towson University’s Literary & Arts Magazine, 8000 York Road, Towson, MD 21252; 2011.
  • “Music,” The Contemporary Review, 2000 North Court, #12E, Fairfield, Iowa52566; July 2002.
  • “My Father’s Deer,” The Screech Owl, October 2012.
  • “My Father’s Wife,” Oasis, P.O. Box 626, Largo, FL 34649-0626; March-April 1993.
  • “Neighborhood Watch,” Omnific, Star Route, Box 21AA, Artemas, PA 17211; Issue 13, September 1992.
  • “Nesting Empty,” PoetryRepairs.com, Fall 2015.
  • “New Orleans TV, 2005,” Literature Today, Volume 2, 2015.
  • “‘Night,” Transcendent Zero PressJuly 2015.
  • “Night Beats,” Omnific, Star Route, Box 21AA, Artemas, PA 17211; Vol. II, No. 4, 1991.
  • “1963,” Lactuca, P.O. Box 621, Suffern, NY 10901; Issue 15, March 1992.
  • “No Good Thing,” The Higginsville Reader, P.O. Box 141, Three Bridges, NJ 08887-0141; Vol. 11, No. 1, Winter 2001.
  • “No, Really?” HouseboatAugust 2015.
  • “No, Really?” Writing Raw, July 2015.
  • “Normal,” Howls from the Underground, Screaming Skull Press, 2018.
  • “Not quite right,” ZiggyZag Arms Poetry Journal, February 2017.
  • “Now,” Stuff, 546 Clairmontar “Mistakes,” Protea Poetry Journal, P.O. Box 894, Pine Grove, CA 95665; Issue 2, Winter 1989.
  • “The Oddest Moments,” The Blotter, 1010 Hale Street, Durham, NC 27705; August 2008.
  • “Oddities,” echolocation, University of Toronto, Canada, Graduate English Program.; September 2011.
  • “The Odor of Dust,” The Muse, P.O. Box 45, Burlington, NC 27216-0045; Vol. 2, No. 1, July/August 1988.
  • “Of Mortal Creation,” Twisted, 22071 Pineview, Antioch, IL 60002; No. 6, 1991.
  • “Of Mortal Creation,” Dark Metre, January 2012.
  • “Oh that Conscience,” FLARE: The Flagler Review, Fall 2012.
  • “Old Cat,” The Archer, 2285, Rogers Lane, NW, Salem, OR 97304; Vol Xxxiii, No. 4, Autumn 1988.
  • “Old Friend,” Main Street Rag, P.O. Box 25331, Charlotte, NC 28229-5331; Volume 10, No. 3, Fall 2005.
  • “Old Games,” Bogg; 422 N. Cleveland St., Arlington, VA 22201; No. 60, 1988.
  • “Old Man and the Bike,” The Armchair Aesthete, available from Paul Agosto, 59 Vinal Ave., Rochester, NY 14609; Number 17, Summer/Fall 2002.
  • “One by One,” HouseboatAugust 2015.
  • “One by One,” Writing Raw, July 2015.
  • “One Moment,” Transcendent Zero Press, July 2015.
  • “One Last Caress,” The Muse, P.O. Box 45, Burlington, NC 27216-0045; Vol. 2, No. 1, July/August 1988.
  • “One of a Kind,” HouseboatAugust 2015.
  • “One of a Kind,” Writing Raw, July 2015.
  • “One Thought,” Illuminations, Dept. of English, College of Charleston, 66 George St., Charleston, SC29424-0001; 2005.
  • “On Reading Emeute to the College Girl,” Chiron Review, Rt. 2, Box 111, St. John, KS 67576; Vol. Xiii, No. 2, Summer 1994.
  • “Opportunity,” PoetryRepairs.com, Fall 2015.
  • “Oriented,” Howls from the Underground, Screaming Skull Press, 2018.
  • “Over a Long Time Ago,” PoetryRepairs.com, Fall 2015.
  • “Parent/Child,” Chiron Review, Rt. 2, Box 111, St. John, KS 67576; Vol. Xiii, No. 2, Summer 1994.
  • “The Park at One,” Oak Square, P.O. 1238, Allston, MA 02134; No. 13, Late 1988.
  • “Part of Her,” Omnific, Star Route, Box 21AA, Artemas, PA 17211; Vol. II, No. 2, 1990.
  • “Parting,” Impetus, Implosion Press, 4975 Comanche Trail, Stow, OH 44224; Issue 23.
  • “Parts,” Riggwelter, April 2018, Issue 8.
  • “The Path,” Bogg; 422 N. Cleveland St., Arlington, VA 22201; No. 73/74, Summer 2007.
  • “Penney,” Empty Sink Publishing, June 2015.
  • “Pennies,” SubtleTea; March 2006.
  • “Pensacola Beach,” The Poetry Peddler, Box 250, West Monroe, NY 13167; Vol. 3, No. 2; February 1991.
  • “Pill,” Howls from the Underground, Screaming Skull Press, 2018.
  • “Playground Boy,” Pearl, 3030 E. Second St., Long Beach, CA90803; Issue 35, Summer 2006.
  • “Poet Slammed,” Busting and Droning Magazine, March 2014.
  • “The Pool Game,” Spank the Carp, 2018.
  • “Portrait,” Abbey, 5360 Fallriver Row Court, Columbia, MD 21044; Issue 84, March 1998.
  • “Possum Eyes,” River King, P.O. Box 122 Freeburg, IL 62243, Autumn 2000.
  • “Predator,” Concho River Review, Vol. 29, No. 1, Spring  2015.
  • “Prey,” Lonzie‘S Fried Chicken, P.O. Box 189, Lynn, North Carolina 28750; Issue 6, February 2001.
  • “Private Tables,” Daring Poetry Quarterly, 2020 9th St., SW, Canton, OH 44706; Summer 1986.
  • “Prosthetics,” Askew Poetry Magazine, Ventura, California; Fall 2012/Winter 2013, Issue #13.
  • “Protest,” Grub Street, Towson University’s Literary & Arts Magazine, 8000 York Road, Towson, MD 21252; 2012.
  • “Puzzles,” The Maynard, with audio reading by the author, 2013.
  • “Quake,” The Muse, P.O. Box 45, Burlington, NC 27216-0045; Vol. 2, No. 1, July/August 1988.
  • “Quarter,” Stuff, 546 Clairmont Circle, Apt. 3, Decatur, GA 30033; No. 9, July 1994.
  • “A Question of Balance,” Impetus, 4975 Comanche Trail, Stow, OH 44224; Issue 21, January 1993.
  • “Quittin’ Time,” Chrysalis, Box 812, Holualoa, HI 96725; March 1991.
  • “Radical,” Middle Gray Magazine, March or April 2014.
  • “Rattler,” Empty Sink Publishing, Issue 4, 2014.
  • “Ready?,” The Vein Literary Magazine, October 2012, number XII.
  • “Reconnecting,” Abbey, 5360 Fallriver Row Court, Columbia, MD 21044; Issue 98, July 2003.
  • “Reconnecting,” Moronic Ox, September 2016.
  • “Recycling,” Chiron Review, Rt. 2, Box 111, St. John, KS 67576; Vol. X, Issue 2, Summer 1991.
  • “Relics,” samizdada, PO Box 8046, Austin, TX 78713; February 2, 2007.
  • “Remember, Please,” The Screech Owl, October 2012.
  • “Respect,” Tripwire, P.O. Box 5122, Seabrook, NJ 08302-3511; Number 4, 2000.
  • “Resurrection,” Exact Change Only, winter 2012-2013.
  • “Ringing Out the Old,” Tight, P.O. Box 1591, Guerneville, CA 95446; Vol. 4, Issue 1, 1993.
  • “Road,” Assisi, St. Francis College, Brooklyn, NY; Fall 2011/Winter 2012 issue.
  • “Rob Ending,” Misfit Magazine, Fall 2016.
  • “Rocking,” Illuminations, Dept. of English, College of Charleston, 66 George St., Charleston, SC29424-0001; August 2002.
  • “Rocks,” In Concert, Peak Output Press, P.O. Box 325, Stacyville, IA 50476; 1989.
  • “Ross,” Howls from the Underground, Screaming Skull Press, 2018.
  • “Rows,” PoetryRepairs.com, Fall 2015.
  • “Running,” Sulphur River Literary Review; P.O. Box 402087; Austin, TX 78704-5578; Vol. Viii, No. 1, Spring 1997.
  • “Saturday,” Amelia, 329 E Street, Bakersfield, CA 93304; January 1986.
  • “Scribbles,” Limestone Circle, P.O. Box 178484, San Diego, CA 92177-8484.
  • “Sea Roar,” Onionhead Literary Quarterly, 115 N. Kentucky Ave., Lakeland, FL 33801; January 1991.
  • “Sand,” Iodine, P.O. Box 18548, Charlotte, NC28218-0548; Spring/Summer 2004.
  • “Scenes,” Miller’s Pond, Fall 2015.
  • “Scrap from an Old Notebook,” The Blotter, 1010 Hale Street, Durham, NC 27705; August 2008.
  • “Scotland,” Empty Sink Publishing, June 2015.
  • “The Second Stroke,” Coal City Review, University of Kansas, English Dept., Lawrence, KS 66045; No. 8, April 1994.
  • “Second Thoughts,” Moronic Ox, September 2016.
  • “Second Thoughts,” Nebo Literary Journal, Arkansas Technical University, Vol. 33, No. 2, Spring 2015.
  • “Seconds,” Piedmont Literary Review, P.O. Box 3656, Danville, VA 24543; Vol. Xix, No. 2, 1996.
  • “Seeking Middle Ground,” The Paper Salad Poetry Journal, 627 E. 100 S. #A, Salt Lake City, UT 84102; Vol. 2, 1992.
  • “Self-Portrait,” Backspace, 25 Riverside Ave., Gloucester, MA 01930-2552; Spring, 1997.
  • “Sentiment,” Main Channel Voices, P.O. Box 492, Winona, MN55987-0492; Vol. 1, No. 2, Spring 2005.
  • “September,” Pinehurst Journal, P.O. Box 360747, Milipitas, CA 95036; Summer 1992.
  • “Setting, Rising,” The Green Muse (defunct), Canada; July 2006.
  • “Severed,” Tight, P.O. Box 1591, Guerneville, CA 95446; Vol. 3, Issue 3, 1992.
  • “Shakes,” Conceit Magazine, P.O. Box 884223, San Francisco, CA 94188; December 2009.
  • “Shakes,” Empty Sink Publishing, June 2015.
  • “Shutterwinks,” Paisley Moon, P.O. Box 2373, Santa Cruz, CA 95063; Summer 1991.
  • “Siblings” Poetry Super Highway, March 3-8, 2015.
  • “Simplicity,” Subtle Tea; September, 2005.
  • “Sinking,” Cube Literary Magazine, P.O. Box 5165, Richmond, VA 23220; Vol. 1, No. 3, Fall 1988.
  • “Slices,” Main Channel Voices, P.O. Box 492, Winona, MN55987-0492; Winter 2006-2007.
  • “Slices Too,” Main Channel Voices, P.O. Box 492, Winona, MN55987-0492; Winter 2006-2007.
  • “Slow Fans,” Proof Rock, P.O. Box 607, Halifax, VA 24558, No. 8, Winter 1985-86.
  • “Smoke,” Abbey, 5360 Fallriver Row Court, Columbia, MD 21044; Issue 122, June 2010.
  • “Soul,” Edgz, P.O. Box 799, Ocean Park, WA98640; Issue 6, September 2003.
  • “Son,” The Schuylkill Valley Journal of the Arts, 276 West Haines St. Philadelphia, PA 19144; Spring 2004.
  • “Space,” Edgz, P.O. Box 799, Ocean Park, WA98640; Issue 6, September 2003.
  • “Spare Change,” The Poetry Peddler, Box 250, West Monroe, NY 13167; Vol. 4, Issue 6, October 1992.
  • “Special Days,” On the Rusk, Issue 4, March 2014.
  • “Specs,” Chiron Review, Issue 97, Fall 2014.
  • “Spots,” Spirits, Indiana University Northwest’s literary magazine; Indiana University Northwest, Gary, IN 46408; Spring 2010.
  • “Squoze,” Metropolis, Box 5192, Elm Grove, WI 53122; Vol. I, Issue One, Summer 1991.
  • “Stage One,” Howls from the Underground, Screaming Skull Press, 2018.
  • “Stats,” The Poetry Peddler, Box 250, West Monroe, NY 13167; Volume 2, Issue 4, June 1990.
  • “Stones,” Lavender Wolves Literary Journal, June 2015.
  • “Stop Me,” Howls from the Underground, Screaming Skull Press, 2018.
  • “Strains,” The Blotter, 1010 Hale Street, Durham, NC 27705; August 2008.
  • “Stranger, We’ve Changed the War,” Paisley Moon, P.O. Box 2373, Santa Cruz, CA 95063; Volume II, No. 3, Summer 1991.
  • “Strangers,” Licking River Review, Northern Kentucky University, Northern Kentucky Univ., Highland Heights, KY 41099, Volume 42, 2011.
  • “Studebaker,” Poet Magazine, Box 54947, Oklahoma City, OK 73154; Summer 1991.
  • “Studebaker,” A Contemporary American SurveyThe UnitarianUniversalist Poets; Pudding House Publications, 60 N. Main St., Johnstown, OH 43031; March 1996.
  • “Style,” The Atlas Magazinepremiere issue; Sept. 1, 2012.
  • “Suburban Cow,” Boston Poetry, June 2013.”
  • “Such is a Good Man” in The Vermillion Literary Project, May 2014.
  • Suicide,” The Pointed Circle, Portland Community College, 705 N. Killingsworth, Portland, OR97217; Spring 2002.
  • “Suicide,” The Blind Man‘S Rainbow, P.O. Box 18219, Denver, CO80218-0219; Winter 2003-2004, January 2004.
  • “Suicide,” Chopper Journal, 167 Broadway #2, Norwich, CT 06360, chopperjournal@gmail.com; Issue 5, 2010.
  • “Surface Tension,” Abbey, 5360 Fallriver Row Court, Columbia, MD 21044; Issue 95, September 2002.
  • “Survival,” River King, P.O. Box 122, Freeburg, IL, 62243; Spring 2001.
  • “Symphony,” The Christian Science Monitor, March 25, 1999.
  • “Take My Hand,” Protea Poetry Journal, P.O. Box 894, Pine Grove, CA 95665; Issue 2, Winter 1989.
  • “Talking Head: Left & Right,” The New Verse News, January 23, 2014.
  • “Taxing,” Erete‘s Bloom, 2980 Cathedral Drive, Tallahassee, FL32310; Spring 2003, No. 3.
  • “Tell Me,” Zuzu‘S Petals Quarterly, P.O. Box 4476, Allentown, PA 18105; Number 8, Fall/Winter 1994.
  • “The Test,” Proof Rock, P.O. Box 607, Halifax, VA 24558, No. 8, Winter 1985-86.
  • “These Colors Run,” The Binnacle, The University of Maine at Machias; Fall 2011.
  • “This Woman,” Impetus, Implosion Press, 4975 Comanche Trail, Stow, OH 44224; No. 14, July 1988.
  • “The Third Stroke,” Chrysalis, Box 812, Holualoa, HI 96725; March 1991.
  • “Third Generation,” Sierra Nevada College Review; Sierra Nevada College Review, 999 Tahoe Blvd., Incline Village, NV89451; 2004.
  • “Thomas,” Chiron Review, Rt. 2, Box 111, St. John, KS 67576; Issue 48, Autumn 1996.
  • “Three,” The Macguffin, Schoolcraft College, 18600 Haggerty Road, Livonia, MI 48152; April, 1997.
  • “Tiddlywinks With Satan,” Mobius, P.O. Box 674, St. Clair Shores, MI 48080; Spring/Summer 1994.
  • “Time Rings,” Mobius, Orion Art Center, 115 S. Anderson, Lake Orion, MI 48035; Spring 1990.
  • “Tinfoil,” Words, Pauses, Noises, January 2015.
  • “Tires and Tumors,” Word Fountain MagazineSpring 2018, #15.
  • “To Do-Do-Do,” Magnolia Review, Volume I, Issue I, 2015.
  • “To Give A Child Choice,” Chrysalis, Box 812, Holualoa, HI 96725; March 1991.
  • “Tokyo Fabric,” The Rockford Review, 7721 Venus St., Loves Park, IL61111; Vol. XX, No. 1, Winter 2001.
  • “Tornado Season,” The Macguffin, Schoolcraft College, 18600 Haggerty Road, Livonia, MI 48152; April, 1997.
  • “Trails,” Main Street Rag, P.O. Box 25331, Charlotte, NC 28229-5331; 2007.
  • “Transplant,” HouseboatAugust 2015.
  • “Transplant,” Writing Raw, July 2015.
  • “The Tree,” Main Street Rag, P.O. Box 25331, Charlotte, NC 28229-5331; Volume 8, Number 4, Winter 2004.
  • “Trilogy In Stone,” Late Knocking, P.O. Box 336, Forest Hill, MD 21050; Vol. V, No. 1, October 1991.
  • “Trilogy In Stone,” Minnesota Ink, P.O. Box 9148, N. St. Paul, MN 55109; Vol. 13, No. 2, March/April 1992.
  • “Trinity,” Cellar Roots, 18B Goddard Hall, Ypsilanti, MI48197; September 2004.
  • “Trinity,” Leapings, 2455 Pinercrest Drive, Santa Rosa, CA 95403; Volume 2, No. 2, Summer 2000.
  • “Trinity,” U.S. 1 Worksheets, U.S. 1 Poets’ Cooperative, P.O. Box 127, Kingston, NJ08528; Volume 50, 2005.
  • “Trips,” Middle Gray Magazine, March or April 2014.
  • “Trusting B.J.,” Poet Magazine, Box 54947, Oklahoma City, OK 73154; Vol. 5, No. 1, 1993.
  • “Turtle Lawn,” Williwaw, P.O. Box 607, Brockport, NY 14420, Vol. 2, No. 1, Winter 1989.
  • Two haiku: “Western clouds” and “Baghdad shrapnel,” Kalyna ReviewMarch 2016.
  • “Two Women,” Otoliths, November 2015.
  • “Under a North Wind,” Tight, P.O. Box 1591, Guerneville, CA 95446; Vol. 4, Issue 1, 1993.
  • “Under the Banyan,” Protea Poetry Journal, P.O. Box 894, Pine Grove, CA 95665; Issue 3, Spring 1989.
  • “Under Sheets,” Tripwire, P.O. Box 5122, Seabrook, NJ 08302-3511; 2000.
  • “Unk,” Illuminations, Dept. of English, College of Charleston, 66 George St., Charleston, SC29424-0001; August 2002.
  • “Unscathed,” Prole, Prolebooks, 15 Maes-y-Dre, Abergele, Conwy, England, LL22 7HW; Issue 7, 2012.
  • “Vacation,” Exact Change Only, winter 2013.
  • “The Vapor King,” Haight Ashbury Literary Journal, 558 Joost Ave., San Francisco, CA 94127; Vol. 14, No. 1, 1995.
  • “Veil,” Conceit Magazine, P.O. Box 884223, San Francisco, CA 94188; Volume 2, Number 18, 2008.
  • “Waiting for the Post,” Slipstream, Box 2071, New Market Station, Niagra Falls, NY 14301; Vol. 9, 1989.
  • “Waiting for the Old Man,” Stuff, 546 Clairmont Circle, Apt. 3, Decatur, GA 30033; No. 9, July 1994.
  • “The Waiting Room,” Minnesota Ink, P.O. Box 9148, N. St. Paul, MN 55109; Vol. 15, No. 1, January 1994
  • “Wasn’t That a Party,” Piedmont Literary Review, P.O. Box 3656, Danville, VA 24543; Vol. 14, No. 2, 1990.
  • “Waste,” Boston Poetry, June 2013.
  • “Water,” Event Horizon Magazine, Issue 3, March 2018.
  • “Waves,” Iodine, P.O. Box 18548, Charlotte, NC28218-0548; Spring 2003.
  • “Webs,” Protea Poetry Journal, P.O. Box 876, Sutter Creek, CA 95685; Issue 5, Spring 1990.
  • “Weekly Call,” Empty Sink Publishing, Issue 4, 2014.
  • “Westworld,” The Laughing Dog, 4729 E. Sunrise Drive, #326, Tucson, AZ85718; Issue 8, Winter 2003.
  • “What Really Matters,” Chiron Review, Issue 97, Fall 2014.
  • “When a Neighbor Dies,” Red Dancefloor, P.O. Box 7392, Van Nuys, CA 91409-7392; Vol. 3, Issue 1.
  • “When Jonathan Sings,” Tipton Poetry Journal, P.O. Box 804, Zionsville, IN 46077; No. 8, Winter 2007/2008.
  • “When Hawaiian Girls are Grinning,” Blue Light Review; P.O. Box 1621, Pueblo, CO 81002; Number 13, 1990.
  • “Willfully Ignorant,” Howls from the Underground, Screaming Skull Press, 2018.
  • “Winter,” The Muse, Winter 2013; purchase the international collection, published in India, here.
  • “Words,” Stuff, 546 Clairmont Circle, Apt. 3, Decatur, GA 30033; No. 9, July 1994.
  • “Worms,” Paisley Moon; P.O. Box 2373, Santa Cruz, CA 95063. Issue 9, October 1990.
  • “Worth,” Protea Poetry Journal, P.O. Box 876, Sutter Creek, CA 95685; Winter 1992.
  • “Wounds,” Main Street Rag, P.O. Box 25331, Charlotte, NC 28229-5331; 2007.
  • “X-Rays,” Up Dare?, P.O. Box 100, Shartlesville, PA 19554; January 1999.
  • “Yard Sale,” The Armchair Aesthete, available from Paul Agosto, 59 Vinal Ave., Rochester, NY 14609; No. 8, 1998.
  • “Your Funeral, For Mo…again,” Curbside Review, P.O. Box 667189, Houston, TX 77266-7189; Volume 4, Issue 12, December 2003.
  • “Zen,” Askew Poetry Magazine, P.O. Box 559, Ventura, CA 93002; Issue #9, Fall/Winter 2010.

Nonfiction
[A sampling of articles…]

  • “A Clown Around Project for Fun,” Creative Crafts, P.O. Box 700, Newton, NJ 07860; Vol. 7, No. 11, Oct 1981.
  • “Adding A Machine Shop Transforms this Jobber into a One-Stop Service Center,” Eastern  Automotive Journal, P.O. Box 373, Cedarhurst, NY 11516; March/April 1981.
  • “A Florida Wholesaler Says No to Walk-in Trade,” Eastern AutomotiveJournal, P.O. Box 373, Cedarhurst, NY 11516; July/Aug 1981.
  • “Alabama Edisons,” Business Alabama Monthly Magazine, P.O. Box 66200, Mobile, AL 36660; Aug 1989.
  • “Allen’s Christian Store,” Christian Bookseller, 396 E. St. Charles Rd., Wheaton, IL 60187; Aug 1981.
  • “Aloha from Aiea,” The Pet Dealer, 567 Morris Ave., Elizabeth, NJ 07208; Nov 1983.
  • “A Primer on Painting,” Maintenance & Building Management, 287 Mokauea St., Honolulu, HI 96819; Aug 1983.
  • “Atlanta Wholesaler Prospers in Tough Market,” Beer Wholesaler, 75 SE 4th Ave., Delray Beach, FL 33444; Jan/Feb 1982.
  • “Australia’s First Naval Casualty Remains a Mystery,” Warship, Conway Maritime Press Ltd, 101 Fleet Street, London, England EC4Y 1DE; 1992.
  • “Australia’s Stake in America’s Civil War,” Naval History, US Naval Institute, Annapolis, MD 21401; Vol. 3, No. 2, Spring 1989.
  • “Back to Basics Groceries,” Business Alabama Monthly Magazine, P.O. Box 66200, Mobile, AL 36660; Feb 1989.
  • “Barn Style Increases Sales,” Western & English Fashions, 2403 Champa St., Denver, CO 80205; Oct 1980.
  • “Beyond Star Wars,” Business Alabama Monthly Magazine, P.O. Box 66200, Mobile, AL 36660; April 1989.
  • “Big Island Automotive Trades Association,” Hawaii Automotive News, 1177 Kapiolani Blvd., Suite 201, Honolulu, HI 96814; June 1984.
  • “Bonus Bucks mean extra sales,” Tack ‘N’  Togs Merchandising, P.O. Box 67, Minneapolis, MN 55440; Nov 1980.
  • “Boots, Bucks, Boost Two Stores,” Army/Navy Store & Outdoor Merchandiser, 567 Morris Ave., Elizabeth, NJ 07208; July 1981.
  • “Bryson, Inc. of Oklahoma,” Beer Wholesaler, 75 SE 4th Ave., Delray Beach, FL 33444; Jan/Feb 1982.
  • “Building the Prime Corner in Calhoun County,” Business Alabama Magazine, P.O. Box 66200, Mobile, AL; Vol. 4, No. 10, Oct 1989.
  • “Cashing in on the Tourist Trade,” Western & English Fashions, 2403 Champa St., Denver, CO 80205; May 1986.
  • “Circle H Carried Through Hard Times,” Western & English Fashions, 2403 Champa St., Denver, CO 80205; Feb 1986.
  • “Colonial Creates a Huntsville Skyline,” Business Alabama Magazine, P.O. Box 66200, Mobile, AL; Vol. 4, No. 10, Oct 1989.
  • “The Dark Side of Aloha,” Honolulu Magazine, P.O. 36 Merchant St., Honolulu, HI 96813; Vol. Xxi, No. 4, Oct 1986.
  • “Dressing Up Friends,” Western & English Fashions, 2403 Champa St., Denver, CO 80205; Feb 1987.
  • “Fort Book,” Wilson Library Bulletin, 950 University Ave., Bronx, NY 10452; Vol. 63, No. 6, Feb 1989.
  • “Growing Alabama Wholesaler Diversifies to Meet Retailers’ Needs,” Beer Wholesaler, 75 SE 4th Ave., Delray Beach, FL 33444; 4th Qtr, 1979.
  • “Hawaii Store Marches with Military Market,” Army/Navy Store & Outdoor Merchandiser, 567 Morris Ave., Elizabeth, NJ 07208; April 1983.
  • “Hawaii Wholesaler Promotes Imports,” Beer Wholesaler, 75 SE 4th Ave., Delray Beach, FL 33444; March/April 1983.
  • “Hawaii’s Country Corner: Hard Times Success in a Limited Market Area,” Western & English Fashions, 2403 Champa St., Denver, CO 80205; May 1983.
  • “Hawaiian Shop Owner Profits by Using Direct Mail Advertising,” Brake & Front End, 11 S. Forge St., Akron, OH 44309; Vol. 54, No. 1, Jan 1984.
  • “High Rolling in Huntsville,” Business Alabama Monthly Magazine, P.O. Box 66200, Mobile, AL 36660; Sept 1987.
  • “Hiking DeSoto State Park,” The Great American Outdoors, P.O. Box 10069, Huntsville, AL 35801-3670; May 1987.
  • “Horne’s Country Store,” Western & English Fashions, 2403 Champa St., Denver, CO 80205; July 1984.
  • “The Huntsville Law Rush,” Business Alabama Monthly Magazine, P.O. Box 66200, Mobile, AL 36660; May 1989.
  • “Is One Town Big Enough for Them?” Business Alabama Monthly Magazine, P.O. Box 66200, Mobile, AL 36660; April 1988.
  • “The Knockoff Pros,” Business Alabama Monthly Magazine, P.O. Box 66200, Mobile, AL 36660; March 1989.
  • “Knowledge: The Key to Triangle C,” Western & English Fashions, 2403 Champa St., Denver, CO 80205; Mar 1982.
  • “Mazy Dazy,” Kids Fashions, 210 Boylston St., Chestnut Hill, MA 02167; Sept 1983.
  • “Mobile Practice Helped This Young Doctor Keep Rolling,” Veterinary Economics, P.O. Box 13265, Edwardsville, KS 66113; Dec 1983.
  • “Mocking as a Business,” Business Alabama Monthly Magazine, P.O. Box 66200, Mobile, AL 36660; Aug 1989.
  • “Moving Management In House,” Maintenance & Building Management, 287 Mokauea St., Honolulu, HI 96819; July 1983.
  • “Neural Networking,” Ad Astra, 922 Pennsylvania Ave., Washington, DC 20003; Vol. 1, No. 4, April 1989.
  • “Neural Networking,” Social Issues Resources Series, Inc., Applied Science 1989, P.O. Box 2348, Boca Raton, FL 33427-2348; 1989.
  • Numerous articles (Associate Editor, writer, photographer Aug 1983 to Aug 1986), Hawaii  Foodservice News, 470 N. Nimitz, Honolulu, HI 96817.
  • Numerous articles (Associate Editor, writer, photographer Jan 1983 to June 1986), Hawaii  Remodeling Magazine, 470 N. Nimitz, Honolulu, HI 96817.
  • “Organizing a Writers Club that Works,” The Writer, 120 Boylston St., Boston, MA 02116; July 1986.
  • “Painting in the ’80s,” Building Industry Digest, 287 Mokauea St., Honolulu, HI 96819; Aug 1983.
  • “Producing Apparel in Paradise,” Apparel Industry Magazine, 180 Allen Rd., Suite 300-S, Atlanta, GA 30328; May 1985.
  • “Promotion Places Fernandez on Honor Roll,” Play Meter, P.O. Box 24170, New Orleans, LA 70005; Vol. 9, No. 10, June 4, 1983.
  • “Quality and Appearance Boost Sales at the Perfect Touch,” Bath & Domestics, 75 SE 4th Ave., Delray Beach, FL 33444; 1st Qtr, 1980.
  • “Shirley’s Birdies,” The Pet Dealer, 567 Morris Ave., Elizabeth, NJ 07208; Oct 1985.
  • “Should Doctors Make Housecalls?,” 1988 Old Farmer’S Almanac, Yankee Publishing Inc., Dublin, NH 03444; No. 196, 1988.
  • “The Soft Touch,” Bath & Domestics, 75 SE 4th Ave., Delray Beach, FL 33444; 3rd Qtr, 1980.
  • “Sparking Revolution,” Business Alabama Monthly Magazine, P.O. Box 66200, Mobile, AL 36660; Oct 1988.
  • “Suppository,”  The Writer’s Exchange “Favorite Faux Pas,” The Writer, posted on the magazine’s website, September 2008.
  • “Staying Country in the Country,” Western & English Fashions, 2403 Champa St., Denver, CO 80205; Jan 1981.
  • “This Alabama Wholesaler Works on a First Name Basis,” Beer Wholesaler, 75 SE 4th Ave., Delray Beach, FL 33444; 2nd Qtr, 1979.
  • “Triumph’s First Postwar Roadster,” Car Collector/Car Classics, Box 28571, Atlanta, GA 30328; Vol. IV, No. 3, March 1981.
  • “Unattended Children: An Engagement Policy that Works,” Wilson Library Bulletin, 950 University Ave., Bronx, NY 10452; Vol. 62, No. 10, June 1988.
  • Various basic reading stories; Critical Vocational Reading Series, Instructional/Communications Technology, Inc., Huntington Station, NY 11746; Sets VA*A, VA*B, VA*C, 1981.
  • “Water Heating in the 1980s,” Maintenance & Building Management, 287 Mokauea St., Honolulu, HI 96819; May 1983.
  • “When One Man’s Hometown Changes,” Hometown Press, 2007 Gallatin St., Huntsville, AL 35801; March/April 1988.
  • “Yagoda: 45 Years of Success,” Beer Wholesaler, 75 SE 4th Ave., Delray Beach, FL 33444; 4th Qtr 1978.
  • “Youth and Experience Pay Off at New Orleans Beer Wholesaler,” BeerWholesaler, 75 SE 4th Ave., Delray Beach, FL 33444; Sept/Oct 1980.
 

Selected Nonfiction Periodicals

 
The Writer; Ad Astra; The Old Farmer’s Almanac; Honolulu; Business Alabama Monthly; The Wilson Library Bulletin; Alabama Magazine; Hometown Press; Hawaii Remodeling; Naval History; Freelance Writer’s Report; Hawaii Foodservice News; Hawaii Automotive News; Apparel Industry Magazine; Hawaii Real Estate Investor; Brake and Front End; Eastern Automotive Journal; Army/Navy Store & Outdoor Merchandiser; Professional Housing Management Association “Pronotes,” Kids Fashions; Tack ‘n’ Togs; Western & English Fashions; Christian Bookseller; Bath & Domestics; Beer Wholesaler; Veternarian Economics; Pet Dealer; Pet Business; Car Collector/Car Classics; Creative Crafts; Play Meter; Hawaii Maintenance & Building Management; Hawaii Building Industry Digest; Hawaii Food Show Guidebook; Social Issues Resources Series, Inc.; Critical Vocational Reading Series; Hawaii Filipino News.

 

Extraordinary Artists

 

Dick Claassen, author/musician

Under the direction of master flautist and instructor Dick claassen, PlayFolkInstruments.com is dedicated to increasing accessability to the Native American flute. Dick has penned several instruction books on learning and playing the Native American flute, banjo, and ukulele, the most comprehensive, understandable, and fun books in the field. If you love folk music and want to know more about it, PlayFolkInstruments.com is the place to visit.

 

Yvon Hintz, author

Yvon1Yvon has been writing stories since she was a child, starting her epic Half Horse series when she was nineteen. As much as weaving stories—as she describes it—she loves to edit. She has edited stories for others as well as her own. 

Yvon  is also an artist who illustrates some of her stories and creates covers for them, as well as covers for friends’ novels. 

Some of Yvon’s favorite things include science fiction, cats, dragons, travel and watching movies and documentaries. She’s published numerous novels, including Half Horse—The Quinolan Qhronicles (12 books), Hyper Space Key Trilogy: Skypuddle, Arim’s Dark Star, Hyper Space Key, Blood Dr
agons, 
Bottle of Jin D.N.O., 
TANDDIS series (Time and No Damn Direction in Space), Creepy, Suki and Silk, and Pinhead of Angels.

Visit her on the web at http://members.iinet.net.au/~dominion/.

yvonsbooks

J.D. Fox, musician

frittsJan De Vos, aka JD Fox, is one of Belgium’s premier rockers, having served as drummer for The Machines, Belgium’s number one pop band, from the late 1970s through the early 1980s. In 1989, he joined Derek & The Dirt, a heavy rock outfit that recorded four albums before his departure. In 1991, he became a singer-guitarist, combining American roots music with French lyrics, recording an album with the band Paris Texas and three solo records.

Shortly after what he thought would be retirement from the music business in 2007, Fox contacted Muscle Shoals songwriter Spooner Oldham and hooked up with the Sunset Travelers, Holland’s finest roots band. Together, they recorded The Roadmaster, a tribute to Oldham with songs that speak for themselves—no sophisticated arrangements, no big production, no vocal acrobatics.

In 2016, Fox released My Friend, his homage to another Muscle Shoals legend, Donnie Fritts. This time, he decided to go further back to his musical roots. With friends from Belgium, he formed The Velvet Street Band (the name refers to the address of the home studio where the album was recorded), an outfit that primarily plays acoustic instruments. The album also features Bonnie Fuqua, performing the spoken vocal on the title song, “My Friend.”

 To purchase these albums, please visit the JD Fox website for more information.

 

Bio

Professional Background:  Chris has worked as a newspaper reporter, magazine editor, book editor, English tutor, substitute teacher, janitor, respiratory therapy technician, gas station attendant (when such things existed), salesclerk, musician in a Mexican restaurant, writing instructor, and more. After graduating college and a few stints as a daily and weekly newspaper reporter, Chris moved to Hawaii where he served as a magazine writer/photographer, both on-staff and freelance. In the mid-1980s, he turned to full-time freelance writing, specializing initially in nonfiction before transitioning primarily to fiction and poetry.

Chris’s work spans a broad spectrum—historical, musical, and social nonfiction, and dark fantasy, literary, and science fiction and poetry—appearing in hundreds of publications worldwide as diverse as Bull Spec, Main Street Rag, Slipstream, Pearl, Bogg, Chiron Review, The Year’s Best Horror Stories, Cemetery Dance, Christian Science Monitor, Honolulu Magazine, Naval History, and The Writer. His published books include Native American Flute Craft ~ Ancient to Modern, The Native American Flute ~ Myth, History, Craft, Trust Walk and Rise Up fiction collections, The Swing: Poems of Fatherhood, Big Daddy’s Fast-Past Gadget, Muscle Shoals ~ The Hit Capital’s Heyday & Beyond, Cancer, White Trash & Southern ~ Collected Poems, and Notes to My Becca.

Please visit Chris’s Author Page at Amazon.com.

Birth: 1956 in Andalusia, Alabama, City Hospital, a two-story building on East Watson Street near the intersection of South Cotton Street, built in the early 1900s, later named Covington Memorial Hospital before being abandoned in the early 1960s. The hospital’s now gone, razed, nothing remaining, not even a splinter. Chris swears he is not responsible.

Education: BA in communication arts/journalism from University of West Florida where he learned to write news articles shortly before 24/7 cable and internet “news” annihilated journalistic ethics, reliability, and professionalism.

Other Pursuits: Chris is an accomplished musician of several instruments, primarily guitar and Native American flute. He has recently produced the WindPoem series of CDs, featuring Native American flute meditations and World Fusion compositions. Other music projects are in pre-production. His music can be licensed through Pond5.com for use in other creative projects. He also crafts Native American flutes. For more information about his flutes and music, please visit the WindPoem page.

Contact: Reach Chris through Twitter or email.

Please download his press kit for more information.

city-hospital

Home

Great stories, good music ~ no more, no less


[C.S. Fuqua] writes … with sensitivity and grace … compelling, honest. ~ Bob Keeshan, TV’s original Captain Kangaroo

Good horror … isn’t about gore but about the unexpected … Fuqua is a master of prose. I found his writing crisp, filled with details that make a story come to life. ~ Diabolical Plots

…[R]eminded me a bit of Manly Wade Wellman’s Silver John stories. I can think of no better praise than that.SFRevu

…a lasting impression on the reader.Sensawunda

Wry wit on socio-political problems …MyShelf.com

C S Fuqua handles the themes of love and death with beautiful simplicity: what else is there to life?Kalyna Review

With an eye for the particular and an ear for the music of everyday life, C. S. Fuqua shares with readers his brave and lyrical view of human experience. ~ Dr. Wendy Galgan, Editor, Assisi Literary Magazine

C.S. Fuqua’s [poetry] paints an entire story with a Tom Waits brush. If you don’t know what I’m talking about, google it. ~ Ken S., Editor, Spank the Carp literary magazine

…a feeling of hope and the certainty that happiness and goodness are still out there. ~ Cynthia Harris, author

… gritty, insightful, humorous, tragic, and celebratory … ~ Jonathan K. Rice, Editor, Iodine Poetry Journal

Fuqua’s, then, is a mind that’s not mired in or bogged down by horror, but one that appreciates the possibilities dark fantasy provides in terms of language and ideas, symbol and emotion. ~ David Bain, author/editor

…thought-provoking and interesting … ~ Suanne Schafer, Editor, Empty Sink Publishing

… a wonderful job of creating compelling, well-drawn characters… Mike Suchcicki, author/editor/digital designer & producer

C.S. Fuqua is a first-class [Native American] flute builder and flute musician …Dick Claassen, Native American flute musician and author of numerous Native American flute instructional manuals


5-time winner Year’s Best short fiction

4-time winner Year’s Best “honorable mention” short fiction

EPIC  winner Year’s Best Poetry Collection


 


Bestsellers & more:

  • Native American Flute Craftan in-depth, workbench manual for crafting the Native American flute in all its forms, perfect for the beginner through pro levels. More information on the WindPoem  page.
  • Walking after Midnight ~ Collected Storieswith eight “year’s best” honors, has something for every reader in your life, from dark fantasy, horror, and science fiction to slipstream, southern gothic, and literary. 
  • Stream C.S. Fuqua’s WindPoem albums and Sinner’s Suite EP on Pandora and Spotify.
  • Get free downloads by signing up for the newsletter, packed with information about current and coming releases and free downloads of fiction, poetry, music, and more in every issue.
  • License Chris’s music for your projects at C.S. Fuqua ~ WindPoem
  • Check out the latest newsletter!

     


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