Unlikely 2.0

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Editors' Notes

Maria Damon and Michelle Greenblatt
Jim Leftwich and Michelle Greenblatt
Sheila E. Murphy and Michelle Greenblatt

A Visual Conversation on Michelle Greenblatt's ASHES AND SEEDS with Stephen Harrison, Monika Mori | MOO, Jonathan Penton and Michelle Greenblatt

Letters for Michelle: with work by Jukka-Pekka Kervinen, Jeffrey Side, Larry Goodell, mark hartenbach, Charles J. Butler, Alexandria Bryan and Brian Kovich

Visual Poetry by Reed Altemus
Poetry by Glen Armstrong
Poetry by Lana Bella
A Eulogic Poem by John M. Bennett
Elegic Poetry by John M. Bennett
Poetry by Wendy Taylor Carlisle
A Eulogy by Vincent A. Cellucci
Poetry by Vincent A. Cellucci
Poetry by Joel Chace
A Spoken Word Poem and Visual Art by K.R. Copeland
A Eulogy by Alan Fyfe
Poetry by Win Harms
Poetry by Carolyn Hembree
Poetry by Cindy Hochman
A Eulogy by Steffen Horstmann
A Eulogic Poem by Dylan Krieger
An Elegic Poem by Dylan Krieger
Visual Art by Donna Kuhn
Poetry by Louise Landes Levi
Poetry by Jim Lineberger
Poetry by Dennis Mahagin
Poetry by Peter Marra
A Eulogy by Frankie Metro
A Song by Alexis Moon and Jonathan Penton
Poetry by Jay Passer
A Eulogy by Jonathan Penton
Visual Poetry by Anne Elezabeth Pluto and Bryson Dean-Gauthier
Visual Art by Marthe Reed
A Eulogy by Gabriel Ricard
Poetry by Alison Ross
A Short Movie by Bernd Sauermann
Poetry by Christopher Shipman
A Spoken Word Poem by Larissa Shmailo
A Eulogic Poem by Jay Sizemore
Elegic Poetry by Jay Sizemore
Poetry by Felino A. Soriano
Visual Art by Jamie Stoneman
Poetry by Ray Succre
Poetry by Yuriy Tarnawsky
A Song by Marc Vincenz

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by Amanda Earl

i did this initially for an assignment for a rob mclennan workshop. we had to take one of our poems and extract words from it to make a new poem. here's the stuff i wrote about it at the time:

i chose "red" since it was the longest i've written this session at seventy seven words. when i reread "red", its symbolic meaning is what stood out. extracting words took away from that symbolic meaning and left what? mostly single lines (attempt 1), yet when i looked at these individual lines, they felt arbitrary, causing my spidey senses to tingle. what's the difference between arranging words myself and simply leaving it to chance? likely chance is a better writer than me.

to investigate this question i cut the words up, and shuffled them around.(attempt 2). This method inspired interesting form possibilities and sound patterns, but still i felt constrained by the groupings i had forced on these words…

so i strung them from the ceiling, making a word mobile. depending on where you look, you see different combinations of words or even single words and they resonate or don't in their own peculiar and particular way. (attempt 3).


  1. the words "poem," "poetry" and "poet" mess me up. i try to conform to this inner nag droning on and on about what a poem is supposed to be; i enforce line breaks for no particular reason, fall into precious language and unnatural syntax;
  2. the most interesting thing for me to do is to experiment, to play and push boundaries;
  3. my word choices and combinations are more arbitrary than i realized; the trick is finding the combination that resonates;
  4. i want to do something no one else has done or would have done the same way; to me that is the act of creation: to make something out of nothing, to put something in the world that didn't exist before, not just chewing, swallowing and regurgitating;
  5. the exercise dug the words out of the ruts they were in and caused me to look at them from a new (new) angle(s), reminding me that deconstruction is another good technique for revision.

                           rembrandt root madness


             jealous cloth

          + forbidden


             incantation +


                          back of


                                                                                               red emp shun

with held
                          plasma in utero    see

                                                      emb ironic  new of

                                                                                 sum 1 more



                                                                    neuron fire

                                                                                                 works cerebral cortez

is angered is cape at bull
                                                      hemingways ambulance ambulatory


                                                                                                                             war patterned ink dirt corp


                                                                    roots of

thru china silk

                                   sonrise murder
                                                                    (be)holds flower

                                         persian carpet flaw

                                                                                                                    motif a dance of

                                                                                                                    imperfect limb

                                                                                                    for memory                                           taste

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Amanda Earl writes and lives juicy in Ottawa, Canada. Her poems have appeared most recently on line at Latchkey.net, Leafpress.ca and Logolalia.com, and will soon be appearing in Ottawater.com 3.0. Some of her poetry is also in print, most recently in Quills Canadian Poetry Magazine and Variations. She's the managing editor of the Ottawa on line journal Bywords.ca and the Bywords Quarterly Journal. Her erotic fiction has been published at sites such as the Erotica Readers and Writers Association and Unlikely 2.0, as well as in anthologies by Alyson Books, Cleis Press, Carroll and Graff and Thunder's Mouth.