July 1999
Editor: Klaus J. Gerken
Production Editor: Pedro Sena
European Editor: Moshe Benarroch
Contributing Editors: Martin Zurla; Rita Stilli; Milan Georges Djordjevitch; Michael Collings
ISSN 1480-6401
Elementals
By
Michael R. Collings
INTRODUCTION.........................................Dr M. Collings Phd
CONTENTS
CREATION: ON CONSIDERING THE IMPONDERABLE MATTER OF THE UNIVERSE
VOLCANO
AIR
NAKED ON ITS BRANCH THE SHADOW STANDS
FALLING WATER
FOG, LIKE SNOW
SANDSTONE
DESICCATED FLAME
LIVE OAK
GODFINGER
SEASHALLOWS
GWYN TOUR*
RAIN
THISTLES
EAGLE
GREENERY
CREEKROCK
PREDATOR
NIGHT
MUSIC OF THE SPHERES
Elemental Sonnets
~~~~~~~~~~~~~~~~~
Allusive.
Elusive.
Illusive.
In their own ways, each of these words suggests something of the power
I hoped to embed within each of the Elementals. And each suggests
something of the genesis of the poems as individuals and as a coherent--or
perhaps incoherent--sequence.
Tracking down where poems come from is always simultaneously fascinating
and frustrating, rewarding and surprising. The Elementals have perhaps
the most complex genealogy of any literary form I have yet attempted,
deriving from several sources extending back some thirty years. On the
surface, they seem an immediate outgrowth of the two "Remembery" sequences
previously published in Ygdrasil (April 1996, August 1998). Those two
sequences adapted the sonnet as form to autobiography as subject,
manipulating the former to lend poetic unity and (I hope) interest to
the latter. In the process of exploring instants of memory, at least
partially in order to understand the strands of influence that constitute
a full life, I discovered how malleable the sonnet form could be. As
Remembery progressed, I tried to strain all of the criteria for sonnets
to their limit: iambic pentameter gave way to syllabics, generally nine
to eleven syllables per line; perfect rhyme gave way to slanting rhyme,
to half rhyme, to echoic rhyme; neat quatrains and couplets found
themselves shifting, weaving, blending in strange ways. The results
seemed to be sonnets that were not quite sonnets, poems that sounded
as much like colloquial speech as poetry, autobiographical instants that
expanded to incorporate an entire life. And there the experiment with
form would end. I thought.
Even as I wrote the final Remembery poems, however, something even
more radical began to suggest itself in my poetry. What if more than
form--rhythm, rhyme, structure--were pushed to its limits? What if
language itself--spelling, punctuation, typography, spacing--were also
pushed to the extremes, then coupled with content that was itself
self-reductive, struggling to understand essences--all captured in
something that retained the outlines of the sonnet, perhaps the most
elegantly refined and certainly among the most historically traditional
of all English verse forms?
What if the poems became captured instants that in turn attempted to
capture universals?
The next logical step was to identify precisely what kind of "universals"
--"elementals"--I wanted to explore. And here, another strand became
critical. Since long before my formal graduate studies in Renaissance
literature, I have been fascinated by sixteenth-and seventeenth-century
English literature, history, culture, society, and life. A late
high-school infatuation with Milton and Paradise Lost resulted in an
eighteen-month flirtation with Renaissance epic--and twenty-five years
later with the final version of a twelve-book, 6000-line Renaissance
epic, The Nephiad (Zarahemla Motets, 1998). A separate but related
project in constructing a time-line of the seventeenth-century resulted
in a closer understanding of the essentially visual nature of Renaissance
thought. And my traumatic exposure to chemistry in high school was still
vivid enough in memory to assure me that I was neither capable of nor
interested in examining elements in the modern sense.
So, in keeping with reductive sense of the poems themselves, I moved
backwards.
Earth, Air, Fire, Water--the elements separating themselves from chaos.
Chaos evolving into increasingly complex and sophisticated spheres of
order. Order expanding to fill the cosmos. Cosmos … well, at that point,
not even poetry would be sufficient to say what would have to be said.
Thus the Elementals came into being. Highly structured and ordered, in
spite of surface appearances, they struggle to restrain chaos into
order, order into cosmos, and cosmos into eternity. While remaining
poems. And existing as self-contained moments of poetic expression.
Perhaps no poet is ever quite certain that the results of imagination
touch reality precisely as hoped. I read the Elementals and see not
only their words and pictures but the entire flow of imagination that
went into their creation. Readers must take on faith that there are
pathways leading from apparent point A to apparent point Z; those
pathways are imprinted indelibly upon my memory. But to some extent,
the Elementals seem to have succeeded as I intended.
Shortly after completing the typescript for the sequence, I asked a
colleague and fellow-poet at Pepperdine University to read it and
comment it. His responses were gratifying:
I very much enjoyed reading your earth, air, fire, water sonnet sequence.
What a nice combination of physics and poetry, and what an intriguing
form. They strike me as elemental, nuclear-fused sonnets, free radicals
one electron away from exploding. To use Poet's phrase, you are both
poet and mathematician.
While I appreciated the implicit praise, I appreciated even more the
descriptive phrasing: "nuclear-fused sonnets, free radicals one electron
away from exploding."
Precisely what I had hoped.
Now, of course, the Elementals must stand on their own. I can talk as
long as I wish (overly long, perhaps) about what I wanted to happen. I
can quote a fellow-poet about what he perceived. But ultimately, the
Elementals--as do all things elemental--must remain free to combine
with other minds and other imaginations, to illude, elude, and allude
according to their own generative power.
Dr M. Collings Phd
Elementals
By
Michael R. Collings
"The elements of all ... properties or things are eternal, uncreated,
self-existing. Not one particle can be added to them by creative power.
Neither can one particle be diminished or annihilated" - Parley P. Pratt
CREATION: ON CONSIDERING THE IMPONDERABLE MATTER OF THE UNIVERSE
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
unmade protons sigh//transform translated
electrons/positrons attenuated
particles managed by magnetic fields
forage through infinity counsel yield
consent to constitute each Entity,
time and space slow to full eternity...,
ENTITY galactic-huge organic
thought unable yet of peace or panic
sweeps meditative prescient-memories
to chemistry physics cosmology
twists subatomic particles their fraction
with each inarticulated action
moves INTELLIGENCES a millennial nod
and contemplates imagining its GODS
VOLCANO
~~~~~~~
Heat beneath beat beneath convulsive heat/
beat/retreat of fire thrum/drum/sun-hot cen-
ter polar/pillar penetrates sensate
liquid ore/core heat beneath below
man-
tled bone-fire/stone-fire/bonfire of vagar-
ies "'ante Vulcunum,' before fire, art-
ifice, and the yoke of labor"* knee-arc
finger-curl shoulder-roil above new-heart-
beat RISE face flesh furnace/blasted new RISE
eye-flame throat-flame neck-flame RISE beyond fire
already pooling golding gilding mass
in open space in CONDENSATION
cool-air
savors heat assuages beat transmuted gold
weds leaden-darkness-crusted-Earth-moist mold
[* Quoted from Raphael Falco, Conceived Presences: Literary Genealogy in
Renaissance England Amherst MA: University of Massachusetts Press, 1994),
p. 148; citing Erwin Panofsky.]
AIR
~~~
heavy torpid air soils lungs with lead
boils black from asphalt cracks sidewalks chalk-
encrusted - rusted handbars scorch hands red
worn-rubber swings reverse fierce fretful jerks
sole-motion slow-motion arcs sun-bleached park-
scape shimmers motionless against the line
horizon-distant spume of hunching black
en-trop-ic hor-i-zon-tal anodyne
drags breath drags bone blood sinew sweating brow
eyes-upward -northward colliding black on
black [...] silence [...] pent breath in a blow
funnel-tunnel twist-stalk shearing golden
after-light spume-bright-essence whirlwind-fear
grain-threshing flesh-crushing swirl-rushing air
NAKED ON ITS BRANCH THE SHADOW STANDS
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Naked on its branch the shadow stands
Bulks sulks sits flits flirts shifts
With every wending of a-pillow-Sun
Now-lean now-wan now-harsh now-elemental
Gental rolling hills and emerald swards
No-high behind beyond beside beneath
And the shadow remains, rests
Bulks sulks sits flirts flits shifts
With each warning of the moon-diame-
ter try thrive throw spin-dinning frenzies
Other-shadows other-silence other-milk-marsh
Banks slip salient streams course onward
Outward downward from the branch-raw
Crotch where the shadow stands
FALLING WATER
~~~~~~~~~~~~~
Falling water cuts cold granite at its
Precipice-severe sharp glinting Mica,
Feldspar tumbled over milk-pink quartz,
Enough to make the summer sunlight ache-
Hovers...then down past draughty caverns
Vastly ancient, twisting about itself
In columns solid with an evanescent
Play of light and flash and flesh and lift-
Defies shoulders shudders sheers of face-cliffs
Barely visual-to plunge ecstatic
Cold and boiling into substance cleft
And cloven woven with all-shades of life-
Into the ceaseless blue of silent music...
Calmly warming blue-lit cool mosaic
FOG, LIKE SNOW
~~~~~~~~~~~~~~
Fog frosts arid chaparral mottled ce-
anothus crowns submerge nearby ridge-flanks
age lighten disappear one by one days
mutely slide unneeded as slick fog banks
forward huddles reverses to grey seas
each day fog ingests one bite more quests a
moment longer wraps one more distant ridge
denying shadow spreading softened shapes
woolly-wrapped in cotton-fog white-spun fog
sparkled with facet drops dependent from
slick-smooth leaves ceanothus mocks holly
dust-green shimmers scrubbed fire-mantle-scrim
haven-bar spread beneath sun-frozen flames-
moist fog rests cool upon dry mountain breasts
SANDSTONE
~~~~~~~~~
-sand-and-banded-stone mottled-blood-
engorged-forging-thrusting-skyward pinnacle
mud-and-blood-pressured-stone tower cold-
ly wearing iron weight of years nipping
wind-tears cracking pins of elemental
ice burst infinitesimal frac-
tures wedge submicroscopic molecules-
moisture waging immortal war with mock-
ing grit [...] scouring wind [...] blistering
sun - molecules wedge freeze expand fall
heat on heat gristly gritty sledge-bearing
drop-wedging shards break fragmental fila-
ment shudders separates a hairbreadth crack
topples monoliths to waiting grating rock
DESICCATED FLAME
~~~~~~~~~~~~~~~~
Desiccated flame encrusts the rock
The air the very breath that labors
Its harsh lungs taught tight strait dry-fire rakes
All essence to a leaden heap...embers
Beyond remembery sublimated
Adust golden melancholy touching
Essence with its grimly cessant motion
Infusing effusing refusing beseechings
To longer linger, finger with deft
Sanguine touch face of rock and shade and earth
Until inexorable gravity wafts
Spinning motes into the throat of glory-birth
Where irrigated flames consume the dust...
And All reveals through shimmer-sentient mist
LIVE OAK
~~~~~~~~
Writhe-oak live-oak wraith-wreath stark against a dark-
Blue plum-bruise sky Gotterdammerung
In bare-branch black Druidic as mute murky
Tarns that once pronounced dire mysteries among
Bruit-pagan forebears
Stark still against
Black cut-out sky made real by outlined
Absent stars obscured inferred sea-sand dense
Except where live-oaks tentacle tendril
Then and now
At dawn grey-dusky green
Musty even in beginning light dagger-
Digits gnarl against the coming sheen
Curl and twist whorl resist-less jagged-
Ragged leaves pin-prickling breezes gaunt
Invade dark live-oaks writhe-oaks wraiths and haunts
GODFINGER
~~~~~~~~~
GodFinger rakes ragged tags of blue-
still-peace white-curling over white until
it shoals time-encrusted collapsing time-hewn
grit-made-stone embraces-crashes into lull
[From where I stand upon the cliff, the moment
Hesitates, my gaze drops, greets the wind's; and
Sand and sea and cliff and Face-of-God combine
Into their single startling element
That shares equally of breath and glint, land
And fluid intricately entwined...]
far off GodFinger begins again again
Infinitely roils spiraling gestation
Toward new shoalings liberated grains
Condense again again into Creation
SEASHALLOWS
~~~~~~~~~~~
seashallows dance chrome-indigo life-sear-
ing sun eclipsed its balled-up shroud a pall
of crumpled black crepe-rape along a tear-
strained horizon above/beyond wave-walls
that hover-tremble-heave-themselves erect
vagrant moon gone too, dead whiteface hidden
beneath turquoise tumults ridge-edge-ledge backed
wave on wave shimmers upward-grasping lead
froth-plait damp
voyeur stars dare not condescend
to peek, to peep and pry calm nakedness
transforms sheer ocean into leagues of bend-
ing-writhing-twisting-arcing-curling massed
musculature breaking on land-sand coves
and still seashallows dance chrome-indigo
GWYN TOUR*
~~~~~~~~~
-beast slipping//sleeping over all
white-glint fall to cancel columned greens and
sheen instead in cold-fire harmony Pal-
try thirst first-scattered by a miser's hand
White-tower-beast sleeping//creeping soft mounds
enfold sharp crystalline fangs consum-
ing//inhuming above white-flight redounds
hangs silhouette against a thrice-howled moon
Wyntour-beast creeping//heaping leaving no-
track no-trace no-hibernation-place
no-grace inter-froze between steep foe
and waiting grating white-beast-buried face
Winter-beast heaping//weeping anticipat-
ing dissipating baiting verdant fate
[*Gwyn Tour: Welsh for "white tower"; during the sixteenth and seventeenth
centuries, the surname Winter occasionally occurs spelled 'Wintour' or
'Wyntour' to reflect its supposed derivation from the Welsh.]
RAIN
~~~~
--and the backyard a grizzle-bearded
wild of lush-tufted weeds love-knot-twined ger-
aniums peek through dust crocuses rear
toward pocked canopies apples plump bare
twigs with wooden buds peaches and apri-
cots little more than lint-brush green from dim
dark the next stray storm-cloud gathers steel-dry
curves against sunset-glare
Tomorrow when
incipient grass strains high hard peach-pods
tangle bluff and moist crocuses spike slow
thick sticky beads to counter thirst rain-beat-
en breeze-blown apple branches swing and nod
solemn deference to spring I shall mow
and trim and thin preparing for the heat
THISTLES
~~~~~~~~
Along prim pasture-rows random thistles
root to haunt dim musty memories in
airless torpid pungent afternoons Sessile
topknot-shoots tuft volcanic-stagnant flame
Cool lava spurts cloud-light ash-thick into
unstirring air floats motionless an instant
settles in a pregnant wash of fiber
on grey-green-dusty waiting milkweed cups
Volatile threatening thistles nettle-warn
wayward cows that graze toward the west
Unassaulted crowns of purple crest
low pastures until stiff summer's age warms
flame to subtle snows that-patient-wait....
In harvest winds drift-thistles abdicate
EAGLE
~~~~~
entity of earth and water wooden
flight straining to at-one with air with fire--
feather beak and claw poised over hot blood
turgid earth-blood scorching pinnacle/lair
mail-linked feathered head glacier-pale eyes
not-white/not-blue translucent glare/stare/dare-
ing eight-foot wingspan arched/stretched\arced essays/
conspires/aspires to ascend beyond bare
stark-laced granite shoulders barren pine-knot
tops burdened with two thousand pounds of nest-
ling twigs/branches\moss earth-dead plant-nest that
flings wings outward upward skyward air-crest
outline dark against cerulean light
curving up-/out-/skyward coveting flight
GREENERY
~~~~~~~~
swollen with potentiality of seed
[potens, potere, 'to be able', 'to
have power'-dim shadow-word from long-dead
Latin] the green ignites underneath a
summer-sun explosive bursts of green
hand-breadth wide and thick/thin lush as taste
hover as if with pinioned angel-wings
over branch and trunk and root arms out-stretch
silk-haloed in shrill heat shadows march their
order over man-earth-ribs rippling with
fecund growth summer's burgeoning share
of elemental virtu strains to birth
shaggy garments fade to naked strength
and greening verdure preens through day-shine's length
CREEKROCK
~~~~~~~~~
creekrock sleek-rock ticking geoLogic
time cold-moss-hung clock-intrusion fractured
cutting/jutting/rutting iced-magmatic
tears glacial tears condensed coarse-crystal hard-
ness thrusting/bursting/thirsting melting heat
compression into quartz feldspar [pink-white
plagioclase sheer orthoclase] grain-grat-
ing crush crystal into crystal into light
softness melts hardness endures inures it-
self to aeons weight pressure heat heat
pressure weight and shatters with unending bite
ice snow wind heat snow Wind Ice TIME abate
weight thick-sediment-clothing slides away
creekrock glistens moistens enlightens day
PREDATOR
~~~~~~~~
shoulder-ember Arab-named intensity
a thousand multiples of yellow suns-
red-swollen massy vast immensity
five hundred years beyond light's quick-shrug run
ankle eye-of-god-bright light blue-white-on-
white titanic glow five-thousand tens more
luminous than ancient-yellow sparking wanes-
nine hundred years beyond our light-fleshed core
static water frozen sword-tip barely
flare of night bright hesitance half-spun be-
tween cock-surely-seen feigned-unseen-surely-
known spot/blue\wheeling milk-sheen/circled/worlds
Alnitak/Mintaka/Alnilam - belt
of potence harness-glow celestial
NIGHT
~~~~~
bruise-blue-black counter-element anti-
element, unLight disembodied drapes
dark as skeleton branches hang at eve-
ning in bleak December bruise-black shape
antithesis of form leafless starkness
darkness invades sky tree rock stone all Earth
all Air all Sea all Flame transmuted flesh
of dayShine forced against/into itself
antagonist of light agonistic
day contracts against inequinox ex-
pands // contracts / / expands and severs vatic
silence heals bruise-black neon-glow and nox-
ious night drapes the rood-arm-cross of mourning
remnant of the struggle to be born
MUSIC OF THE SPHERES
~~~~~~~~~~~~~~~~~~~~
Earth-Air-Water-Flame-
Fire falling from crystalline Outer Sphere-
Sphere of God-down to Earth-Dust-World
World where we are second-born-
On its way-pure-poured Flame vibrating Sun-
Moon-Stars-Wanderers through blue Night-
Flame touches incandescent eternals-
Spirits of Fire eager for breath and dust-
Eager to descend concentric Spheres-
Become one with Earth-pass through Water-
Ascend Air-rejoin the Fount of All-Flame-
Elemental Unity at the End of All-
Unity-Infinity-Eternity-
Earth-Air-Fire-Water...Children of Highest God ....
All Poems copyright (c) 1999 by Michael R. Collings
A New Age: The Centipede Network Of
Artists, Poets, & Writers
An Informational Journey Into A Creative Echonet [9310]
(C) CopyRight "I Write, Therefore, I Develop" By Paul
Lauda
Come one, come all! Welcome to Newsgroup alt.centipede. Established
just for writers, poets, artists, and anyone who is creative. A
place for anyone to participate in, to share their poems, and
learn from all. A place to share *your* dreams, and philosophies.
Even a chance to be published in a magazine.
The original Centipede Network was created on May 16, 1993.
Created because there were no other networks dedicated to such
an audience, and with the help of Klaus Gerken, Centipede soon
started to grow, and become active on many world-wide Bulletin
Board Systems.
We consider Centipede to be a Public Network; however, its a
specialized network, dealing with any type of creative thinking.
Therefore, that makes us something quite exotic, since most nets
are very general and have various topics, not of interest to a
writer--which is where Centipede steps in! No more fuss. A writer
can now access, without phasing out any more conferences, since
the whole net pertains to the writer's interests. This means
that Centipede has all the active topics that any creative
user seeks. And if we don't, then one shall be created.
Feel free to drop by and take a look at newsgroup alt.centipede
Ygdrasil is committed to making literature available, and uses the
Internet as the main distribution channel. On the Net you can find all
of Ygdrasil including the magazines and collections. You can find
Ygdrasil on the Internet at:
* WEB: http://users.synapse.net/~kgerken/
* FTP: ftp://ftp.synapse.net/~kgerken/
* USENET: releases announced in rec.arts.poems, alt.zines and
alt.centipede
* EMAIL: send email to kgerken@synapse.net and tell us what version
and method you'd like. We have two versions, an uncompressed
7-bit universal ASCII and an 8-bit MS-DOS lineart-enchanced
version. These can be sent plaintext, uuencoded, or as a
MIME-attachment.
. REMEMBERY: EPYLLION IN ANAMNESIS (1996), poems by Michael R. Collings
. DYNASTY (1968), Poems by Klaus J. Gerken
. THE WIZARD EXPLODED SONGBOOK (1969), songs by KJ Gerken
. STREETS (1971), Poems by Klaus J. Gerken
. BLOODLETTING (1972) poems by Klaus J. Gerken
. ACTS (1972) a novel by Klaus J. Gerken
. RITES (1974), a novel by Klaus J. Gerken
. FULL BLACK Q (1975), a poem by KJ Gerken
. ONE NEW FLASH OF LIGHT (1976), a play by KJ Gerken
. THE BLACKED-OUT MIRROR (1979), a poem by Klaus J. Gerken
. JOURNEY (1981), a poem by Klaus J. Gerken
. LADIES (1983), a poem by Klaus J. Gerken
. FRAGMENTS OF A BRIEF ENCOUNTER (1984), poems by KJ Gerken
. THE BREAKING OF DESIRE (1986), poems by KJ Gerken
. FURTHER SONGS (1986), songs by KJ Gerken
. POEMS OF DESTRUCTION (1988), poems by KJ Gerken
. THE AFFLICTED (1991), a poem by KJ Gerken
. DIAMOND DOGS (1992), poems by KJ Gerken
. KILLING FIELD (1992), a poem by KJ Gerken
. BARDO (1994-1995), a poem by Klaus J. Gerken
. FURTHER EVIDENCES (1995-1996) Poems by Klaus J. Gerken
. CALIBAN'S ESCAPE AND OTHER POEMS (1996), by Klaus J. Gerken
. CALIBAN'S DREAM (1996-1997), a poem by Klaus J. Gerken
. THE LAST OLD MAN (1997), a novel by Klaus J. Gerken
. WILL I EVER REMEMBER YOU? (1997), poems by Klaus J. Gerken
. SONGS FOR THE LEGION (1998), song-poems by Klaus J. Gerken
. REALITY OR DREAM? (1998), poems by Klaus J. Gerken
. APRIL VIOLATIONS (1998), poems by Klaus J. Gerken
. THE VOICE OF HUNGER (1998), a poem by Klaus J. Gerken
. SHACKLED TO THE STONE, by Albrecht Haushofer - translated by JR Wesdorp
. MZ-DMZ (1988), ramblings by Igal Koshevoy
. DARK SIDE (1991), ramblings by Igal Koshevoy
. STEEL REIGNS & STILL RAINS (1993), ramblings by Igal Koshevoy
. BLATANT VANITY (1993), ramblings by Igal Koshevoy
. ALIENATION OF AFFECTION (1993), ramblings by Igal Koshevoy
. LIVING LIFE AT FACE VALUE (1993), ramblings by Igal Koshevoy
. HATRED BLURRED (1993), ramblings by Igal Koshevoy
. CHOKING ON THE ASHES OF A RUNAWAY (1993), ramblings by I. Koshevoy
. BORROWED FEELINGS BUYING TIME (1993), ramblings by Igal Koshevoy
. HARD ACT TO SWALLOW (1994), ramblings by Igal Koshevoy
. HALL OF MIRRORS (1994), ramblings by Igal Koshevoy
. ARTIFICIAL BUOYANCY (1994), ramblings by Igal Koshevoy
. THE POETRY OF PEDRO SENA, poems by Pedro Sena
. THE FILM REVIEWS, by Pedro Sena
. THE SHORT STORIES, by Pedro Sena
. INCANTATIONS, by Pedro Sena
. POEMS (1970), poems by Franz Zorn
All books are on disk and cost $10.00 each. Checks should be made out to
the respective authors and orders will be forwarded by Ygdrasil Press.
YGDRASIL MAGAZINE may also be ordered from the same address: $5.00 an
issue to cover disk and mailing costs, also specify computer type (IBM
or Mac), as well as disk size and density. Allow 2 weeks for delivery.
Note that YGDRASIL MAGAZINE is free when downloaded from Ygdrasil's
World-Wide Web site at http://users.synapse.net/~kgerken.
All poems copyrighted by their respective authors. Any reproduction of
these poems, without the express written permission of the authors, is
prohibited.
YGDRASIL: A Journal of the Poetic Arts - Copyright (c) 1993, 1994, 1995,
1996, 1997 & 1998 by Klaus J. Gerken.
The official version of this magazine is available on Ygdrasil's
World-Wide Web site http://users.synapse.net/~kgerken. No other
version shall be deemed "authorized" unless downloaded from there.
Distribution is allowed and encouraged as long as the issue is unchanged.
All checks should be made out to: YGDRASIL PRESS
COMMENTS
* Klaus Gerken, Chief Editor - for general messages and ASCII text
submissions. Use Klaus' address for commentary on Ygdrasil and its
contents: kgerken@synapse.net
* Pedro Sena, Production Editor - for submissions of anything
that's not plain ASCII text (ie. archives, GIFs, wordprocessored
files, etc) in any standard DOS, Mac or Unix format, commentary on
Ygdrasil's format, distribution, usability and access:
art@accces.com
We'd love to hear from you!
Or mailed with a self addressed stamped envelope, to:
