gary brower | malpais review vol.3 no.4 spring 2013

The artwork on the covers are by Lauren Camp: "Sidemen," on the front, is a tribute to the Duke Ellington Orchestra; and, "Loudest Noise" on the back focuses on Thelonious Monk, both mixed media on layered fabric.

Malpais Review

Vol. 3 No. 4 Spring 2013 – Editorial staff: Editor: Gary L. Brower. Associate Editor: Dale Harris. Art Editor: Marilyn Stablein. Guest Editor: Kathleen McNerney. Southern California correspondent: Suzanne Lummis. Staff Photographer: J. M. Gay, Jr. Graphic Design: Melanie Wegner. Website: Kenneth P. Gurney.  Advisory board: Renny Golden, E. A. “Tony” Mares, Simon Ortiz, Charles Potts, Margaret Randall

Malpais Review name and slogan: Todd Moore

Congratulations to Malpais Review Art Director Marilyn Stablein for winning the 2013 Graphic Arts Award from the New Mexico Press Women’s organization for her cover art collage “Time on my Hands,” which was awarded to her at an awards banquet on 4/27/13. Her work appeared on the MR front cover of issue no. 4, Vol. 2 (Spring, 2012). Go to and click on that issue to see the artwork.

New Staff Releases: Margaret Randall, The Rhizome as A Field of Broken Bones (San Antonio, Tx., Wings Press, 2013). A book of new poems. Dale Harris, Dream of Dragonfly (Albuquerque, Hummingbird Hollow Press, 2013).

The artwork on the covers are by Lauren Camp: “Sidemen,” on the front, is a tribute to the Duke Ellington Orchestra; and, “Loudest Noise” on the back focuses on Thelonious Monk, both mixed media on layered fabric. See Credits Page for details.

The Sky of Your Mind Open and Vast

Jazz did not come out of the past
it arrived from the future—it tells of
things to come up ahead that are heard
in the moment—moment to moment
things linked to the beat of the cosmos —
it even tells of day-to-day things like how
the water comes from the sky and notes
are an ocean, and the waves are song —

Mysticos float to shore on boats with
a platoon of saxophones—the
beaches teaming with horses, a legend
from sometime ago speaks of
a trumpeter who could be heard from
across the water, a dark-skinned man
named Buddy Bolden whose family
had once been enslaved, but
only in body and not in soul —

Who later released the entire world
from enslavement with their song,
and when, after many years an oak
has lived a full life releases itself
the long spirit has a sound
who Baby Dodds dances forth as drum —

Baby and the trees tell us the future
is here to come, right now
in the now, now’s the time sayeth
Charlie Parker …

Who is the ghost of my stereo,
this Charlie who can divide time
infinitesimally, like infinity, man,
like wow —
And another guy who never saw
snow, named Lennie, who could
slow it all down and stretch it
all out where everything in between
the notes was a universe, same
as snowflakes in their slow eternity
drift —

It is not known if beauty has
an organization, the workings of the
mind would like to think it does, but
the mind is impressionable and only
knows what its master the ego wants it
to know—on the other side, or
rather, outside of all that, is the
priest Lester Young who came to
perfection in the night skies
releasing the joy of the cosmos
like a comet shower, horses
on the beach in full gallop, fishes
jumping in loops out of
the wine dark sea —

No more will Grendel come to knock,
these rhythm sections are locked,
like mariners bent to their oars,
one-hundred arms flowing, the sweat
of Louis Armstrong is that sweat
of sweet release, and you catch
the count in a million germinating
four/fours comin’ at you from
the future —

While the angel Billie whose sorrow was
the purest song unfolded, an apple that
is both bitter and sweet, sang.

Mark Weber

The artwork on the covers are by Lauren Camp: "Sidemen," on the front, is a tribute to the Duke Ellington Orchestra; and, "Loudest Noise" on the back focuses on Thelonious Monk, both mixed media on layered fabric.

The Malpaís Review seeks to expand upon New Mexico’s rich and diverse cultural heritage by bringing together poetry, poetry translation, essays on aspects of poetry from writers around the state, the USA and beyond.

The issues will be published quarterly. Each issue will take 10 to 20 pages for one featured writer with the remaining pages open to everyone else. Some interior pages may be used for black and white artwork.

Gary L. Brower, Editor

Subscriptions: $40 for one year (4 issues) postage paid. Single issues: $12 + $3.50 shipping. Make check payable to Gary Brower, Malpaís Review, POB 339, Placitas, NM 87043. The Malpaís Review is a 6×9 hardcopy publication between 120 and 150 pages each issue.

Spring issue: Oct, Nov, Dec
Summer issue: Jan, Feb, Mar
Autumn issue: Apr, May, Jun
Winter issue: Jul, Aug, Sep


Malpaís Review seeks original poems, previously unpublished in North America, written in English. Any topic, but we despise hate inciting and pornographic work. Submit 1 to 5 poems, no limit on length, but once you hit 10 pages call the submission done (unless the submission is a single poem that is longer than 10 pages). Notification of acceptance will take place within 1 month of the closing of a reading period.

One submission per reading period. If your work is accepted into an issue, please let one issue go by before you submit again. In other words, we will publish your work a maximum of twice a year in an effort to keep the voices fresh. No simultaneous submissions.

Essay topics: poetic criticism, history, theory, a specific poet or poem. Essays should be original and previously unpublished in North America. Length may be up to 5000 words.

Translations, both poems & essays, will be considered. Required: permission of the original poet is required along with a copy of the poem in its original language (assumes poet is living and/or copyrights are still in force). We intend to publish both the original poem and the translation if space permits.

Will be invited by the editorial staff for each issue.


1-3 Digital images should be saved as JPG (JPEG), at a resolution of 300 dpi. (make sure you set your email to attach the “actual” image instead of allowing the email program to reduce the image size.) Set images to CYMK. If the image is selected for showing in the interior of the issue, it will be converted to greyscale. Remember that vertical images are easier for us to work with over horizontal images.


Electronic submissions preferred. Please send your poems in the body of an email. Due to the risk of viruses, we will discard, without reading, any poetry or essay submission emails with attachments. If your poems have unusual formatting, note it, and we will ask for an file attachment (such as a pdf, doc, rtf file), if the poem is accepted. In the subject line of the email, please place the words POETRY or ESSAY, a dash, then your name. Example: poetry – JQ Public.

If you do not have access to email, please send hard copy to: Malpaís Review, POB 339, Placitas, NM 87043. Include an SAS Envelope or Postcard for response. Submissions without SAS Envelope or Postcard will be discarded without reading them. Submit ARTWORK in a separate email from poems or essays. Artwork may only be submitted via email.

Include a short, third-person biography with the submission.

Malpaís Review seeks first North American Rights of your work to appear in our hardcopy publication and reserves the right to use your work in a future “best of issue.” Rights revert to author upon publication.

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