Let verse be free wherever you (be) is the writer's use of (be) as an optional address to champion, and or convey, his free will. It reflects a secular idiom that the writer employs, enabling a grammatical shift that conveys choice, as it is to embrace the good the bad and the ugly to determine as mordant irreligious stance. "The Humbling" as the subtitle suggests, substantiates spirituality in the verse that conveys a secular motif for "In a Hollowed Tone" that depicts, if not heightens the spirituality of the faithful as sacrosanct. The writer use words to heighten the rhythm and sound of free verse to express his unconventional ideas. He uses words to convey his original and eccentric views, all of which is devoid of accepted usage of language, mealy to convey a view and his usage of free verse. Thus, it speaks of one who believes completely in the majesty of Jesus Christ, and one who has no desire to disobey Gods lawsthe Ten Commandments. Loyalty to his reverence demands that he remains loyal to the sacred teachings of Jesus Christ and against that of the profane, as Satans plot to induce someone to his earthly view of the world and faiths abound. To be sure, (be) is used also as a substitute of the plural verb (are) as grammatically incorrect, equally as it presents a calculated opposition to the other side of Eden as related in the good book, upholds to the laws of man and his rationale. The rational id to point to the other side of Heaven, as it is here on earth. The poem, in its totality, reflects a view that reorients the faithful that evil is never good; it is an abomination to the Lord. The writer acquires this dictum as mans easy way out into doing evil deeds, while the other is an accepted fact of man willing to save himself to attain the kingdom of Heaven and embrace the God given Heaven of his congregation. (This free verse, written in the desirable third person) With a theme that reflects the Good, the Bad and ultimately, the denouement or conclusion and resolution between good and evil. The result of which speaks to a Senator, as Yes, I can do my job, and to the Representatives as no can do, give them hell. Which occasions a prayer to ask God for his forbearance and his blessings, and to give God praise for his holiness that? Moves onto his creation in free verse as His giving life to all Which progresses one of the recipients, the good the bad and the indifferent congressman, as well as the good senator, right unto a mother and her young child in his childish behavior to his mom and ultimately to the world as a whole. The theme, stretched out into the core of the poem, reveals the seamy side of life as that of the devils delights to manipulate a woman, the woman of the night, to do his biddings by soliciting her Dear Johns. It is a theme stretched out when invitations are offered to a meal given by the devil that is as much a reaction for rich and poor sinners to attend and be Satan's mimicking the blessing of the Lords Supper, while he wrestles with God by way of free will of which he challenges man.

In a Quiet Voice is a collection of essays, free verse and stories the writer presents retrospectively as writings he recorded over time. His essays are historical with short stories buttressed and heightened by free verse. The writer dedicates this Word Imagery to the reader as narrative that flows through the book like red wine into the readers

More than any other decade, the sixties capture our collective cultural imagination. And while many Americans can immediately imagine the sound of Martin Luther King Jr. declaring “I have a dream!” or envision hippies placing flowers in gun barrels, the revolutionary sixties resonates around the world: China’s communist government inaugurated a new cultural era, African nations won independence from colonial rule, and students across Europe took to the streets, calling for an end to capitalism, imperialism, and the Vietnam War. In this innovative work, James Meyer turns to art criticism, theory, memoir, and fiction to examine the fascination with the long sixties and contemporary expressions of these cultural memories across the globe. Meyer draws on a diverse range of cultural objects that reimagine this revolutionary era stretching from the 1950s to the 1970s, including reenactments of civil rights, antiwar, and feminist marches, paintings, sculptures, photographs, novels, and films. Many of these works were created by artists and writers born during the long Sixties who were driven to understand a monumental era that they missed. These cases show us that the past becomes significant only in relation to our present, and our remembered history never perfectly replicates time past. This, Meyer argues, is precisely what makes our contemporary attachment to the past so important: it provides us a critical opportunity to examine our own relationship to history, memory, and nostalgia.

‘The Rattling Cat’ is a rip-roaring tale of smuggling in the late eighteenth century on the coast of Kent. The young hero, Miles, becomes involved with colourful characters and exciting escapades in the cutthroat town of Deale. Miles Papillion has been sent to stay with his uncle, landlord of the Noah’s Ark, a hostelry with a dubious reputation. He is swiftly embroiled in the search for a smugglers’ tunnel that is guarded by a ghostly skeleton. This involves him in alarming situations: being held up in a coach by a highwayman, almost drowning while swimming from a bathing machine, escaping down the revolving sail of a windmill and leading an rescue on the Goodwin Sands. His loyalties are challenged when he befriends the local inhabitants ~ saints and sinners ~ each, in some way, connected with the ‘Wicked Trade’.

In the ancient, pagan rite of Taurobolium, the slaughtering of the sacred bull is at the center of the ritual. In those times, the practice was performed every twenty years and gave a chosen citizen a life of renewal, support, fitness and success from the animals blood. The recipient was placed under the platform of the slain bull so that the blood would slowly drip down through the platforms tiny holes. The blood would nearly cover the persons entire body. Much later in the ritual's development, people believed that the chosen person received great power. The modern bullfight came from this ancient ritual. Many changes had been made by taking it out of the ritual realm and placing it in the sports/entertainment arena. But who could imagine that modern man would practice a certain bloody descendant of Taurobolium in the forest of a midwestern town? This became a cultic, sadistic ritual for the few chosen men who changed it into a corrupt and most evil endeavor.