Making America Sad Again by g emil reutter

g emil reutter:

It has been quite an experience these last few months in the promotion of our rights as citizens of the United States to speak out against tyranny without fear. The goal was to reach folks who could not attend rallies due to work commitments, many working two jobs.  I decided in October to begin distribution of Distance to Infinity on street corners/bus stops and parks to promote this right that we hold dear. Making America Sad Again – Trump and the Sycophants followed with the same distribution pattern. The books were handed out, (campaign style), at 19 different locations between October 7, 2025 and March 14, 2026. A total of 475 books were gifted to citizens traveling our streets, byways and transit systems.

 

In brief discussions with many, it was evident fear has been generated from Washington to our citizens about speaking out. In some small way I am hopeful to have encouraged those encountered to speak out. The reaction I received was generally 80% positive with a few negative encounters but civil conversation.

 

I view the books as seeds spread out over the Philadelphia area that hopefully will take root and encourage others to speak out. I am grateful to all those I have encountered as well as all those who have purchased Distance to Infinity and Making America Sad Again – Trump and the Sycophants in support of Alien Buddha Press. I am especially thankful for Red at Alien Buddha Press for his constant encouragement and bravery.

 

Review: Making America Sad Again by g emil reutter

g emil reutter writes with the urgency of a man who cannot afford to wait for history's verdict. This collection, published by Alien Buddha Press in 2026, is political poetry in the oldest and most necessary sense — not poetry about politics, but poetry as witness, testimony delivered in real time while the courthouse is still burning.

The work's greatest strength is its refusal of elegance as evasion. Reutter doesn't reach for metaphor when bluntness will do. "Everyone is getting screwed by Trump" lands with the flat exhaustion of a man who has watched the con unfold in slow motion. The poem "Marionettist" is perhaps the collection's most formally controlled piece — Miller as puppeteer is an image that earns its bitterness, the strings spreading "across spectrum" with a cold, mechanical efficiency that the fragmented syntax mirrors well.

The collection is deliberately uneven, and that's partly the point. These poems were written "in real time as events unfold," as reutter states in his introduction, and they read like dispatches — some sharper than others, some ragged with anger. "Hey Mr. Putin!" has a chant-like repetition that builds genuine menace. "The Light Shines Brightly in the Darkness," centering María Corina Machado as a counterweight to Washington's chaos, is one of the few moments of genuine tenderness, and it lands harder for being surrounded by so much corrosive fury.

The Light Shines Brightly in the Darkness

As fascists dim the lights of freedom

And shadows are cast across the political

Spectrum and with the exception of a few

Many have lost their spines. America with

All its faults was once the beacon of light

Now struggles to overcome the darkness

Generated from the White House.

Yet in another land, another place where

Autocrats rule and diminish freedoms of

The people, stands a woman strong in

Conviction against all odds to bring

Democracy back to Venezuela …

In spite of threats

In spite of jailings

In spite of the bullies

She is a defender of freedom

Who has risen and has resisted

Inspired and led in the cause of freedom.

In Washington a White House full of

Whining, again the loser in charge failed

To con the Nobel Committee as he

Attacks peace and freedom at home

"Standard Police Procedure" and "No Praying Permitted" are the collection's most devastating poems — concrete, specific, and built around a repeated phrase that accumulates moral weight with each pass. These show what reutter is fully capable of.

Making America Sad Again is not a comfortable book, nor does it try to be. It is a record of a man paying attention when many looked away, written with blue-collar directness and genuine moral outrage. Whether it endures will depend on whether the moments it documents become history or — as reutter clearly fears — a new normal. Either way, someone had to write it down.

                                                                                                    Belinda Subraman

An Equestrian Reads Dick Francis: Essay by Su Zi

An Equestrian Reads Dick Francis

 Insofar as genre writers might have some renown, Dick Francis has been a fairly ubiquitous name as an author. The roving reader might happenstance a copy, and the title which somehow found its way was Whip Hand in a rather nice, 1979 hardbound, first edition. Of course, the title is of significance to every equestrian, as there are rules about the holding of whips; traditionally held in the left hand, a skilled reinsman must switch hands with the whip quickly and fluidly.

The work in one in a series, with established characters, however, the protagonist wears a prosthetic hand. A casual poke into the offerings of the AI reveals that the disability of the character is well-reviewed and cites a sector. com article that, in part, says that “readers with disabilities generally respond positively [...] for providing some of the most nuanced, respectful and realistic disability representation in 20^th-century popular fiction” Francis doesn’t muck about with being coy about the disability, as the first sentence of chapter one says 

“I took the battery out of my arm and fed it into the recharger, and only realized I’d done it when ten seconds later the fingers wouldn’t work” (3).

And whilst many disabilities do not involve prosthetics, being introduced to a character with a disability at the starting bell is rare even in writing that is specifically about disability.

But the topic is horses, or rather a story involving horses, and equestrians might sometimes also be sensitive as to the accuracy of representation. Francis indirectly gives us a description of horse trainers— a crucial person in the life of an equestrian, but not a particularly well-known character type, generally. “Some of the cream of the world’s bloodstock floated year by year to his stable, and even having a horse in his yard gave the owner a certain standing” (7). While it might be as true a description of any well-renowned management team for any athlete or performer, the reader ought to consider the triplicate nature of what Francis undertakes in his writing: to have his characters in a series show consistency in behaviors, to have his first time readers understand the series well enough to sit down for the whole read, and to not get the equestrian details wrong.

These are racehorses, and often enough, our protagonist takes us to the track—not the visitor side, but the working one.

“Outside the weighing room there was the same old bunch of familiar faces carrying on chats that have been basically unchanged for centuries: who was going to ride what, and who was going to win, and there should be a change in the rules, and what so-and-so had said about his horse losing [...] the same mingling of honor and corruption” (17)”.

And while this view might be close to form for those who have been to the back side of a racetrack, for those who have not, Francis makes this acerbic observation:

“City dwellers might be addicted to gambling, but not to fresh air and horses. Birmingham and Manchester, in days gone by, had lost their racecourses to indifference” (17)

And while the book’s copyright is now near a half century ago, those who had a fondness for racing do have the demolition of the great American racecourse Arlington Park to mourn in recent memory, and to emphasize this author’s point.

Horse savvy readers might be more savoring of Francis’ doings among horse people, and certainly there’s enough sub plot to entertain even the young and restless reader, but what of the horses themselves? It is about the horses themselves that dick Francis begins to surge out of the pack of horsie-set storytelling:

I had enjoyed it well enough when i was sixteen, on account of the horses. Beautiful, marvelous creatures whose responses and instincts worked on a plane as different from humans as water and oil, not mingling even where they touched. Insight into their senses and consciousness has been like an opening door, a foreign language glimpsed and half-learned, full comprehension maddeningly balked by not having the right sort of hearing or sense of smell, nor sufficient skill in telepathy” (69).

Francis gives further insight in the following sentence, “The feeling of oneness with horses I’d sometimes had in the heat of a race had been their gift to an inferior being” (17). And while not every equestrian has experienced both Francis’ insight and experience, the tradition of equestrianism has that perception as a pinnacle of achievement.

For readers who might be more of what Francis called a “city-dweller”, the experienced components of the genre are well-represented in this detective story. For those with no taste for splatttergore, Francis has a certain remove from his protagonist that makes even the grueling-but-expected scenes of violence to be more psychological terror than the slow motion explosion that can be too distressing for a casual reader. In all, Francis provides a pleasurable trail-ride of a read for someone who might know how to hold a rope, and is apparently popular enough with those who don’t; nonetheless, a solid ride for all levels of experience.

Su Zi is a writer, poet and essayist who produces a handmade chapbook series called Red Mare. She has been a contributor to GAS from back when it was called Gypsy Art Show, more than a decade ago. Check out her author page on Amazon.

Belinda's Review of Because of You – Selected Poems by Bilal Al Masri

 

Review: Because of You – Selected Poems by Bilal Al Masri

Translated from Arabic by Dr Anba Jawi MBE and Dr Mohamad Haj Mohamad | Palewell Press, 2024

Bilal Al Masri writes from a country where, as Dr Anba Jawi puts it in her introduction, "human life has no value, and killing is ordinary." Yet Because of You is not a collection defined by despair. It is something stranger and more alive than that — a book perpetually caught between opposites, where tenderness and violence, presence and erasure, the sacred and the nihilistic collide on the same breath.

Al Masri writes out of Lebanon, out of war, out of a reality where beauty and brutality are not opposites but constant companions. What is extraordinary is how this context produces not bitterness but a ferocious, almost mystical aliveness on the page. These poems pulse. They contradict themselves deliberately and brilliantly, stretching language to hold experiences that resist easy expression. "I carry my head with cut off hands" is not merely a striking image — it is an entire worldview compressed into eight words.

The collection moves with remarkable range. The shorter poems are like perfectly cut stones. Absence, Exercise, The Path, Whiteness — each arrives swiftly and leaves a lasting mark. My Mother is one of the most beautiful poems about maternal love you are likely to read anywhere, in any language, casting silence itself as ocean and shelter. The longer, more ambitious pieces — Jasmine rises like bullets, And because of you…, Until you have become a garden — reveal a poet equally at home in expansive, accumulating structures, where meaning builds through repetition and paradox rather than linear argument.

Throughout, Al Masri's use of oxymoron feels not like a literary device but like a genuine mode of perception — the only honest way to describe a world in which jasmine and bullets occupy the same air. He touches Sufism and nihilism almost simultaneously, as Dr Jawi notes in her illuminating introduction, and the tension between transcendence and nothingness gives the whole collection a spiritual electricity that is rare and thrilling.

The translation is a triumph. Dr Anba Jawi and Dr Mohamad Haj Mohamad have preserved the strangeness of these poems rather than domesticating them, which is exactly the right choice. The English sings. It takes real courage and craft to trust a reader with lines this unusual, and the translators have trusted us fully. Dr Jawi's candid introduction about the collaborative process of translation is itself a pleasure to read, offering genuine insight into the difficulties and rewards of carrying poetry across languages.

Because of You is the kind of collection that makes you grateful for the existence of literary translation — the reminder that extraordinary voices are speaking all around the world, waiting only for the bridge of language to reach us. Bilal Al Masri is such a voice.

Belinda’s Review of "Compositions on Compassion and Other Emotions" by Bob McNeil

 

ORDER HERE

"Compositions on Compassion and Other Emotions" by Bob McNeil is a profound and multifaceted exploration of themes such as love, hope, healing, and the complex nature of mortality. Written during a pivotal period in McNeil's life, marked by a life-threatening health crisis, the collection reflects a deep introspection born out of confronting his own fragility. Rather than dwelling solely on despair, McNeil crafts a narrative that embraces the importance of compassion and the pursuit of a more loving world.

The book comprises essays, illustrations, poems, and short stories, creating a rich tapestry of emotional expression. McNeil’s writing invites readers to navigate the intricacies of human experience, from the joys of affectionate connections to the painful reality of loss. In pieces like "What Love Wrote" and "My Heart's Unthwarted Sentiment," he articulates the necessity of love in navigating life’s hardships, suggesting that genuine affection is both a refuge and a source of strength. The work is characterized by a tone that oscillates between solemnity and hope, reflecting McNeil's understanding that vulnerability can lead to profound personal growth.

A significant aspect of McNeil's collection is its exploration of societal issues. He does not shy away from addressing the systemic challenges faced by marginalized communities. Poems such as "A Mouse and the Lack of Housing" serve as poignant critiques of societal neglect and indifference towards those who are homeless. Through these reflections, McNeil emphasizes the need for social change and the importance of community in combating these injustices. By intertwining personal narratives with broader social commentary, he elevates the emotional impact of his work, urging readers to recognize and address the struggles of others.

Additionally, McNeil’s contemplations on mortality permeate the collection, prompting introspection about life and legacy. In pieces like "Sentiments Before Residence in the Firmament," he encourages readers to embrace their emotions and relationships fully, underscoring the fleeting nature of existence. His reflections on ancestry and familial bonds in "Praise My Forebears" and "A Mantra for Babas" further highlight the resilience found in one’s heritage, encouraging a deep appreciation for the journey of life.

Bob McNeil, a seasoned writer and spoken word artist with previous works such as "Lyrics of Mature Hearts," brings a unique voice to this collection. His commitment to social causes is evident, as a portion of the proceeds is directed towards supporting a homeless organization. This dual purpose adds an additional layer of significance to his literary effort, reinforcing the message that art can drive positive change in society.

In conclusion, "Compositions on Compassion and Other Emotions" is a compelling and heartfelt exploration of the human experience. McNeil’s blend of personal reflection, social commentary, and philosophical insight creates a resonant narrative that encourages readers to reflect on their own lives and the world around them. This collection stands as a significant contribution to contemporary literature, offering both solace and empowerment through the lens of compassion and creativity.

Su Zi's Review of LIKE ZEROS, LIKE PEARLS by Lola Haskins

 

The Benefits of Bookfairs 

Local communities hold a variety of events, and perusal of these listings will often yield bookfairs, either as independent events or in conjunction with craft fairs, or other forms of small market. Of course, the literate person ought to attend such events: it does take quite the effort for these solo artists, or small collectives to write the book, have it in handheld form, and then transport to the event, where they hopefully sit all day, waiting for you.  The genres offered at book fairs will vary; author displays often mirrors their genre-- authors of horror might have a display of black cloth, or go as far as to costume; certainly, children’s authors might have a pirate or a puppet; and local history authors can sometimes offer a fascination of research-intensive nonfiction. 

And then, sometimes, there’s a literary author: present because that’s home turf and they are sitting at a table with a stack of books as well. At the 2026 Sunshine State Book Festival, among the half a dozen tables for poetry, there was Lola Haskins. Unquestionably a citizen of the literary community in poetry, Lola was there with many books, including the 2025 Charlotte Lit Press release Like Zeros, Like Pearls, a trade-sized, perfect bound, full-length collection—a volume that includes two pages of acknowledgments and a bibliography.

That the book has “A Modest Bibliography” (71) belies the arc of this work, which is divided into three sections, occasionally adorned with a discrete illustration, and which sometimes cites these sources in the poems of the text. That the poems employ research might remind an astute reader of biographical poems, and these poems are biographical; however, the lives portrayed here are more than marginalized, to many readers these lives are invisible. Haskins addresses the invisibility of these lives in a four-paragraph prose preface that states,” [...] the only time I noticed insects was when they called attention to themselves by being beautifully marked or by attacking me “and then says “suddenly realized that ignoring whole worlds wasn’t okay”. With an epigram from the 14^th Dalai Lama about teaching children to “love the insects”, and much cultural information about the key-to-life species to our life on earth being bees, Haskins dedicated volume causes us to consider immediately what sort of worlds we notice, want to read about, and how that consideration can be meditations in poetry.

The work’s title is the last line of the poem, “Poem Ending with an Image from ‘The Mustard seed Garden Manual of Painting (1782)’ ” and begins with, “Only after the twelve instar are/ the ears of her legs ready to listen” (28). The assonant repetition of “instar are” has both a slant repetition in the poem with the stanzas ending ‘her/her/herself” but echoes with ancestral recognition of Ishar—she of the eight-pointed star, the planet Venus, the Mesopotamian goddess (in a general definition) of love, beauty, sex and war.  That this, and many of the poems in the text, concern themselves with insect reproduction rituals gives the poems here both beauty and a sense of the macabre.

Meditations on the lives of insects throughout time and culture are considered in these poems. In “Cricket, Vietnam”, a single stanza poem of two sentences, we cross both the globe and cultures:

Snowy tree crickets

synchronize their songs

until leaf, branch and core

are one repeating

 tremble. When Yen

was asked

to define moonlight,

in pearl and dim blue

she painted this.

                         (56)

While the poem’s opening lines include four consonant repetitions of  S, the repetition through the poem is on the assonant E of “tree/leaf/repeat” that also includes “crickets/ tremble” and the rhyme of “when Yen” that shifts consideration from sound to color and the meditation of listening to that of painting.

Ekphrastic considerations are fully at play in this work: Haskins begins at personal observation, delves into research, and considers the juxtaposition of lives in each poem. The author’s biography includes collaboration with other artists in music, and it ought to be no surprise thus that the auditory world is a strong element in this work. Haskins has long been a literary light, and the author website has prompt delivery.  As we consider our beleaguered planet, our extreme storms and images of homes washed away, Haskins asks us to consider the other lives, small and without much notice by our gargantuan doings, that are nonetheless cohabitants of our world as well.

Su Zi is a writer, poet and essayist who produces a handmade chapbook series called Red Mare. She has been a contributor to GAS from back when it was called Gypsy Art Show, more than a decade ago. Check out her author page on Amazon.

Jerome Berglund's Review of g emil reutter's DISTANCE TO INFINITY from Alien Buddha Press

 

So far, yet we can taste it...

g emil reutter plots the 'Distance to Infinity'

 

g emil reutter's stunning new collection from Alien Buddha Press, Distance to Infinity is a little red chapbook which will stir the imaginaion and start provoking thought and encouraging ameliorative change before you even open it. For the very subtitle on its cover visible on a table or shelf confronts the reader, citizen and scholar with a bold revelation: "Poets are the voice of the people in times of struggle, times of war, times of oppression", and isn't that the truth! Yet while a shill can be cheaply purchased, credible threats intercepted and turned into controlled opposition who confine their prescriptions to that narrow spectrum of acceptable opinion Chomsky contends debate in a lively manner is permitted exclusively within and relegated to not unlike a 'free speech zone', even so it is rare to locate in any medium or exhibition of creative expression which will be embraced or canonized by the masses or posterity content which does not endorse the causes of fellowship, justice, empathy and understanding, and exceptions to that rule, fluff which does not (looking at you CIA stage-managed abstract expressionism movement, Federal Writer's Project) further integral social and institutional correction should always be scrutinized as highly dubious and suspect.

There are two conflicting schools and viewpoints when it comes to the place of politics in poetry, and it's no great stretch or exaggeration to condemn one (in his principal poem g notes apropos 'the traitors are amongst us') as criminal collaboration, expressly supporting all manner of monstrosity and injustice encoded into our highly problematic status quo and the innumerable errors across history into our tremendously problematic and entrenched present it implicitly supports and condones. For, as national poet laureate Amanda Gorman reminds us, 'all art is political', and Kwame Dawes importantly explains, 'When a poet writes about trees, he is being political [too] both by what he chooses to write about and what he chooses not to write about'. Grace Paley further suggests quite plausibly that 'if a writer says 'this is not political,' it's probably the most political thing that they could be doing.'

Orwell additionally clarified that 'all art is propaganda', and I don't think we should take that necessarily as a criticism (unless it's Triumph of the Will), or in the pejorative sense. For to disrupt and agitate, education, organizing, and encouragement of grassroots, sweeping mobilization is first in order, and literature or its public, economical equivalents in public artworks, placards, trifold brochure (sagaciously Voltaire whispers an aside sotto voce: 'Twenty-volume folios will never make a revolution. It's the little pocket pamphlets that are to be feared'), whatever their available equivalents were they played crucial roles in every important social movement of reform and revolt, improvement and abolition throughout history from the dawn of recorded and remembered time.

Just as Pablo Picasso's Guernica tapped into a wellspring of public feelings and the zeitgeist of sentiments of shock and frustration with the horrors of fascism and imperial war, poets from Homer to Pablo Neruda have provided vivid lenses through which the laymen may understand and engage with the distinctive challenges of their day, and there find the seeds of a coarse charted for that long journey homeward towards a better, less fraught and combative future. And while the upper classes may offer more expensive tutelage, laurels and supposed formal accreditation (in the schools of bourgeois thought, philosophy, and praxis) one can always locate more honest, informed, insightful perspectives articulating the everyman and woman's difficulties and yearnings of their day from among their peers in the working classes.

Hence why it is always such a treasured treat and fortunate opportunity when someone from a less privileged background, representing the proletariat and public at large's interests at heart, emerges with great effort improbably to pass along their hard earned wisdom and knowledge. g emil reutter is just such a valuable font of credible subversive mana from below, unearthing troves of treasured constructive critique, and it is fortunate we have the opportunity to reflect upon his revelations thoughtfully as the long and arduous road to 'an endless end' is measured, navigated and by we poor wayfarers cautiously traversed.

I find it so interesting too how some of the keenest, most perceptive voices in the causes of peace and reform, compassion and institutional reimagining come from unexpected backgrounds which afford them unique glimpses into the evils which plague a society from the top trickling down, and the deeply troubling systemic flaws which are hindering their immediate, realistic and possible remedy. Tuskegee Airman put faces, dignity to the civil rights movement, just as Buffalo Soldiers and Navajo code talkers ennobled and vindicated the essential place of people of all colors and creeds within the patchwork of diverse and intersectional america. In the Vietnam war it was returning veterans who truly ratified and proved irrefutable the cries for disarmament, provided chilling testament and firsthand corroboration for the horrors of colonial oppression, and their practice of fragging effectually put an embarrassing end to the atrocity of involuntary conscription. More recently those who served in the middle eastern theater upon returning to ignominious treatment proved integral towards challenging assumptions and the narrative regarding issues of homelessness, addiction, mental health, (our 'flattened cousins' strewn in the gutter which g emil laments in his piece Sweep) and continue to be resounding figures looming large and contributing invaluably to the missions for peace, understanding, and harmony across borders of land and language, and on our own soil no less powerfully.

It's intriguing and highly productive to be gifted a glimpse into the minds and lives of those who spent careers serving and protecting the public as g emil did in his younger years, as that can truly challenge and cut through divisive rhetoric and promote the sort of rainbow coalition and bipartisan solidarity we desperately need as a species and civilization. Some of the best things I've read it recent years curiously originated from colleagues who were employed in law enforcement (Leon Tefft and Tim Roberts have phenomenal recent collections on the subject if you enjoy a haiku) and classical and contemporary poetry and literature both contain no shortage of compassionate progressive personages (from Byron to Archilochos, Camus to Hemingway to Edward Abbey) who draw from wealths of informative adventures to reach their weighty and meaningful conclusions. I have family who worked in uniform and/or served, and in reality you will find no group more frustrated with issues of corruption, desirous of completely reinventing (equitably in a form where they are viewed positively and have a friendly relationship, camaraderie with the public and can wear uniforms with pride, aren't perceived as representing private property alone, cannot be accused of overtly continuing traditions which sprung from practices of slave catching or lining pockets via asset forfeiture, filling informal plantations criminalizing and leasing to bidders marginalized populations) the entire concept, than they in our embattled day and age. Entering the era of increasing demands for divestment and abolition (it's heartening to see, in contrast, with wealthy european republics the state withering as it should, with less inequality and thus associated deviances not resulting prisons being closed and resources, personnel being redirected from chasing robbers to more fulfilling and pleasant activities), there is no demographic who we could better benefit from paying close attention to and including in the conversation (incidentally I highly recommend investigating "the People vs. Billie Holiday" and "Rustin") than they, and I can't recommend enough we take a page out of Fred Hampton's handbook and reject the biased mainstream media and politicians' push to both ostensible ideologic sides and realize we are all brothers and sisters and countrymen and neighbors, and the handful of plutocratic ne'er-do-well keeping us down are not we plebs or those struggling to keep civilization together with duct tape, and if like-minded activists and innovators could win a compassionate accord with the police and military nonviolent amicable inroads towards genuine revolutionary changes and reining in of nefarious abusers might become a legitimate possibility.

Particularly in our unprecedented nadir of the modern era, when free speech and dissent are labeled criminal formally, the news is delivered by thinly veiled state instigators and actors expressly to misinform and befuddle, pit against one another ('hate spew[ing] its volcanic power' as Reutter memorably describes it, which 'somebody is making money' from invariably) the conscientious, caring citizen, it is from the independent observer and advocate, the underground poet and gonzo provocateur or merry prankster whether via podcast (have you heard Super Awkward Funtime?) or self published online journal, you'll find no truth in commercially vetted copy (if you can't be bought and try to Gawker like heroic Hamilton Nolan they will shut you down, again and again and again, and bless the whack-a-moles of insurgency!), on the big screen scripts which were approved by billionaire investors (should you produce a program like Underground they will torpedo your entire network) and passed state and military censors' redacting pens. But from the mouths of plebs, and the pages direct printed via Kindle, a few sparse beacons of hope, sparks of possibility may be discerned.

"There comes a time when silence is not acceptable..." Reutter begins his compact treatise from the premise of. Let us salute him and tip our hats to the brave souls not cowed, subdued or muzzled by increasing pressures to desist and comply. You are the last line of defense against those innumerable wolves ('tricksters' and 'fraudsters' as the author describes them, who are no less prevalently to be found clothed in wool) at our gate, this generation and everyone are indebted to your commitments and sacrifices throughout history into the unfathomable future.

'Restoration will come' g ambitiously projects. Let us hope it does not dally!

Jerome Berglund has published book reviews in Fevers of the Mind, Fireflies Light, Frogpond, Haiku Canada, Setu Bilingual Journal, Valley Voices, also frequently exhibits poetry, short stories, plays, and fine art photography in print magazines, online journals, and anthologies.

A writer of poems and stories and on occasion literary criticism, g emil reutter was born in Bristol, Pa., raised in Levittown, Pa. and has lived most of his life in of Philadelphia, Pa. A highly decorated member of the Railroad Police, he retired from a 26 year career in the patrol, anti-crime and criminal investigation division. Prior he worked as a steelworker, tea blender and a number of other jobs. A graduate of Neshaminy High School, he graduated from the New England Institute of Law Enforcement Management, Federal Law Enforcement Training Center. He attended Temple University and Penn State University among others. His poetry and fiction have been widely published in the small and electronic press as well as numerous newspapers and magazines. Twenty-one of his collections have been published. He published The Fox Chase Review (2008 – 2015). He is currently a contributing editor at North of Oxford .