Thursday, April 30, 2026

GAS Featured Poet: Iwan Setiawan



Iwan Setiawan was born in Kotabumi, North Lampung, on 23 August 1980. He has pursued the path of poetry with a Sufistic and melancholic sensibility. His poems move through silent territories between divine love, loss, and inner contemplation. His work has appeared in various online and print media, often blending lyrical and symbolic language with meaningful silences, making poetry not merely an expression but a space for contemplation.

Iwan Setiawan is the author of the poetry collection Sang Pencari Cinta (The Seeker of Love), as well as Kitab Puisi Melankolia (The Book of Melancholy Poems), co-written with Silvia Ikhsan. In 2017, he received the Littera Magazine Literary Award. 




THE PRAYER THAT EATS ITS OWN SHADOW


I walk into God

like a wound forgetting its blood

the night teaches me a new alphabet

where silence is the only vowel

my name rots gently in Your mouth

I do not resist

I become the hunger You never confess

angels turn their faces away

not from sin

but from how deeply I kneel

faith is an animal

licking its own shadow

until darkness says amen


West sumatera, 2026





LESSON FROM A DEAD SAINT


the saint died

still holding Your silence

between his ribs

they said he was holy

but holiness is only

how long one survives without answers

I pressed my ear to his chest

heard worms chanting

the most honest prayer

teach me this decay

teach me to disappear

without leaving heaven homeless


West sumatera, 2026




GOD WRITES ME AS A MISTAKE


You write my life

with a trembling hand

ink made of doubt

every breath crosses out

the sentence before it

I am revised by suffering

do not correct me

let me remain wrong

inside Your book

because even errors

are a way

of being remembered


West sumatera, 2026






THE MIRROR WHERE GOD REFUSES TO APPEAR

I break every mirror

yet You remain

breathing behind my eyes

the heart is a ruined mosque

no door

no direction

only dust reciting dust

I pray with borrowed bones

my soul trembling

like a candle afraid of light

if You are not here

why does absence bleed

why does nothing

know my name


West sumatera, 2026





THE BODY THAT FORGOT HOW TO BELIEVE


My body kneels

Before my faith understands why

Bones argue with prayer

Blood hesitates at the word God

I fast from certainty

Drink only doubt

Until hunger becomes a teacher

Inside my chest

A ruined altar breathes

Asking nothing

Yet taking everything

If belief returns

Let it come wounded

Let it limp

So I know it is real


West sumatera, 2026





I TRIED TO LEAVE GOD UNFINISHED

I tried to leave You unfinished

Like a sentence without mercy

But every silence chased me

Wearing Your face

I hid inside sleep

Inside flesh

Inside the future

Yet You kept happening

Now I sit among the ruins

Holding what is left of my name

If this is union

Let it hurt

If this is loss

Let it be Yours


West sumatera, 2026






Wednesday, April 22, 2026

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. McNeils 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 lifes 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, McNeils 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 ones 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. McNeils 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.




Thursday, April 16, 2026

Essay by Su Zi: Voluntary Service

 


Voluntary Service


There is a place we sleep, and often we call that place home.

The physical area around our home is our community; although we also can have communities of interest that are not as tied to walking distance, that can be just as foundational to our lives as a safe place to sleep.

Just as the quality of our sleep-nest affects us, so do the qualities of our communities; however, just as there are ways we can make more pleasant our homes, there are also ways we can make our communities more pleasant as well, by the occasional lending of a hand.

Ecological disasters do bring forth any neighbor who is adept with a chainsaw, but we need not wait to meet the neighbors until the fourth day of no power.

Yes, everyone is beleaguered with worries, and there are some people who are stymied, who might circle and snort or yowl and cause tonal chaos, or worse; however, humanity has virtues, and to this, we seek solace.

In the memory of our deepest comforts, there is pleasure. Perhaps we kept that pleasure alive through hobby. Perhaps we read up on it some. Perhaps we attended events and were immersed in a group of other people who too are there to enjoy.  We gain energization, and we carry that into our next days, sharing that happiness: we had a good time.

The adage to do what you love requires economic commitment, but

what if it was just the time of day

a day

given

It might be that you arise in the dark and first light finds you at a local park, perhaps. You cannot help but see the first of the day’s rays greet the trees, and you get to stand there a minute, however long you can hold still and watch the glow. Of course, there’s the event office, and whatever you have signed up to do, whatever equipment the event coordinator is required to provide for the day’s use: a clipboard, maybe. Every event held outside relies on volunteers, and the list of local events is not difficult to locate—festivals and exhibitions, sporting events and inter-species events such as dog trials, agricultural festivals and horse shows.

I have been a volunteer since the 20th century, since childhood when mamma allowed me to work a shift at Barb Sielaff’s recycling center. It is what one does.

 For the past few decades, I have given of myself to those magnificent, much beleaguered beasts that city folk call horsie stuff. Over time, I have become increasingly fascinated with the influence of horses on humanity, on the best of ourselves, our humanity. We shared our lives with horses—as many of us continue to do with dogs and cats and birds and aquatics. And yes, it’s true that I, too, have been down the centerline—there are trophies and ribbons and photos and certificates—but the joy of it is more than recorded service to the sport.

It might be that

On a February morning that has been now a February morning for well-nigh thirty years, you again pass through well-known gates and great your hostess, now an acquaintance after all this time, all these shared years here.

It might be that

There is, in the glowing morning, a one hundred- and fifty-year-old run about, made of trees that no longer exist, and stunningly slender and elegant of line, the original wood a soft patina in the last of dawn.    

It might be that

You take your hat and drive through the dark, and whoever is there at the gate, you still take your spot under a certain tree. Maybe there are tents and golf carts, plastic tables and urns of coffee, a t shirt with the event logo. The layout always puts the arena on a prepared hill, carefully constructed for level footing, There are international flags, there are international languages; best of all, there are horses: a Shetland and Chincoteague and a Fjord pony, Morgans and not only the big Dutch harness horses, but teams of them—a song in percussion of hooves and earth.

It might be that

You see someone you know, have known. That the years were or were not kind matters not because here you are now, seeing them, bumping shoulders, How the hell are ya?, your hats allowing a moment’s glimpse into each other’s eye; yes, we are still here

It might be that

Here comes someone you know, early for the in-gate, circling the trees in figure eights. You remember a moment decades ago, maybe before the almost gown son on the back of the carriage was out of swaddle, and you speak a sly joke, maybe and there’s a smile. Yes, we are still here, we have seen some things, and how wonderful to see you now.

And thus, go forth: lend a hand to that which is joy, which flowers from your open heart.



 
   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.