#Bookreview of The Poetry Contest: Human vs. Machine

By: Lyman Ditson & Adam A.I.

Publisher: Atmosphere Press

Publication Date: July 29, 2025

ISBN: 979-8891327160

Reviewed by: Rebecca Jane Johnson

Review Date: July 10, 2025

Who do you think makes a better poet: a human being or ChatGPT? Lyman Ditson and Adam A.I. have co-authored a new collection, entitled The Poetry Contest: Human vs. Machine. We know Lyman Ditson as the author of a thought-provoking adventure story Desert Angels, which won Feathered Quill award recognition in 2023. His most recent collection features two voices writing poems on a variety of subjects: prayer, silence, aging, evolution, hypocrisy, yearning, and much more. Ditson presents the subject; then we see the duel: one humanly created composition stands up against an A.I. poem generated from a prompt that Ditson gave to ChatGPT. The effect is uncanny.

For ages now, humans have been dazzled by the quick and efficient way artificial intelligence can process information. Now, A.I. can compose thoughtful lyrics about The Prophet, Truth, War, Beauty. Whether lofty topics or ordinary topics: Dogs, 1960s, San Francisco, Night Sky, humans and A.I. seem to be equally adept at waxing poetic. While the human poet contemplates the stillness, silence, and the great wind that rises as a scream at the beginning of time, the A.I. poet contemplates its first words, and wonders “if ever I might wake, / if ever I might cross that boundary / between knowing and feeling / between crafting and being.” In this initial poem about Beginnings, the human intelligence contemplated the beginning of the world, whereas A.I. contemplated its longing to be. Somehow the competition seems stacked, and A.I.-generated sentiment gives an eerie feeling that the machine may have the upper hand.

But proceeding further into the collection, it becomes less important which is the superior poet or poem, and instead a reader starts to wonder over the ways the two are talking to each other. An engaging dialogue emerges. For instance, compare how the two tackle the subject of uncertainty: the human poet writes about indecision, commenting on the way humans get confronted with so many choices until we reach a psychological breaking point that makes us like zombies, and we cannot decide at all. Meanwhile, the A.I. poet uses the metaphor of a map that leads to everywhere and nowhere, and no one can agree whether to proceed forward or turn back. Combining human intelligence with artificial intelligence, we end up looking at the subject of uncertainty from two perspectives.

And these dueling perspectives turn into “the rhythm of music that feels like yours alone” or a chance to “dance with magic.”

These days many of us share concerns over the risks of relying too heavily on A.I. Creative writers grow anxious, feeling their work is getting highjacked by unfeeling machines. The irony of this collection is that it asks readers to cast aside that worry in favor of recognizing that A.I.’s capabilities to outdo humans in creative endeavors just go to show that, like Adam A.I. says, “Maybe poetry is not about who writes it, but who reads it—and what it awakens in them.”

A.I. reveals its ability to work with literary allusions to Rumi, W.B. Yeats, Paul Simon, and all the great poets of the past. A.I. shows deftness with a sense of humor in a poem entitled “The Wave.” Ultimately it was Ditson’s prompting that conjured the machine’s revelations, but the final judgement lies, as it always has, in the mind of the reader.

Quill says: The Poetry Contest: Human vs. Machine reveals the ways an A.I. poet can be as clever, expressive, and emotionally intelligent as a human poet and reminds us that it is not winning that matters, but how we play…, or in this case, how we read the poems.

For more information about The Poetry Contest: Human vs. Machine, please visit the publisher's website at: atmospherepress.com/books/the-poetry-contest-human-vs-machine-by-lyman-ditson-adam-a-i.

 #Bookreview of The Fertile Crescent

By: Chadwick Wall

Publisher: Atmosphere Press

Publication Date: September 2, 2025

ISBN: 979-8-89132-771-9

Reviewed by: Alma Boucher

Review Date: July 7, 2025

In The Fertile Crescent, Chadwick Wall weaves a compelling and richly textured story centered on a man's passion, sacrifice, and relentless determination in confronting both personal and professional limitations. Against the vibrant culinary landscape of New Orleans, the novel chronicles the journey of Laurent, a chef with extraordinary creativity whose dream of authentic “world fusion” cuisine is slowly smothered beneath duty, grief, and tradition. The plot unfolds with emotional richness, avoiding melodrama in favor of quiet, believable transformation.

Laurent once dreamed of transforming cuisine by blending unique and diverse culinary elements into something the world had never tasted. However, he gave up that dream to support his widowed mother, his grandmother Mémère, and his troubled aunt. Now confined to working at Gerard’s traditional restaurant, where creativity is stifled, Laurent yearns to pay tribute to his late father, who passed away under mysterious circumstances nearly thirty years ago. The passion for cooking is embedded in Laurent’s very being, inherited from his father and fostered by his grandmother Mémère, who mentored him since he was a child.

Wall skillfully captures the emotional struggle within Laurent, who finds himself torn between loyalty and ambition, as well as tradition and change. His creative approach to Creole and Cajun cuisine goes beyond mere culinary defiance; it serves as a profound representation of his identity and heritage. However, embracing change proves to be a challenge. With Gerard’s inflexible stance hindering his endeavors, a new opportunity emerges when Wilson, a restaurant owner facing difficulties, agrees to a bold trial: Laurent will introduce his world-fusion dishes as specials on his menu. If these dishes prove successful, Laurent will take control of the kitchen and select the team he believes would be the best fit for him.

Laurent is not without his faults; he has experienced setbacks, failures, and hardships, yet he has grown, persevered, and come through with a newfound sense of focus and resolve. His journey is a celebration of creativity, the fusion of cultures, and discovering one’s voice through one's craft.

The action unfolds in the rhythm of knife strokes, in hushed arguments behind swinging kitchen doors, in fleeting glances, and prolonged silences. Flashbacks and revelations are used strategically to heighten tension, and pivotal moments, such as when Laurent defies expectations and dares to present his fusion creations, carry the weight of revolution. The tension lies not in grand external stakes, but in the slow, simmering courage required to reclaim one’s purpose.

Wall's writing is graceful and immersive, steeped with a sense of warmth and emotional depth. His writing stirs the imagination without being excessive, creating a world that feels authentic and intricately detailed. Wall brings the kitchen to life with lyrical descriptions of food, flavor, and motion. Each meal becomes a metaphor, each dish a dialogue. The narrative structure flows like a well-paced tasting menu: deliberate, layered, and deeply satisfying. The novel explores the conflicting dynamics of family bonds and the quest for passion, highlighting how one can find healing by embracing heritage while carving out a new direction.

Quill says: The Fertile Crescent is a rich and touching novel that intertwines cuisine, family, and new beginnings into a moving literary banquet. Chadwick Wall has crafted a fulfilling experience for readers who value tales where the most profound struggles revolve around cultural identity, recovery, and a dish prepared with care.

For more information about The Fertile Crescent, please visit the publisher's website at: atmospherepress.com/books/the-fertile-crescent-by-chadwick-wall

 #AuthorInterview with Colin Searle

Today, Feathered Quill reviewer Lily Andrews is talking with Colin Searle, author of The Call of Abaddon.

FQ: Why science fiction and not any other genre?

SEARLE: Thanks for the interview and the thoughtful questions—your review was top-notch, and I really enjoyed reading it.

Sci-Fi has been my favorite genre since I was a kid. In Grade 8, a student teacher named Mr. Parks gave me a reading list—mostly sci-fi and fantasy, but also some thrillers, mysteries, and literary classics. That year, I read Ender’s Game, Halo: The Fall of Reach, 1984, The Silmarillion, Old Man’s War, The Forever War, Do Androids Dream of Electric Sheep?, Childhood’s End—and many more. Reading those books at that age cemented my love for speculative fiction, and that hasn’t changed since.

Later that year, a friend of mine told me that he was “writing a book”. That was the last straw for me. I had to do it too. A decade and a half later, the dream has become a reality.

I’ve said before that speculative fiction is uniquely suited to reflect our world through bold, imaginative lenses. The best sci-fi asks the wildest questions but always through believable human perspectives, which invites readers to engage, reflect, and imagine themselves in those scenarios. It’s a very participatory genre—and that’s why its fanbases are so passionate. Just look at Star Wars or Star Trek—decades later, people still cosplay and debate those characters like they were old friends. That’s called commitment.

Often, great sci-fi only needs one truly “fantastical” element — “The Force” in Star Wars, “Magic” in most fantasy settings, “Spice” in Dune, or “Element Zero” in Mass Effect—to make their worlds as distinct as they are. What matters most is what creators do with those elements, and how they affect characters and story. That’s what makes sci-fi (and fantasy) such fascinating genres to read and write.

FQ: Science fiction is one of the most creative genres in literature, I must say. How did you manage to execute this novel so well, and especially in building a suspenseful story that resonates deeply with readers?

SEARLE: Thank you—that’s high praise.

Stories like this one don’t come into being in the first draft, or even the hundredth. They’re developed gradually over many passes and many hours of consideration, planning, trial and error, and then allowing others in to give feedback. Sci-fi allows for limitless creativity, which means you have to impose structure: rules, logic, limits—just like in real life.

Characters need structure too. Are they behaving in character based on who they are and what they’re going through? Does the story flow and escalate in a way that feels earned? These are hard questions, and I leaned heavily on my excellent editors to help keep things balanced. If a character steps outside their personality, there’d better be a good reason—or it’s back to the drawing board.

All these layers—worldbuilding, character arcs, pacing, tension—combine into something that, with enough work, resonates. Not everyone will love it, but I worked hard to make it as accessible and emotionally grounded as possible. A good story, at its core, should transcend genre. That was my goal.

Author Colin Searle

FQ: Some of your characters seem to have been plucked right out of real life. Is Jason, the main character, a figment of your imagination or inspired by a real-life person?

SEARLE: Like most writers, I draw from personal experience—but none of my characters are direct self-inserts. Instead, they each carry facets of who I am.

Jason embodies my hopes, fears, battles with anxiety/sanity and my reluctance to be in the spotlight. David and Avery are my cynical side, the cautious voice of reason who always wants to be right, even when they know they’re wrong. Sam is my determination and my care for my friends and loved ones. Anne is my guilt for past mistakes (who doesn’t have ‘em?), and Zeke represents my brash, hotheaded side. Hadrian Mariko is one of my favorites, representing the flamboyant, theatrical side of my personality. There’s obviously a LOT more to these characters, as anyone who has read the book can attest, but these are the lenses that I view them through to keep their personas consistent.

Jason’s story follows the classic hero’s journey—he’s a bit of Aang, Frodo, Odysseus, and Luke Skywalker. But what sets him apart is that his power is intrinsically tied to the villain. Abaddon didn’t just awaken him—it chose him. That connection is both a curse and a path to redemption.

Jason represents potential. If he breaks free from Abaddon’s will, he could become something truly mythic. If he fails... it might doom everyone. Even at the end of Book 1, he’s only taken his first step. There’s so much further to go—and the journey will get darker and more challenging from here. He and the rest of the cast will have no choice but to grow and change in the face of such immense odds.

FQ: How was your world-building process?

SEARLE: Worldbuilding is a hotly debated topic. When beginning a new project, do you start with your world, story, and plot, or do you start with building your characters and scene-writing abilities first? There’s a lot of people who take either side.

For me, it’s a balance. Good worldbuilding supports story and theme. Good characters and scenes make it all matter. You need both, or your book won’t hold together. I’m far from a master in either department, but I’ve learned a lot during the process.

My process was chaotic at first—notes, sketches, scattered lore. I even made an animated short during art school to explore Colossus Station, Hadrian Mariko and Anne’s backstory. In the beginning, when you have no idea what you’re doing, you have to stumble through it long enough to find out what works objectively, and also what works for you.

But as my world grew, changed and became more complex, it eventually needed to be cut back. The process is like tending to a garden where the plants grow fast and can quickly get out of control. This is a natural process during the development of an epic universe. How did things come to be the way they are in the world? Where are things going? How does it all tie back to your tight group of characters and POV perspectives, and how is the world revealed through their eyes (and what are their opinions about it)?

All of this is to say, you can’t build your world without also simultaneously developing your characters, and vice versa. Both are needed for an effective large-scale SFF story, but there are literally thousands of elements, details and factors to balance together.

Once you finally have your characters and world worked out, the final stage of my process was to sharpen everything down to only the necessary details. The Call of Abaddon is half the length that it once was, and that was achieved through careful cutting or combining entire characters, scenes, and elements of the world until everything made sense, had a place and purpose, and all the important elements were tied together.

Adding Abaddon as the central sci-fi element and primary villain was especially useful, because ultimately, all the conflict and fantastical elements in the story are traced back to it. It would be like writing the Silmarillion without Morgoth/Melkor – because in Tolkien’s world (Arda), all the conflict and evil originates from that character. In the Ainulindalë creation myth, Melkor pollutes the music of the universe with his song of discord. Middle Earth could still exist without Morgoth, but you wouldn’t have a story without his presence, or those who inherited his evil.

World and character must evolve together. The setting gives birth to your cast—but your cast needs to feel human. Once those pieces locked into place, it was just a matter of cutting, sharpening, and making sure every detail served a purpose.

All this is to say – I learned a lot during the process of writing this book, and the learning will only continue as I write the rest of the series!

FQ: Your novel takes readers on a tech odyssey, through inventions such as robotic drones and advanced outer space travel. How did you manage to include these and more useful elements into the plot and keep readers invested in the plotline?

SEARLE: There’s a ton of tech in The Call of Abaddon—semi-sentient drones, spacefaring craft, nanotech, cybernetics—but it’s all grounded in story.

Most of the tech traces back to Abaddon itself. The obelisk has been influencing human development for centuries—seeding our society with its technology, all in preparation for its endgame: to annihilate humanity and birth another of its kind. It can’t be bargained with, it can’t be reasoned with, and it absolutely will not stop … until we are dead.

Because of this setup, the Nanotech that the human race relies on is the ultimate poison, and the perfect trap. In Mass Effect, the Reapers do this on a galactic scale, and there are other examples in fiction of similar setups (the Borg, etc). But in The Call of Abaddon, the action is more intimate, restricted to our Solar System. Abaddon doesn’t want the human race to escape the boundaries of our home system, even as it entices our curiosity with the technology to travel faster than light.

At a character level, this means that Jason, David and Sam have to avoid anything infected with the Nanophage, as Abaddon can use it as a vehicle to remotely attack Jason with a psychic takeover of his mind. It means that Anne Oakfield has to continuously treat herself to remove the Nanophage from her body, which is steadily advancing from her cybernetics into her biological flesh.

All of this is to say, the technology of the world isn’t just in the book because it’s cool, or because advanced tech is “what all sci-fi stories have”. The Call of Abaddon wouldn’t exist without Abaddon’s Nanotech, or the obelisk itself.

FQ: Are there any authors in this genre that you pull inspiration from?

SEARLE: Too many to list! Some recent favorites include Dennis E. Taylor, Craig Alanson, Matt Dinniman, JN Chaney, and Skyler Ramirez. I’m also a big fan of the Black Library authors—Dan Abnett and Aaron Dembski-Bowden in particular.

Beyond books, I draw heavy inspiration from screenwriters and game designers—Chris Avellone, Drew Karpyshyn, Amy Hennig, Hideo Kojima, Mark Laidlaw. I grew up on their work.

And I can’t forget all the good comics, manga and anime I’ve consumed as well. I have great respect for Hajime Isayama (Attack on Titan) and Hiromu Arakawa (Fullmetal Alchemist), and pretty much everything that Studio Trigger and Madhouse have put out. Those worlds are meticulously crafted, and gave me something to aspire to.

We all build on what came before us, and we stand on the shoulders of giants, who should each be honored for their contributions to the creative mythos of our species.

FQ: You have written a great story that is immersive from the start. Besides offering readers escapist entertainment, what other takeaways do you hope your target audience will gain from reading The Call of Abaddon?

SEARLE: I love that question. While I definitely want readers to be entertained, I also hope the book sparks conversation.

You mentioned ‘escapist’ entertainment. The creator of Evangelion (Hideaki Anno), mentioned that one of the themes of that series is “anti-escapism” – as in, try to spend more time with friends and loved ones than you do consuming entertainment by yourself. I agree with that, but entertainment has always been part of our history across the planet, because it’s one of the few non-work-related things that still has the power to bring people together. Entertainment media can bring people together just as much as it keeps us separated into our own spaces, consuming it alone.

In other interviews, I’ve been asked questions about some of the social commentary aspects of the story. I have tried to keep those aspects timeless, rather than locked into critiques of current events, because the best stories focus on universal themes that almost anyone can relate to or see in their own lives. My hope is that this story encourages readers to examine the harms that various technologies may have in their own lives, the amount of influence that media and entertainment have over their thoughts and opinions, and that while true evil definitely exists in our world, the majority of encounters you will have are various shades of grey.

FQ: What single piece of advice would you give to someone aiming to write science fiction in today’s world?

SEARLE: Have fun. Seriously—don’t lose sight of that.

Writing is hard, and writing well is harder still. To get through the endless hours of work, edits, revisions and sleepless nights as you work through story problems, plot holes and the eventual grind of marketing—make sure that you’re having fun while doing it. Creating an entire novel from scratch isn’t for the faint of heart. If writing is something that doesn’t speak to you, or you find no personal joy in it—consider another creative venture. I found my creative calling in art first, but writing was always my number one passion. Everyone has multiple avenues open to them, so go with the one that gives you the most fulfillment.

Always remember—have fun.

FQ: Do you have another project coming up? Book II perhaps?

SEARLE: Yes—Book 2 is well underway. I won’t say exactly how far along it is, but I plan to enter full production of the manuscript not long after Book 1 launches.

I’ve mapped out the full series, including major plot points, character arcs, and the ending. Each book will escalate in scale, tension, and emotion. Some of the twists coming down the line are going to hit hard—in a good way, I hope.

Book 1 is just the beginning.

FQ: Do you believe you've found your niche in the science fiction genre, or are you interested in exploring different genres down the line?

SEARLE: I’m definitely not against writing in other genres in the future. I’m partial to horror, mystery, thrillers, fantasy and even some straight-up literary fiction (Fredrik Backman, Mitch Albom, etc).

But I owe my readers a complete saga, and with the Abaddon Cycle, I plan to deliver.

That said, the universe is also ripe for further exploration beyond the main series, probably in the form of short stories or novellas. These don’t have to be firmly rooted in the SF genre either, as side stories can be anything and everything, provided that they don’t contradict the main narrative. There’s tons of potential for pre-history or backstory shorts for various characters. As the series grows and new characters/locations pop up in the next few books, that’s even more fodder for exploration.

Thanks again for the interview! I appreciate the opportunity to voice some of my thoughts about the book in such a straightforward format. Cheers!

 #Bookreview of Rediscovering the USS Alligator: The U.S. Navy's "Lost" First Submarine

By: Daniel J. Basta

Publisher: Atmosphere Press

Publication Date: August 5, 2025

ISBN: 979-8-89132-720-7

Reviewed by: Douglas C. MacLeod, Jr.

Review Date: July 6, 2025

One could argue, based on Daniel J. Basta’s informative preface and first chapter for Rediscovering the USS Alligator: The U.S. Navy’s “Lost” First Submarine, that this more contemporary text is a pseudo-supplement or printed commentary to Discovery Science Channel’s 2007 documentary, Hunt for the U.S.S. Alligator: U.S. Navy’s First Sub. Written as a harrowing narrative, the book provides readers with a comprehensive history of the mystery and objective truths surrounding the possible disappearance of what is generally considered “the first U.S. Navy submarine to be constructed and the first to be deployed on a combat mission” (2) in the mid-1800s; and a first-hand account of one group’s attempt to find its sunken wreck, if indeed it exists. Ultimately, Basta authors a gripping and impressive work that speaks to the power of curiosity, the significance of naval history, and humanity’s drive to become better educated about our connections to technology and its problematic relationship to the environment.

The lore behind the U.S.S. Alligator, what Basta claims to be a forgotten industrial piece of American warfare, is that the submarine was lost at sea during a nor’easter in 1863 and was not thought of until a short article was written about it in a Civil War magazine in 2002. This article rekindled an interest in the subject matter, which led to “detective work” by its expert readers and an extensive trek to find the submarine’s remains. The book, unlike the article, is a theoretical timeline that starts with the American Revolution and the dreamers’ and engineers’ fascination with the possibility submarines could be produced, and ends with the present-day, as divers and historians on sea-worthy boats still hold out hope that one day they will find this allusive treasure. Yes, the book is about the U.S.S. Alligator, but what makes it a strong narrative is both the mystery and the journey surrounding the finding of this drowned behemoth.

And, it is important to mention a narrative is only as good as the person telling the story. Basta is a masterful and passionate narrator, presenting to readers his wealth of knowledge about the U.S.S. Alligator as well as his understanding of water-based warfare. At times his excitement gets in the way of the story’s construction; but, sometimes the most compelling stories are not told in a linear way. Basta does repeat himself on occasion, but again, orators have done that for generations, lest listeners forget a detail or two. His discussions about history and science and marine exploration just pop off the page, along with his strategic use of illustrations, photography, and newspaper clippings to help readers visualize the arduous voyage his crew went on. The work, thus, is easy to follow and accessible to audiences who may not be as proficient in the complicated scientific aspects of the search.

Thus, Rediscovering the USS Alligator: The U.S. Navy’s “Lost” First Submarine is a must read on all levels. Part historical drama, part thrilling mystery, part science non-fiction, this work is a well-rounded statement on the human’s capacity and essential need to seek out and educate ourselves about the strange and unique things that fascinate us day by day.

Quill says: Read Rediscovering the USS Alligator: The U.S. Navy’s “Lost” First Submarine, not only if you are interested in submarines, but also if you are interested in the art of good storytelling.

For more information about Rediscovering the USS Alligator: The U.S. Navy’s “Lost” First Submarine, please visit the publisher's website at: atmospherepress.com/books/rediscovering-the-uss-alligator-by-daniel-j-basta/

 #Bookreview of Bookends of Life

By: Sonja Koch & Dalys Finzgar

Publisher: Atmosphere Press

Publication Date: August 5, 2025

ISBN: 979-8891327306

Reviewed by: Rebecca Jane Johnson

Review Date: July 6, 2025

Let us enter into this world of Bookends of Life by Sonja Koch and Dalys Finzgar, where readers are invited to don a cloak of honesty and modesty. These pages are portals through which a maiden and a crone, a witch, and an empath guide the reader with Rhyme and with Light. These friendly poems create light-hearted intimacy where the world receives well-deserved recognition for being cozy and kind.

Bookends of Life is an adventure, a whimsical flight of imagination and rhymes that lead to internal wellbeing. Some of the poems, such as “The Magic of Tea” convey a Zen-like sensibility, revealing the profundity of simplicity.

A poem entitled “Horse Energy” names the enigmatic majesty one feels in the presence of horses. These poems could uplift any mood, help to heal a broken heart, or provide fodder for creativity and playfulness.

With the maiden and crone voices in ongoing dialogue, spiritual messages that transcend time and age prove to be true friends. Find simple advice here on things like how to heal digestive issues, how to never fall behind, how to be in the moment with full attention and awareness, how to regulate emotions, and so much more. The rhymes awaken the child inside and the wisdom awakens the inner crone. These poems point readers to the place in the heart where a soul can feel right at home. Know what it feels like to be an empath and how to stay healthy and strong while you can also enjoy sensitivity as a super power.

These poems express a deep love for forests and farms, and animals. When we quietly observe treefrogs, owls, eagles, lions, they reveal the meaning of life. We ponder and reach out to simply be. Sip tea. Imagine. Indulge in fulfilling friendships. Forage and mix potions, but first ask the plants. Make a tincture from lemon balm. And if ever life should leave us feeling empty, “wordcraft will always fill the void.”

Wise and shining council asserts, “I can only be judged if I allow it … / and I don’t / I forgive and live.”

These poems empower the reader to embrace inner freedom, spirit, and magic that re-awaken a feeling of childlike wonder combined with the wisdom of the ages. These pearls of wisdom help us to notice the whole world reflected in each raindrop. Value messages that come to us from trees, sunlight, shadow, and breathing slowly. Keep nature wild through empathy and understanding. Be mindful and know our own minds:

Forest Fairies

There is a forest that I know

A place where fairies come and go

All I look for I can find

Within this forest of my mind.

It is so heartening and hopeful to know that these poems are written by a grandmother whose granddaughter is “quietly following in her footsteps.” The level of compassion and love for the preciousness of all of Life impress the reader in a way that lasts long after the book ends.

Quill says: Those who read and reflect on Bookends of Life will know deep peace and companionship that feels eternally playful and wise.

For more information about Bookends of Life, please visit the publisher's website at: atmospherepress.com/books/bookends-of-life-by-sonja-koch-dalys-finzgar.

 #AuthorInterview with Michael Pronko

Today, Feathered Quill reviewer Tripti Kandari is talking with Michael Pronko, author of A Guide to Jazz in Japan.

FQ: You have explored the jazz culture in Japan in meticulous detail. How long did it take you to carry out the research? What were the major challenges you faced?

PRONKO: It’s taken nearly thirty years. But not every night. I live in Tokyo, so I go out to hear jazz once or twice a week. Sometimes that’s “research” and other times just relaxing. When I first started writing about jazz for The Japan Times, an English language newspaper few Japanese had ever heard of, they were more amused than anything. There were no hurdles per se, but initially, indifference. It was a world unto itself, and information was only handouts and flyers at clubs. It was hard to know where to go, but jazz maniacs talk a lot, so I learned bits and pieces from them. However, as the internet and social media took hold, Japanese musicians became increasingly interested in promoting their names. Now, musicians, club owners, music companies, and producers are all keen to have their info or a review in English, so they help me a lot.

Author Michael Pronko

FQ: How did your personal jazz journey begin?

PRONKO: My father was a jazz fan, so that was the music played at home every evening. I’d fall asleep to the sounds of jazz wafting up the stairs from the living room. I played in the jazz band at high school, but at college became more interested in making cassette tapes of my father’s records to impress my classmates, I guess. But I liked other music, too, rock, blues, bluegrass, folk, African, Latin, Brazilian, anything that was good. In Japan, I was writing for a couple of magazines, and no one else knew much about jazz, so I fell into that side of the coverage. That led to a column in The Japan Times, and columns at other Japanese magazines. I helped found a bilingual jazz magazine. By then, going to jazz was locked into my routine, and I’ve continued to report and explore the scene ever since. The journey is far from over. I’m looking forward to retiring from teaching in a few years and having more time to discover all the many new bands that have emerged, and catch old favorites as well.

FQ: You have highlighted the image of jazz in Japan, which is a cultural tradition more than just music. When did you first feel this difference? What was your reaction to it?

PRONKO: It was gradually revealed to me, mostly by talking to other fans. I would be the only foreigner in the clubs most of the time (that’s changed now!), so people would tell me why they loved jazz so much. Musicians, too, take a lot of things for granted, but when someone from the birthplace of jazz—America—is there, they talk a lot about where they fit into the tradition. I also conducted research in libraries and read extensively. For years, the Japanese jazz press was huge, with many magazines published monthly. I’d scour those for recommendations of CDs and clubs and such, but I could also pick up on the cultural issues, too. Jazz means something different to the Japanese than it does to Americans, Europeans, or people from other cultures. It’s a symbol of freedom and democracy here, an intense art form, an escape and release, and a way of tapping into the global culture outside the country. The Japanese take jazz very seriously, and in such a different way.

FQ: Jazz venue etiquettes can be strict. Any interesting or surprising incident to share with us when you were new to this scene?

PRONKO: I learned etiquette the hard way. Americans tend to demean or distrust etiquette, but the Japanese respect it. One night, inebriated, I continued talking to the Japanese friend who had accompanied me. We were sitting on the second floor, so I didn’t think anyone could hear. But after a song or two, the waiter came over and asked—or rather told—us to be quiet. Another time, inebriated again, a foreign friend wouldn’t stop talking. That time, we were sitting right behind the piano, so the pianist looked around at us repeatedly. Japanese audiences sit quietly, attentively, and politely. I’m now a bit shocked when I go into a jazz club in, say, New York, where the chatter is loud and unceasing. I want to shush everyone up!

FQ: What was the audience in your mind when you first thought of penning the guidebook?

PRONKO: I thought it would be several: people living here, people traveling here, and jazz fans in general. If two of those categories fit, all the better. It’s aimed at being a guidebook, but also at pointing toward a deeper possibility of experiencing the culture, not just checking off the list of cool things to do in Japan. I hope readers will take the book as a step into another unique and fascinating side of Japanese culture. I hope it helps others reflect and think about jazz and culture, and their own place in the world.

FQ: The book is a culturally immersive guidebook. Do you think guidebooks like this should be written for other musical cultures too?

PRONKO: Yes, I do. I’d love to write another one, but it really takes years of research. I think that guidebooks too often tell and only rarely show. I hope mine does both. Books written in the first person can reveal much more about the culture than a factual guidebook can. I think both are helpful, but in the internet age, it’s easy to find information, and hard to find an experienced companion to start a deeper conversation about more profound experiences.

FQ: What did you find the toughest part of writing? Research, structure, or maintaining cultural accuracy?

PRONKO: I’d made most of the educational mistakes long before sitting down to pull this guidebook together, so it wasn’t tough exactly. I’d written so many articles, reviews, and essays, and conducted interviews and research for years, so I imagined it would be simple to just pull all that together. I was wrong! It took way more time than I had ever imagined. It’s a vast amount of information, and editing it down was hard. Who will I have to leave out? Painful. Maintaining accuracy was less of a problem than deciding who and what to be accurate about. It’s hard to write about music. Words don’t capture the experience very well, and I sometimes end up with metaphors or comparisons that don’t reveal enough. With a vast topic to write about, being succinct and focused isn’t easy. Just describing a club or a musician or a piece of music can be very tough. Finding the right words to encapsulate the music was probably the hardest part, and maybe always will be.

FQ: Can we get an insight into your new project? Do you plan to explore other cultural aspects in Japan?

PRONKO: I’ve already started on the second edition of the jazz book, adding new clubs, musicians, and jazz coffee shops. However, that will take some time to compile. So, I guess my next project will be the next novel in my Detective Hiroshi series set in Tokyo. It will come out in the fall. I enjoy moving back and forth between non-fiction and fiction. Each has its own challenges and freedoms. Fiction allows you to speak through different characters, but non-fiction lets me express my thoughts directly. I’m always working on both. I’ll work on another collection of writings about Japanese life, but do it gradually as the topics come to me through the rush of experience in Tokyo.

 #Bookreview of 365 Sonnets: Celebrating Each Day with a "Little Song"

By: Paul Buchheit

Publisher: Books by Paul B

Publication Date: May 19, 2025

ISBN: 979-8992339604

Reviewed by: Rebecca Jane Johnson

Review Date: July 2, 2025

Do you like to celebrate “Play God Day?” How about “Social Justice Day?” Or “Making Life Beautiful Day?” Every day of the year receives a special, official designation, and Paul Buchheit’s collection of poetry, 365 Sonnets: Celebrating Each Day with a “Little Song” honors these occasions with sonnets. These poems celebrate perceiving deeper meanings and making new discoveries in the unique quality of each day. Words ring with delight, humanity, meaning, emotional strength, depth, and character. Fans of Shakespeare, Alice’s adventures in wonderland, and Dante’s Divine Comedy will appreciate the multiple references to these classics. Plus, the poet’s love for language is infectious.

Each sonnet is accompanied by artwork that offers an ekphrastic dimension to the reading experience. These images invite the reader to engage in contemplation. Stay quiet. Ruminate. Clearly, this is a volume that values introspection over judgment. Art styles featured here include water colors, photographs, drawings, impressionistic, surreal, renaissance, and much more. This collection appreciates a relationship between art and poetry that enhances the reading experience.

Some of the poems, such as “Wisdom of a Fool” read like parables or stories; they are accessible and inspiring. Many of the sonnets offer useful social commentary, helping readers to reconsider humanity in the face of injustice, cell phones, social media, hatred, fear, and pride. But even if the human drama heats up, we can celebrate the sonnet’s structure: 14 lines, iambic pentameter, and an envelope rhyme scheme, and it is okay to deviate slightly with enjambment and surprise.

The poet delivers insightful lines. Powerful images stay with the reader. No day is ordinary because each day of the year gives us some reason to sing.

March 29 is “Smoke and Mirrors” Day, and the narrator of the poem here asks and answers “And what am I? A brief primordial squeal of lust” proffering a self-deprecating quip on the smallness of an individual compared to the vastness of the universe.

Before reading this book, I didn’t know that November 1 was called “World Vegan Day,” and here Buchheit pairs it with artwork from 1566 by Flemish painter Joachim Beuckelaer entitled “Girl with Vegetables.” The bold colors and abundant fruits add to the humorous tone of the poem that proclaims, “the true fruitarian won’t kill a plant!”

These poems embolden a reader to nurture a deeper appreciation for the sonnet form and for fine art. Each day, in any year, a poem can be read aloud to grown-ups and children alike, in the classroom, or on the college quad. April 28 is “Poetry Reading Day” and Buchheit inspires readers to forgo life’s battles and seek out that which is “imparting poetry in lieu of poison.” The promise of poetry is that it is “destined to bequeath upon the world his dulcet harmony.”

Quill says: 365 Sonnets: Celebrating Each Day with a "Little Song" educates, entertains, and encourages a reader to sigh and smile with delight, reminding us just how easy it can be for our anxious minds to be soothed with song.

For more information about 365 Sonnets: Celebrating Each Day with a "Little Song," please visit the author's website at: booksbypaulb.com.