according to somebody, AI is supposed to do something great for me… the trick, I think, is to get it to think like a person… so far, that does not seem to be working out so well… but soon, AI will be able to do everything I do only better and faster… eventually, it will think my thoughts for me, though, I will be dead by then, so, I guess that will be your problem…
WALKING TO THE BUS STOP
walking along McKnight Road, I can see Orion doing flip flops in the early morning sky… while I have my hands full with getting to the bus on time, keeping sane enough to do my insane job and wishing for more starlight…
the road glows grey and black with sparkles of broken glass…
I am the starting pitcher and the broken glass… my eyes itch… there is a chill, so I am glad for my winter coat… in the background, Beaver Lake is cool as beet juice in a mini fridge…
IMAGE POEM #27
the apple blossoms are pink and white against the early summer screen of sickening green… I sit here in my heavy jacket sipping diet soda through a red striped straw…
insane robots with porcelain eyes are dancing across the patio looking for me…
my jewelry clicks against the spruce top of my ridiculous guitar and I wonder where this chill wind is coming from…
Norman J. Olson is a small press poet and artist living in Maplewood, Minnesota. Since his first acceptances in the early 1970s, he has published hundreds of poems, prose pieces and artworks in 15 countries and all over the USA. Website: https://normanjolson.com/ .
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Keith Lyons in conversation with Helen Townsend, an environmental entrepreneur and a plant enthusiast
Helen Townsend speaking to women at Girls-in-STEM that aims to close gender gap in science in 2026. Photo sourced by Keith Lyons
Helen Townsend has spent her career uncovering the connections between people, plants and the planet. From working with herbarium collections in Nepal and Bangladesh to leading campaigns against single-use plastics and creating nature-based toys for children, the environmental entrepreneur has come to see climate change, biodiversity loss and waste as deeply interconnected global challenges. In this interview, she reflects on the power of plants, the importance of global responsibility, and why reconnecting children with nature may be one of our greatest reasons for hope.
Keith Lyons (KL): How did you find yourself in Nepal and Bangladesh, and what did you do there?
Helen Townsend (HT): In 2006 I was working in the herbarium of the Royal Botanic Garden Edinburgh on a project digitising African plant specimens. The aim of the project was to increase African botanists’ access to their countries’ important specimens which had been collected during colonial exploration and taken to the UK. In 2009, the project expanded to Asia, and I went to Nepal to train staff and set up the digitising project at the National Herbarium of Kathmandu. I also spent six months in Bangladesh volunteering at a girls’ school in Dhaka.
KL: How were your experiences in those places influence your awareness of environmental issues which are both linked with modern society and global?
HT: While growing up in New Zealand and living in the UK, I knew we used too much plastic packaging and tried to avoid it but it was when I was in Nepal and Bangladesh and saw plastic rubbish on the streets and in the rivers that I started to realise the scale of the plastic pollution problem. In New Zealand we produce so much more rubbish than people in Nepal and Bangladesh but because it’s collected weekly and taken away, we never have to confront the environmental impact of our purchasing choices.
KL: What fascinates you about plants?
HT: Plants are beautiful, especially trees! But the more I learn about them the more interesting they become. Plants are often seen as the backdrop to a scenic view or ‘nice to haves’ for people living in cities but they are absolutely essential not only for the survival of all life but also for our physical, mental and emotional well-being.
How has this interest run through your study, work and approach?
HT: Both of my businesses have tackled systemic issues by providing alternatives to single-use plastics and reconnecting kids with nature. These issues are directly related to protecting the environment and helping parents pass on their love of nature to their kids.
KL:What broader lessons have you learned from working with plant collections, botanical gardens and herbariums?
HT: Working on projects to return botanist’s access to plant specimens taught me how interconnected societal problems are and how our current problems are grounded in colonial and capitalist thinking. Europeans taking plant specimens from Africa and Asia in the 1800s directly impacts the work of today’s botanists from those areas. In the same way, climate change and the biodiversity crisis have been caused by rich countries’ exploitation, again taking more than their share of nature and resources.
KL:Waste is often seen as a local issue, whether it be plastic, uncollected rubbish, dumping, or pollution in waterways. Why do you see it as a global issue?
HT: Billion-dollar companies headquartered in the USA or Europe take oil from the Middle East and turn it into plastic to be made into products in China which are then shipped to New Zealand. After we’ve used the product, we put our plastic ‘recycling’ out to be collected, and it’s shipped to Indonesia where it contributes to enormous landfills contaminating the land, water ways, oceans and health of communities we will never visit.
This is not an accident. It is a planned devaluing of the global south so rich countries can continue to consume overpackaged and unnecessary junk to make a few people extremely wealthy. If we look at waste as a local issue, we can pat ourselves on the back for taking part in a beach clean-up, while ignoring the capitalist system that created the inequality and environmental destruction of countries we do our best not to think about.
KL:What initiatives have you been involved in which have looked for solutions to problems, and how did you go about turning ideas into action?
HT: After returning to New Zealand, I set up a company called ‘The Rubbish Whisperer’ to provide replacements to single-use plastics. I made reusable produce bags and introduced paper straws to cafes and restaurants in New Zealand, advocating for straws on request. Providing reusable alternatives was an important component in the grass roots movement to eliminate single-use plastics. Working alongside activists, scientists and community groups, we were successful in achieving New Zealand’s 2019 ban on single-use plastic bags and restrictions on plastic straws.
Now I have a company called ‘Sustained Fun’, the world’s first climate change focused toy company. Toys are vital to climate change because they teach social norms and shaped how kids see the world. The toy industry works on a fast fashion business model and is training kids to be over-consumers of cheap, disposable plastic junk. If we want adults who care about the environment, we need kids to learn how to love nature. Luckily all this entails is to get kids out into it! We make fun and sustainable toys and games that encourage kids and families to connect with nature.
Anthea Bell and Helen Townsend, co-founders of Sustained Fun with their reusable water-balloons. Photo sourced by Keith Lyons
KL: When it often seems that environmental problems can feel overwhelming, what gives you hope?
HT: This is something I struggle with a lot. It doesn’t always feel like things are getting better. I make an effort to seek out positive news and connect with others who are excited about nature and are making a positive impact. Running ‘Sustained Fun’ also gives me hope as I can help to create a more positive future for kids and families.
KL:What helped shaped your perspective and desire to make a difference?
HT: I’m not sure. I don’t understand why everyone wouldn’t want to make a difference? We all want swimmable rivers, clean beaches, forests, amazing animals and breathable air. And, especially for those of us from rich, privileged countries, it’s our responsibility to make sure a healthy environment is there for all people and the next generation.
KL:If someone could see the world through your eyes just for one day, what do you think they would notice differently?
HT: Plants! Instead of seeing plants as a green backdrop, they would see them as the view, noticing which ones are native and which are invasive. They’d look at deforested hillsides and imagine them covered in mature forests. They’d look at a polluted estuary and see it teeming with life. Wherever I go, I imagine what it used to look like before we cut down the trees and what it will look like again, once we’ve restored them.
KL:What kind of world would you hope today’s young people inherit?
HT: I would love it if every year wildlife numbers increased so that when young people look back at 2026, they are amazed at how far we’ve come. I can’t wait for my grandchildren to say to me ‘I can’t believe you were excited to see one whale in the harbour, I often see hundreds’.
KL:If you could leave one message for readers around the world, regardless of where they live, what would it be?
HT: Do more and speak up. We need to move swiftly and urgently to prevent the worst effects of climate change and stop biodiversity loss. Whatever your skills, experience and profession, turn them to protecting the environment. And if you have kids, teach them to love the environment by getting them out into nature as often as possible!
Heen hugging moss in UKHelen treking in NepalPhotos sourced by Keith Lyons
Keith Lyons (keithlyons.net) is an award-winning writer and creative writing mentor originally from New Zealand who has spent a quarter of his existence living and working in Asia including southwest China, Myanmar and Bali. His Venn diagram of happiness features the aroma of freshly-roasted coffee, the negative ions of the natural world including moving water, and connecting with others in meaningful ways. A Contributing Editor on Borderless Journal’sEditorial Board, his work has appeared in Borderless since its early days, and his writing featured in the anthology Monalisa No Longer Smiles.
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My friend Carlos is an artist of some renown. He is well-known locally for his sculptures and life drawings. A star of the Faculty of Fine Art, his work is sought after in Seville where he exhibits frequently. He is also a character with an impish grin that reflects his saucy sense of humour. Janet and I consider him a lovable rogue. He is obviously enamoured of my wife, although he presents no threat at all because he’s queer and is just teasing me. Every time we run across each other, he promises to leave me a piece of his art with one of his shopkeeper friends as a token of his esteem. I’m still waiting…
Tony Dawson, an 89-year-old English writer, lives in Seville and has published widely in the USA, UK, Canada and Australia since he took up writing during the pandemic.
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The ocean breeze swipes the water page after page turned in waves of succession,
one after another sweeping the air and stirring it in the sounds of coming and going.
The waves move as the wind dictates: some taller, some more shallow, still others less certain.
These are the waves of times, when Fall just begins and the air knows nothing of Summer—
in days blessed by what came but were cursed when they left, with just the newest day now with me,
where only what left is what I wanted— where only waves of its time came and are now over.
Water comes then recedes motion upon motion, each one pulled from the edge of the sea,
each one returned to where it once came. I do not see its subtle direction-change
except its withdrawal, except to see them extracted in distant sentiments of their own.
Can it be that this is what was always meant to be, and did I miss more than I could have remembered?
Did I not notice them when they were there one after another in chances I hadn’t realised were given?
But now I see I was wrong: each day the shore doesn’t forget each wave’s sentiment,
each wave holds its own where there is no end to them, where I’m offered a memory wrapped by the pain
of their leaving, but stays bound to every one where I hold on to the gift each one carried. DESIGNS
so much of what consumes me is mired in redundancy mental gymnastics wound ‘round and ‘round like an old watch spring and even when encased as permanent and making promises of permanence revolve with the earth in an air of inconsistency— both tensioning and reverting
maybe sorrow was designed this way maybe it was honed from some common metal where fissures stayed hidden but are the cause of its denigration over and over daylight comes deepens then fades mired in a cycle where change speaks only to change ‘round and ‘round in steps that hold its own brightness
A STEP AT A TIME
I can’t walk far once sunlight begins leaving, once the sweet music of unnamed birds begins to end, after rain fell again in the morning and clouds regrouped in early evening, the day without a before or after, only itself with two hands giving all I come to breathe— the two of us here in waning sunlight remembering: another day only mine to take, only the day to give— whether I cherished it or had choices when it ended, a day in the light that remains with an intensity of its own.
SR (Salvatore Richard) Inciardi was born in New York City and attended Brooklyn College and New York University. SR Inciardi’s poetry has appeared in the USA and in Europe in various online and print magazines including Green Ink Poetry, Harrow House Journal, Grey-Sparrow Journal, Borderless Journal, Written Tales,among others. He was a contributor to Green Ink Poetry for their publication on Kennings: Equinox Collections: Autumn released on Amazon in October, 2024.
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It’s those words in the smaller pairings that offer imagined depth but inexact dimension with eyes that cannot see newness in weakened light absent colour words that can be read from the ashes of what never was in a time escaping into the dimming sunset: if only I could see my choices replayed if only I could hold them when the air was younger when they floated on a gentle breeze and were touched by an earlier sunlight when I knew what it was to be in the moment and I was captured by words still to come. If only they were here if only the words I heard then continued to speak now.
SR (Salvatore Richard) Inciardi was born in New York City and attended Brooklyn College and New York University. SR Inciardi’s poetry has appeared in the USA and in Europe in various online and print magazines including Green Ink Poetry, Harrow House Journal, Grey-Sparrow Journal, Borderless Journal, Written Tales,among others. He was a contributor to Green Ink Poetry for their publication on Kennings: Equinox Collections: Autumn released on Amazon in October, 2024.
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Now the changes have stopped and what it’s come to has settled in a curtain masking as it spreads so what was at one time discernible is painted in thicker darkness. At this point I see it will not reverse another day weathered another string of moments shaded by insistence—soundless sketches of how real objects appear bloodless stripped of their depth blended with their variances.
It’s not the daylight I miss but the touch of what once stood before me the comfort seeing it knowing it was there in the light now both unreachable. It’s the darkness that seems to hold the more natural light among the new air that’s turned cold shifting between two selves: one that knows what the daylight once gave and the other that knows when the light returns each day will be different.
SR (Salvatore Richard) Inciardi was born in New York City and attended Brooklyn College and New York University. His poetry has appeared in USA and Europe in various online and print magazines including Green Ink Poetry, Harrow House Journal, Grey-Sparrow Journal, Written Tales,among others. He was a contributor to Green Ink Poetry’s Kennings: Equinox Collections: Autumn (2024, Amazon)
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I don't need your devotion -- your attention -- or to listen, connect with my emotions -- or to tell me I'm forgiven,
I don't need your affection or to feel your tender touch, I don't need your protection -- your support -- to be my crutch,
I don't need adoration -- all your compliments and thanking, your true appreciation -- all your patience -- understanding,
I don't need all the accolades -- your gratitude -- respect, your sympathy -- your serenades -- your charming intellect,
I don't need all your lavish gifts and all your good advice, don't save me in a snowdrift - I don't need your sacrifice,
I don't need your agreement or to see my point of view, just be good to me on Sunday -- and be good to me on Monday too.
Stephen Philip Druce is a poet and surrealist from Shrewsbury in the UK. He is published in the USA, Hungary, India, Canada, Ireland, the UK and South Africa. Stephen has also written for London theatre plays and BBC Radio 4 extra.
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It is a truth almost universally acknowledged that Jane Austen is a great writer. The world created by her in just six novels continues to regale generations of readers with tales of love, marriage and money, a sentiment which would be reiterated by substantial numbers of her fans all over the globe. We could well echo Evelyn Waugh on the comic writer P. G. Wodehouse: that his (Wodehouse’s) inimitable world could never grow stale….that he has made a world for us (readers) to live in and delight in…
Jane Austen(1775-1817) has acquired a kind of cult status in the last couple of centuries. Such is her reputation that it has helped birth a veritable Jane Austen industry, replete with museums, memorabilia and mementos. There have been numerous novels and films inspired by Pride and Prejudice and Emma and many films (and remakes and adaptations) based on her novels.
16 December 2025 marks her 250th birth anniversary. Many museums in the UK and the USA have showcased exhibits which give viewers delightful glimpses into her life and writing. Her novels, full of wit and satire, provide an insightful commentary on the social hierarchies, as well as the quirks and oddities of her milieu.Their plots and themes are woven around women and the necessity of marriage, money and the determining power of money.With considerable irony and subtlety, she turns the mirror on how manners are a function of morality and good sense and not just a matter of appearances. Rarely didactic or preachy(with Mansfield Park as the only exception), her novels convey in perfectly nuanced and measured prose, how difficult and crucial it is for women to find the right spouse and space.
As the youngest daughter of a poor clergyman, mostly educated at home, Jane Austen was well aware of the value of an independent income and a home of their own. After the death of her father, she, her sister Cassandra and mother, rather like the Dashwood women in her novel Sense and Sensibility, had to move around as they were dependant on the financial support of her brothers, especially her wealthy brother, Edward. The pain of this unequal fortune and frequent shifts, which Jane and her sister Cassandra may have experienced, is expressed by Elinor and Marianne in the novel where they have to practice small economies and learn to scale their expectations according to their situation.
Austen led a largely sheltered and sequestered existence, surrounded by her family, bound to family duties which “might have been the more expected of a dependent spinster aunt such as she was.”[1] Many intelligent women, like Charlotte Lucas, Elizabeth Bennett’s friend in Pride and Prejudice are shown to accept inferior matches to escape from spinsterhood and the expectations of their natal families. The absence of livelihood opportunities for women in her day and the lack of any income of her own would have proved irksome to Austen and provided her with a further impetus to “write her way into some money,” as she wrote in a letter to her brother, Captain Francis Austen, in July 1813. Further, in another letter to her niece Fanny Knight, she writes that “single women have the propensity to be poor which is one very strong inducement for women to marry.”
Her novels often do not always reveal the full measure of Jane Austen’s remarkable achievement: how she, constrained by genteel poverty, “the lack of a room of her own”, and writing materials which had to be put away often to attend to obligatory family commitments, wrote her novels based on such close observation of, and acute insight into contemporary life. Her eye for detail is such that it invites frequent references to her own words: “A little bit of ivory, two inches wide, on which I work with a brush so fine as to produce little effect after much labour.” This modest disclaimer and “little effect” have, however, fascinated generations of readers and inspired hosts of writers.
That Jane Austen’s 250th anniversary is being celebrated and commemorated all over the English-speaking world perhaps comes as no surprise but it still leaves us with some questions. What is the relevance of her novels now? Are her novels relevant to present-day political realities, in addition to their astute observations on graded social hierarchies? Can we view her as a feminist? Does she merit inclusion and study in universities of the global south at a time when there is a strong drive to decolonise English, the language of the erstwhile colonial masters?
In her book Jane Austen: The Secret Radical, Helena Kelly writes of the subversive and radical potential and intent of Jane Austen’s novels. Kelly goes a step beyond Marilyn Butler’s 1987 Jane Austen and the War of Ideas that had suggested that Austen leaned on the conservative Burkean side when challenged by new-fangled Jacobinism with its ideas of equality and brotherhood, coming from France which disturbed hierarchies, ideas and values long held to be sacrosanct in traditional English society. Kelly suggests that far from being conservative, insulated from contemporary political concerns, Jane Austen held radical and possibly subversive views which she did not express openly but which are clearly configured in the world of her novels. In doing so, she made the novel a meaningful art-form and a vehicle for the expression of ideas around love, marriage and additionally also of debates on slavery, female education and emancipation.
“It is a truth universally acknowledged that a single man in possession of a good fortune must be in the want of a wife.”[2] This famous ironic opening sentence of Austen’s has captured attention and elicited many critical commentaries. It’s a brilliant masterstroke where Austen underlines the mindset of young women and their anxious mothers on the lookout for eligible bachelors. Articulated like a truism, it seeks to facetiously universalise a partial truth. The omniscient authorial tone and tenor encompasses the dominant themes of Pride and Prejudice in the opening statement itself. Marriage, women’s responses, men’s reactions, social rank and wealth — all the principal subjects of Austen’s writing are near universal themes. In her novels, Austen communicates the constraints within which women function and the limited or literally the only ‘choice’ available to them. Having experienced financial instability and economic dependence, she had a clear understanding of the constraints experienced by women in early nineteenth-century England.
The happy ending that we see where Elizabeth Benett indeed becomes “mistress of Pemberley” symbolises the moment when some women, having acquired a certain status, become custodians of the home and the private sphere. Some feminist historians like Gerda Lerner, however, have pin-pointed this moment as one where the economic marginalisation of women is complete, in the aftermath of the Industrial Revolution, and they are pushed back from the public sphere.
Even as women were participating in print culture and taking their place as readers and writers, they were increasingly relegated to the private sphere. The tendency to relegate women to the private sphere and making them responsible for the entire range of domestic tasks of nurturing and care-giving and thereby sustaining the edifice of domestic life is something that persists even now. The fact is that women’s participation in the paid economy and public sphere has added to their ‘double’ burden in the 21st century.
Many critical voices have pointed out that Jane Austen’s writings do not directly mention the political situation, philosophical debates or religious discourses of the day centering on questions of social equality, justice, economic questions or the rights of man. Yet her fine crafted depiction of socio-economic relations, the dynamics of human relationships shaped and moulded by the struggle for wealth or power or status exposes the political reality, social hierarchy and the economic structure in society which shaped and informed all social transactions.
While the position of women may have improved in some spheres, there are still glaring gaps when it comes to women’s access to equality or justice. Changes in the last two centuries have gone beyond superficial tokenism. There are still miles to go in our march towards equality. It is in this larger context where there is a grudging acceptance or disavowal of women’s rights that the Jane Austen heroine’s negotiations with patriarchy remain relevant.
They demonstrate a mode of assertion, of agency in the face of inequality and in socially disadvantaged situations, which sustain an illusion of female empowerment and wish-fulfilment. It is this vision of romance, which, informed by a comic and somewhat ironical view of life, consolidates the exercise of female agency and makes the reading and re-reading of Jane Austen’s novels a rewarding and enriching experience. Her astute delineation of human delusion and human folly holds up a mirror to her society that often impels recognition on our part and remains forever relevant. Her perceptive analysis of the warp and weft of her society remains almost unmatched.
…yet he (Byron) cannot match the shock she (Austen) gives me; Beside her, Joyce is as innocent as young grass. I feel truly uneasy, my mind unsettled, Watching the English middle-class spinster describe the power of money to attract love, so plainly and soberly revealing the economic foundations that sustain human society.
W.H.Auden’s lines on Jane Austen and the unlikely comparison with the prince of notoriety, Lord George Byron, never fails to instruct or entertain us. Such is the mark of great literature which leaves its imprint decades and centuries after its inception.
Meenakshi Malhotra is Professor of English Literature at Hansraj College, University of Delhi, and has been involved in teaching and curriculum development in several universities. She has edited two books on Women and Lifewriting, Representing the Self and Claiming the I, in addition to numerous published articles on gender, literature and feminist theory. Her most recent publication is The Gendered Body: Negotiation, Resistance, Struggle.
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Spring, summer, and autumn, while the birds sang their seasonal tunes humans beat loudly their own drums.
The bees collected their nectar well while swans in the lake nearby found their life-long mates and yapped their love notes,
while sound and sights captured much of the yearly gifts to bless, while in silence, a rose bush gave her cloying fragrance and red flowers.
In life, we give of ourselves: the best of what we have.
HOPES AND DREAMS
The year 2025 found the world at a crazy stage on which life danced.
Amidst the maddening politics, natural calamities and wars took the hardest hits. In the turmoil, I feel like an ant under an elephant
When I wish to make a difference in life for someone in need — what have I to give?
Mother Teresa’s advice echoes “If you cannot feed a hundred people, then feed just one.” I get up and venture out.
Surely, since I am alive and well; there is something I can do for someone?
When hope for a better world crumbles like sand, I send prayers up to heaven--- I know, they can move mountains. And with prayers, I plant new seeds of dreams for a peaceful world of tomorrow.
Tulip Chowdhury, a novelist, poet, and columnist, writes from Georgia, USA. Her books are available on Amazon.
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On the sidewalk of his existence, he signs a lease for his coming days. He earns a license of freedom that puts him above the king of kings.
He’s a drifter waiting for the tide to turn but happy if it never does cause what he feels is the envy of people, what he does not have is their fear. On the surface, they pity him. In the depths of their soul, they envy him.
Their expectation leads to disappointment. Their defeat sounds like confinement. His truth smells like liberation and his liberation provides him with freedom.
Fortunate are those who have very little, for they may not know that they own the world. Poor are those who have a lot, for they may not know that they own nothing.
He sits on the sidewalk lays back on his blanket, his pillow is deeper than the ocean. He watches the stars, wishes the kings could share his view, and wonders if the tide will ever turn.
Ramzi Albert Rihani is a Lebanese-American poet who resides in Maryland, USA. His poems have been published in the US, Canada, UK, and Ireland. He received the 2024 Polk Street Review first-place poetry award.
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