Invitation for the Soflay Poet of The Year Award 2017
General Rules:
1- The competition is free to enter and poems can be of any length and on any theme.
2- Individuals enter 2 poems, short biography and 1 profile picture. send us only a selection of your very best.
3- Your work is accepted on the basis that this will be its first publication anywhere in the world. Each poem must be the original work of the author and must not have been previously published.
4- Poems must be in English.
5- Poems will be accepted from anywhere in the world.
Competition entries cannot be returned under any circumstances.
6- All postal entries must be post-dated on or before the
25th December 2017. Late postal entries will not be accepted.
7- By entering this competition, entrants agree that their poems and data may be used for publishing in Whispers of Soflay (Yearly Anthology of Poetry) 2017 and for research purposes.
8- The judges’ decision is final.
9- All poets also conserve the copyrights of their work.
All the rights mentioned above.
send your work at :

Review: An Odyssey by Daniel Mendelsohn

As everyone knows, The Odyssey is a poem about a “traditional” family. A wife waits anxiously at home for her absent husband; a man-child son, still living at home, dreams of his father and snaps irritably at his mother. The husband and father himself spends 10 years away at war, and another 10 making his meandering way back home. The institution of marriage seems to lie at the heart of the poem, along with an accompanying set of double standards about gender. Odysseus spends seven years on the island of Ogygia, and in the bed of the beautiful, devoted goddess Calypso, plus another year with the sexy witch Circe. He suffers no negative repercussions, while “faithful Penelope” has to ward off all her suitors as long as she possibly can; doing nothing and nobody is the only way for a mortal woman to avoid the bad reputation of the oft-mentioned adulterers Helen and Clytemnestra.
So far, so predictably androcentric and heteronormative. It’s easy enough to assume that the ancient and archaic Greeks, since they lived a long time ago, must have espoused values that we regard as “traditional” because they were the norms of Victorian or Edwardian England. But The Odyssey is surprisingly complex in its account of the ideals and realities of family life, identity and home. As Daniel Mendelsohn shows in his brilliant new memoir/lit-crit essay, the trio of husband, wife and son is complicated by a vast array of other familial or quasi-familial relationships. Telemachus, Odysseus’s son, is taught about masculinity and the elite norms of marriage by alternative father figures, Nestor and Menelaus, and by a pair of marvelously intelligent and seductive alternative mother figures, Athena and Helen. Meanwhile, Penelope searches for escape in her weaving and her dreams, and Odysseus seems to find a series of alternative, albeit temporary homes with Calypso and Circe and the nubile Nausicaa. I would note, although Mendelsohn does not say this, that the protagonist has his most intimate and longest-running relationship not with Penelope but with the goddess Athena.

Ancient Greek has no term exactly corresponding to our “family”: the word genos suggests lineage, while oikos means “house” or “household”, including all the people in the house – whether or not they are related. The oikos to which Odysseus returns includes not only his biological father and son, but also the many other members of his household: his decrepit old dog, his resident poet and his multitude of slaves (including the pig keeper and other farm workers, the old wet nurse and the many minions kept to bathe and feed their owners). Mendelsohn sets an account of the Homeric Odyssey alongside a nuanced portrait of his own complicated familial and quasi-familial relationships, with his non-biological sons and their mother (who is neither a sexual nor a romantic partner), with his students, and with the many substitute parents (uncles, aunts, professors, teachers and friends) who have taught, mentored or inspired him during his life.

Mendelsohn is a perceptive literary critic and a self-consciously elegant writer. His previous memoir, The Elusive Embrace, explored the binaries of his double life, cruising the corners of Manhattan for pretty boys, and taking care of his son in the suburbs of New Jersey. But his well-honed, authoritative sentences in that book seemed to come from a quite different third person: a master narrator, who is certain of the “truth” about Greek myth and male sexual desire. The new memoir, which is a richer, deeper work, sheds keen light on this third identity: Mendelsohn the writer, the public intellectual and professor. The book shows us how his desire to become a classicist was shaped in part by the desire to please his difficult father (who regretted abandoning his high school study of Latin), and how he shares some of his father’s need to be always right. Most powerfully, Mendelsohn contrasts his account of Homer with his father’s more critical response.

The book tells how the 81-year-old Jay Mendelsohn, who had been a professor of mathematics, enrolls in his son’s class on The Odyssey (taught in translation). Later, the two men take a Mediterranean cruise, retracing the mythical journeys of Odysseus. As they travel, Daniel is surprised to see a sociable, personable side of his father, which had been barely visible in the aloof man who lived in the family home. Jay is, like Odysseus and perhaps all of us, polytopes: “many-sided” or “much-turning”.

Not all teachers would be eager to let a parent sit in on a class, let alone write about it afterwards. Daniel’s courage is all the more admirable because Jay is a disruptive presence, though he turns out to be a source of comic drama in the book. Having promised to sit at the back and say nothing, Jay becomes extremely vocal, expressing opinions about the poem that are opposed to those of his son. Daniel claims that Odysseus is presented as fully admirable and heroic, a claim he backs up by resorting to desperate historicizing (“Remember, this book represents the product of a different culture”). Similarly, he makes the conventional but debatable claim that the marriage of Penelope and Odysseus is “good” or “ideal”; it is, he says, an example of “like-mindedness” (homophrosyne – a term that Odysseus brings up in a self-interested attempt to chat up the helpful foreign princess Nausicaa).

Jay, however, repeatedly points out that there are many ways in which the lying, adulterous, boastful, violent, weepy and self-pitying Odysseus does not seem like much of a role model. To Daniel’s great credit, he acknowledges that the students often seem to learn more from Jay’s interpretations than from his own, and the meeting of the two perspectives leads to a far richer reading of the poem. The fault-lines mapped in the disagreements of father and son correspond to some of the most fascinating interpretative questions of The Odyssey itself, such as whether people ever can or should be self-sufficient, whether you have a single “true” identity and whether you can ever really know another person. The book also explores how stories and shared memories help people to form deep connections with one another across time.

It gives a vivid picture of Mendelsohn’s anger, anxieties and embarrassments about his father – a man wary of hugs, reluctant to praise and stubbornly set in his ways. The dapper, urbane, New York intellectual son is ashamed of Jay’s brown polyester shirts, and frustrated by what seems like a limiting view of the world. But this is also a relationship of enormous affection. The book ends with the father’s death, and it can be read as a kind of Kaddish: an act of mourning that involves making peace with the dead.

There is a touching scene in which Daniel, who suffers from claustrophobia, has a panic attack while visiting the cave of Calypso on the cruise; Jay, who usually avoids all physical contact, takes his son’s hand to comfort him in this moment of intense fear, as if he were still a little boy. Later, when the hand-holding comes up in conversation with the other travelers on the cruise, Jay saves his son from embarrassment by claiming to have clutched at Daniel for stability on the steep climb. The sequence is surprising, not least because Jay is described as an obsessive adherent to the literal truth. His resistance to any kind of falsehood lies at the heart of his hostility to Odysseus and his scepticism about literary study in general. Jay’s white lie is a beautiful moment, which speaks volumes about the fluidity of human identity, and the fluid relationship of parent and child, where each takes turns in caring for the other.

Memoirs about reading are an interesting hybrid, located somewhere between criticism and personal recollection. An Odyssey is a stellar contribution to the genre – literary analysis and the personal stories are woven together in a way that feels both artful and natural. The melding of craft with nature is represented, in the original Odyssey, by one of its most famous scenes: the recognition of Odysseus by Penelope, when she pushes him into telling the story of how he built their marriage bed out of the olive tree that was growing through their house. Mendelsohn’s book is framed by the story of another bed, made from an old door by Jay for his son as a child, which Daniel uses as a spare bed in his campus home. Jay mentions the door-bed when he sits in on the Odyssey seminar, and speaks of it for the last time on his deathbed, as a final way to forge a link with his son.

by Emily Wilson
If you want to write an article here are some easy steps, and when you will follow you will able to write a best article as you want.

Choose a topic that interests you enough to focus on it for at least a week or two. If your topic is broad, narrow it. Instead of writing about how to decorate your home, try covering how to decorate your home in country style on a shoestring budget. That’s more specific and, as such, easier to tackle.

Then write a rough, rough draft, including everything you can think of. Stay loose, avoid getting analytical, and enjoy the process of sharing what you know. When you’re done, you’ll have the bare bones of an article that only you could write. Then put it aside for a while.


Now, come back to your piece. Switch gears and imagine you’re the reader of this article. Pick three words to describe the audience you want to address (e.g., professionals, single men). As this reader, what questions would you like answered? You might not know the answers yet, but list the questions anyway; you’ll find answers in the next step.


Research will ground your article in fact. Good details to include with your how-to are:

Quotes by well-known people
Anecdotes (short, illustrative stories about yourself or someone else)
Quotes and examples from people like the reader or from popular books on the subject
References to other media (film, television, radio)
Helpful tools, resources or products (if many, consider creating a sidebar)
References to local venues or events (if for a regional/local publication).
Collect everything you have gathered and put it in a folder, an electronic document, a notebook or whatever you like. Don’t forget to keep track of sources in case you are later asked by an editor to verify them. You may want to sift through your research at a separate sitting from gathering it. Or just go ahead and sprinkle your research in right when you find it. It’s a lot like cooking—play around until you feel you have it “just right.”


Keeping your audience in mind, write a tighter draft incorporating the new supporting information you’ve collected. Sometimes what you’ve learned in Steps 2 and 3 may compel you to start over with a completely fresh draft. Or you may just want to revise what you have as you proceed, retaining a nice conversational tone by directly addressing your audience.

This time when you read your draft, ask yourself: Is it working? Is it too general, too lightweight, uninteresting, unclear or choppy? If so, comb some of your favorite publications for how-to articles. What techniques are those writers using that you might employ?


Double-check to see that you’ve included every pertinent step in the process. How-to articles have to be thorough. You want your reader to walk away knowing exactly how to make that Thanksgiving dinner on a shoestring budget, execute that rugby tackle or locate great accommodations.

If your narrative goes on and on, or off in too many directions, break it down into key points indicated with subheads (as in this article). Synthesizing complicated information and breaking it down into steps is especially crucial for online writing, and is also a trend in print.


Read the draft of your how-to article out loud to a supportive friend. Then, ask her a series of questions: Does she now understand the process? Are there any steps missing? Is there anything else she would like to know about the subject? Could she do the task herself? With your friend’s suggestions in mind, use your best judgment in deciding what changes, if any, need to be made.

Here’s a quick list to help you catch errors or omissions:

Did you adequately describe the ingredients/supplies needed in order for the reader to complete the task?
Did you include all the important steps?
Is the order logical?
Did you use words that indicate sequence: first, next, then?
Did you warn readers of possible pitfalls?
Rewrite, read aloud, rewrite, read aloud, rewrite, find a proofreader and, only when you’re satisfied you’ve written an effective how-to article, submit your piece to an appropriate publication with a short cover letter.

  by Christina Katz.
How I can write a bestselling novel?

Please consider the following helpful tips. These will make it easier to get your stories or novels published. These tips will help you write good fiction in general.

1.     Show Not Tell

It's better to show through a character's actions than "tell" by having the narrator describe. Please do not "tell."

Example 1: "Garth became nervous" is "telling." It is better to "show" with: "Garth's hands trembled."
Example 2: "Garth did not want to go down the hall with the Major" is "telling." It is better to "show" with: "What?" Garth said. "There's no way in hell I'm going with you!"

2.     Body Movement

Occasional reference to body movement and scene interaction is important so that characters are not disembodied talking heads. It's also important to occasionally use body movement before a person talks, in order to establish who is talking.

"When are you going to leave for France?" John asked.
could be cast as:
John took a slow breath. "When are you going to leave for France?"
(Many times beginning authors make it hard to figure out who is talking, but a quick reference to body movement before the speaker speaks makes it all clear.)

3.     Short Better Than Long

In real life, people often talk in short sentences and phrases, rather than in long drawn-out sentences with big words. Another dialog tip: use contractions often. For example, a character may be more apt to say "I'll" than "I will."

4.     Break the Dialog

Always insert a "he said" or "she said" as early as possible into a line of dialog (if a "he said" is even needed at all).

Never do: "Yes, I will kill him, but not until you buy the peaches for dinner," he said.
Instead do:
"Yes," he said, "I will kill him, but not until you buy the peaches for dinner."

5.     Use Active Voice

Don't say: "The paper was placed on the wall by the doctor." Use active voice: "The doctor placed the paper on the wall."

6.     Avoid Omniscient Narrator

Books have more immediacy if you stay within one character's head and therefore the narrator does not have knowledge of what other people are thinking. For example, if you are in Jake's head, we are in Jake's head for most of the book. We can't suddenly know how Melinda is feeling. Jake doesn't read her mind. We can suggest how she feels through Jake's opinions and what he sees and hears, and what she says and does. (Some people use an omniscient narrator, but the best books avoid it.)

7.     Don't Rush The Scene

If a scene sounds rushed, with too little attention to detail and texture, then more words are needed to draw out the action and suspense.

8.     Natural Dialog

If you are unsure if the dialog sounds natural, read it out loud to yourself. This is a great way to make sure the dialog is natural.

9.     Involve All Senses

To really get the reader involved, try to stimulate more of the reader's senses. For example, if you've gone ten pages without stimulating the reader (and character in the book) with an odor, or tactile feeling, sound, or taste, the book will have less immediacy.

10. Use "Said"

I notice some beginning writers seem to dislike using "said" and try to replace the word "said" with words like commanded, remarked, uttered, began, etc. Perhaps they feel that too many "saids" stick out. However, you don't have to be afraid of using too many "saids." In fact, it is much worse to try substitutions. The best writers use "said" almost all the time and let the dialog convey the meaning. For example,

"Get out of here now!" he commanded.
is much worse than
"Get out of here now!" he said.
The word "commanded" is an unnecessary distraction. In any case, it's obvious the sentence is a command. When readers read "said", their eyes barely pause. The "said" goes almost unnoticed. This is what you want. Replacement words, such as "remarked", stick out obtrusively, which is what you don't want. For these reasons, some authors don't even use "he asked" for questions; rather they do: "Where is it?" he said.

11. Don't Begin To

Don't have your characters "begin to do something," "try to do something," and so forth. Just have them do it. Example: "Mary began to skip down the block." Change to "Mary skipped down the block."

12. Avoid "as he"

Avoid excessive "as he" constructs. Example: "Mary turned on the TV as she thought all the time about Joe." Change to: "Mary turned on the TV, thinking all the time about Joe." Or, better yet: "Mary turned on the TV and thought about Joe."

13. Provide Character Reactions

Example: When something is said or done to a character that is out of the ordinary, have the character respond. New writers often forget to show the responses of characters before moving on with the plot.

       14. Which or That?

Use "which" with a comma when the phrase seems as if it could easily be set off with parentheses and make sense. Examples with "that" and "which": 1) I like dogs that bark. 2) I like the German Shepherd species, which has pointed ears, a tan coat, and teeth that rip.

Additional Mechanics
1.     "Like" or "As If"
The word "like" should not be used preceding a clause with a subject and a verb. Examples:

It felt like a furry ball.
It felt as if a furry ball rolled around in his stomach.

2.     Split Infinitive
Some publishers ask that you don't put an adverb between "to" and "verb."
Wrong: "to carefully create." Correct: "to create carefully." (However, I tend to disregard this rule whenever it sounds "wrong" to my ear. You can usually ignore this rule, too.)

3.     Wordiness
Reduce wordiness by changing:
"stooped down" to "stoop"
"rose up" to "rose"
"penetrated through" to "penetrate"
"caught sight of" to "saw"
"in the event that" to "if"
"at the present time" to "now"

Also change:

"towards" to "toward"
"besides" to "beside"

4.     To Lie/To Lay
The verb form of lay takes an object, and lie does not. Example:

He laid the shovel on the ground.
He wanted to lie on the ground.

5.     Since/Because
"Since" should be used when time is involved.
I have been sad since you arrived.

Use because when implying a cause.
I have been sad because my house burned down.

6.     Each Other/One Another
"Each other" is used when you refer to two people. "One another" is used when you refer to three or more people.

Example: Mindy and John bumped into each other.

7.     Participial Phrases
Modifying phrases that start with verbs ending in"ing" or "ed" require a comma before the phrase.

He pushed the ball, using a can of peaches.

8.     Whoever/Whomever
If you can't figure out when to use whoever or whomever, substitute the word "he." If it sounds better to use "him," than use whomever. Is 1 or 2 (below) correct?

1. It was as if whoever had killed them....
2. It was as if whomever had killed them.... "It was as if he" sounds better than "it was as if him," so use whoever.

9.     Further/Farther
Farther is used to refer to physical distance.
She runs farther than I do.
Further is an adverb meaning to a greater degree.
I want further training.

10. Commas and Adjectives
Separate two or more adjectives with commas if each adjective modifies the noun equally.
They are brave, studious students.
This was a beautiful Persian carpet.
(Here "beautiful" modifies the Persian carpet.)

11. Rise/Raise
Use rise (rose, risen) when you mean to move upward.
Use raise (raised) when an object is being moved upward.
Joe raised his foot.
Joe rose early in the morning.

12. On to/Onto
Use onto when you mean "to a position on"
He tossed the spider onto the table. He held on to her foot.

13. Insectlike
Should you use "insectlike" or "insect-like?" Do not precede "like" with a hyphen unless the letter "l" would be tripled: bill-like, lifelike, businesslike, shell-like.

Do precede like with a hyphen if the word is three syllables, e.g. intestine-like.
Do precede like with a hyphen if the word is a proper name, e.g. Clinton-like. Exception, use Christlike.
Do precede like with a hyphen if the word is a compound word.

On the other hand, when "like" is a prefix... Follow with a hyphen when used as a prefix meaning similar to, e.g. like-minded. No hyphen are used in words that have meanings of their own, e.g. likelihood, likewise, likeness.

14. Subjunctive
The subjunctive form of the verb is used to express something contrary to fact. Use "were" in all of the following:
15.If I were king...
16.I wish you were here...
17.It was as if I were...
Usually, "as if" and "as though" suggest a subjunctive mood. The following sentence (which starts with if) is not contrary to fact so it is not subjunctive: "Jack didn't know what color the dog was. If the dog was black, Joe could find it in the snow."

18. Ellipses
Ellipses can be used to indicate a pause in dialogue or a trailing off of dialogue. If a complete sentence is fading, use four dots, with no space between the final word and the four dots. (One of the dots serves as a period.) If a sentence fragment is trailing off, use three dots, leaving a space between the end of the final word and the first dot. 

Creating your own reality?
Some speak of shaping the thoughts in order to master beingness, but to me, this is simply a case of the tail wagging the dog. The same goes for 'creating your own reality'. Sure, we do create our own reality, but what do we mean exactly by 'our'? In most cases the identity doing the manifestation is just a more subtle form of ego - a spiritual identity - that wants to control the situation in some particular way because it cannot accept what is already unfolding.

We are already shaping and creating everything we experience. Either the true self - the soul - is shining through and creating harmonious experiences or else the false self is influencing the show, by resistance to what's currently happening, denial or just plain insensitivity. We might feel a creative impulse for something to happen, only for the flow to get derailed by internal eddy currents of life's conditioning.

In which case you can't simply 'paper over the cracks', by manipulating the outer pieces on the game board without first uncovering and unwinding what's really happening inside. To do so, is simply to perpetuate the disharmony through our lives. Even though the circumstances may change - our jobs, relationships or location - the patterns remain the same. Instead, we need to look deeply into the outer mirror we're already creating. This includes our most intense and intimate feelings towards it, no matter how challenging or painful. Then there's a requirement to notice the blind spots, the grey areas in these points of attachment where presence closes down and gets drawn into the fray through identification.

Write a better novel
1. Write the story you’d most want to read. Don’t write a story just because you think it might be a bestseller or that it would make Great Aunt Edna proud. Think about the books you love, the ones you really lose yourself in. If those are mysteries, then don’t try to write an historical romance or a quiet literary novel. It might not be anything genre-specific that you love, but a certain voice, or type of story, or kinds of characters. Write what you love. Do me a favor — right now, today, start a list of all your crazy obsessions, the things that get your heart pumping, that wake you up in the middle of the night. Put it above your desk and use it to guide you, to jumpstart your writing each and every day.

2. Begin with character. Make her flawed and believable. Let her live and breathe and give her the freedom to surprise you and take the story in unexpected directions. If she’s not surprising you, you can bet she’ll seem flat to your readers. One exercise I always do when I’m getting to know a character is ask her to tell me her secrets. Sit down with a pen and paper and start with, “I never told anybody…” and go from there, writing in the voice of your character.

3. Give that character a compelling problem. Your character has to have something that’s going to challenge her, torment her and propel her forward. At the heart of every story is conflict – whether external or internal, make it a good one, and remember that this problem is going to shape your character, leaving her forever changed.

4. Make things happen! You can have the greatest characters in the world, and write beautifully, but if nothing’s happening, the story falls on its face pretty quickly. In my books, I make sure something important to the plot is happening in each scene. And if there’s a scene in there that isn’t helping to move the story along in some vital way, I cut it, no matter how great it is. When I’m editing, I’ll go scene by scene and write a single word sentence describing the action on an index card. Then I lay the cards out and I’ve got the bare bones of my story. I can see if things are moving forward, if I’m throwing in enough twists and turns, and if there are scenes that just aren’t pulling their weight.

5. Make it believable. Ah, you say, but you sometimes write stories with ghosts and fairies – how believable is that? It works if you make it believable in the universe of the book. In Promise Not to Tell, I came up with rules for the ghost – things she could and couldn’t do. I gave her a history and compelling reason to return. Readers hate cheap tricks. Don’t pull the evil twin routine in the final hour. Don’t bring in a new character at the end to solve the protagonist’s problem for her. She’s got to resolve things herself, for better or worse.

6. Stick with it the project. You’ll be tempted to give up a thousand and one times. Don’t. Finish the story. Then work twice as hard to revise it. Do your best to get it out in the world. When it’s rejected by agents and publishers (which it will be) keep sending it out. In the meantime, write another. Then another. Trust me, you get better every time. You’re not in this writing business because it’s easy. It took me four books, two agents and seven years to get my first novel published. It was a long tough road, but so, so worth it in the end!

7. And lastly: Ignore the rules. (Including mine.) Everyone’s got advice and theories; people want to pigeonhole you, put you in a genre with its own rules and conventions. I think the work comes out better when we leave all that behind; when the only thing to be true to is the writing.

By: Chuck Sambuchino

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We invite submissions of love poems, stories and flash fictions for Soflay Literary Magazine February edition 2017. We seek work that is thoughtful, deliberate, and authentic. To read the guidelines and submit.
We also accept submissions for our website to be considered as featured online content; these submissions are accepted on a rolling basis and published year-round.

Please send your submission of 2 love poems, short story (no more than 5,000 words), flash fiction (up to 1,000 words), and novel part 1 (up to 1000, Note: next parts will publish in next editions) with short biography in a single word doc to For more information about our,


The deadline for submissions is January 30th, 2017.

Soflay Inc. and Soflay Literary Foundation has the honor to share the final decision of the contest: Poet of the Year. We greatly appreciate the contribution of all our participating poets in this event. We sincerely thank our International Jury for this hard work in a quality competition, very close. Unanimously our Soflay Poet of the Year 2016 is: Jeton Kelmendi (Albania) To whom we extend our most cordial congratulations and wish him an excellent year as ambassador of the international letters in our Literary Foundation.

Anna Fletcher (United Kingdom),  Fernando José Martínez (Mexico),
George Onsy (Egypt)  Luz María López (Puerto Rico),  Monsif Beroual (Morocco).

Soflay: What other authors are you friends with, and how do they help you become a better writer?  Tell their names.

Alicia:  Fortunately I have the great blessing to have  true friends, some of them are writers, others are not.  It's hard to talk about names because each one  of them is an example to follow, undoubtedly they have contributed to me with so many things:  friendship, joy, confidence, strength, constancy ... Good friends  vibrate in our own tune, and they  stay with us to travel this difficult long road of poetry and letters.

Soflay:  Do you have a favorite love poem? If so, what is it and who wrote it?

Alicia:  I don´t  have a single poem of love in particular, but I can tell you that I love the poetry of Hafiz, Rumi, William Blake, Novalis and Pablo Neruda. Poets who have transcended and who are a wonderful source of inspiration for generations to come.

Soflay:  Do you read fiction, and if so, what are you reading now? tell us about your favorite novels

Alicia:  Yes I love so much all the Egyptian historical novels of  Christian Jacq,  He is an Egyptologist and writer of fiction, PhD in Egyptology at La Sorbonne and initiated in Free masonry;  He is a great expert in the time of Pharaoh Ramesses II, I have read all his French books, I  love them!  Also  I love so much all the novels of Dan Brown.
 area only. I hope to write essays in the near future.

Soflay:  If your poetry were a Cycle, what make, model, color and year would it be?

Alicia: My poetry would have all the colors of the spectrum of the rainbow It will have, not just a particular color. With lively feelings to blossom in  a beautiful vision on a rainy sunny day. Each color would reflect a feeling, they are renewed every day, like the water of a river, always flows,  and  never static.

Soflay:  What things would you give up to become a better author?

Alicia: I would leave my comfort zone to live the real problems we have in several parts of the world.  I would engage in activism to defend the rights of children and women and I will bring a message of love to every people on earth, regardless of language, overcome language barriers to promote Peace through my letters.

Soflay:  What was one of the most surprising things you learned in creating your books?

Alicia:  All started when my best friend from Iran asked me: Why don´t you write a book? It was a detonating question. And I took an ontological coaching course and the coach asked me? What stops you to write your book?
Then I understood that all our limitations are mental, as Hermes Trimegist said "Everything is mind." I made a long list of all the things I thought I could not realize, with limiters of all kinds,  I changed  my mind,  I learned to think always in positive!  And I changed all my limitations by 4 words: "I can do it!"  And here I am struggling to get my dreams.

Soflay: What is your future plan about writing?

Alicia:   I feel that I am a very hyperactive person, I really enjoy doing different things at the same time,  I like the challenges!  I am currently working on the writing of my second book of poems and I am writing a fiction novel. I do not want to stay in one.

Alicia Minjarez Ramírez
Multi-award-winning poetess. She was born in Tijuana Baja California, Mexico.  Winner of a special mention at the International Poetry Prize NOSSIDE Italy 2015. Her poems have been translated into: English, French, Taiwanese, Albanian, Cameroonian, Arabic, Chinese, Portuguese, Italian and Polish. And published in more than 40 International Anthologies, journals and magazines around the world. 

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