Like 'Contemplations' (1985) and 'Supercontemplations' (1993), this volume of poetic word art, which bears the title ULTRACONTEMPLATIONS, requires only to be contemplated, since it is composed of patterned upper-case entities which, when they are not in mirror reverse perspective, are all different and all equally suggestive of a variety of insights which arguably owe more to art than to poetry.

CONTEMPLATIVE ABSTRACTS is the logical sequel to 'Abstacts' (1983) which, being readerly, or capable of being read, was non-contemplative and therefore a precondition of abstract poems that require only to be contemplated, since effectively a species of word art. The five books in this project represent different stages in John O'Loughlin's development of a non-readerly, or contemplative, style of poetic composition, and have also been published separately under the headings 'Contemplations' (1985), 'Supercontemplations' (1993) and 'Ultracontemplations' (1994), the first of these being in three books and therefore containing the greater percentage of the material now available in one volume, as the collected contemplative abstract poems.

SUPERCONTEMPLATIONS signifies a creative advance on the lower-case volume of abstract poetry entitled 'Contemplations' (1985), in that it combines upper- and lower-case monosyllabic words in the process of creating patterned entities which, whatever their subliminal message, require only to be contemplated, and are thus akin to a mode of 'word art', the only difference being that these 'poems' were created with a word-processing program rather than with a paint program involving characters.

John McGreal's three new books – It’s Abstraction, Concretely, It’s Figuration, Groundly and It’s Representation, Really – continue the ‘It’ Series published by Matador since 2010. They constitute another stage in an artistic journey exploring the visual and audial dialectic of mark, word and image that began over 25 years ago. Emerging out of the first books on the Bibliograph published in 2016, initiated with It’s Nothing, Seriously, these new texts retain some of the same structural features. The Bibliographs contain the same focus on repetition and variation in meaning of their dominant motifs of representation, abstraction and figuration which have framed philosophical discourse on epistemology and ontology in aesthetics; their chance placement in each Bibliograph interspersed with one another displaying and enhancing similarities and differences. At the same time these works constitute a development in the aesthetic form of the Bibliograph. In earlier works on Nothing, Absence and Silence, it was just a question of finding and transferring given textual references from their source to construct their Bibliographs, with the focus being on the strategic position of the latter within each book. In these new works, the concern has been with working on the line and shape of the references themselves, with their enhanced spacial form as well as that of each Bibliograph as a whole. In shaping and spacing the referential images, the place of words and letters became as important as their semantic & syntactical role. Expansion and contraction of whole words was used to enhance this process. Under such detailed attention their breakdown into particles of language, into part-words and single letters was a result. The recombination of elements produced new words in a process of restrangement with new sequences of letters having visual rather than semantic value. The play on prefixes of dominant motifs yielded new words as did tmesis. This concern with the form of referential images does not preclude an equal commitment to their content. The aleatory character of textual entries in each Bibliograph encourage the reader to let his or her mind go; to read in a new way on diverse contemporary issues across conventional boundaries in the arts and sciences at several levels of physical, psychical and social reproduction.

Another and more structurally-advanced example of John O'Loughlin's non-readerly style of abstract poetry or, depending on your point of view, poetic word art and/or sculpture, 'Ultracontemplations' (1994) is comprised of some sixty-four 'poems' which have been entirely constructed with the use, along monosyllabic lines, of upper-case characters, thereby passing beyond the mixed-case style of 'Supercontemplations' (1993) and the lower-case absolutism of 'Contemplations' (1985) to what could be regarded as a conceptual plateau of poetic abstraction which, like its predecessors in the genre, only requires to be contemplated, as though it were a work of art – say, a biomorphic sculpture or abstract painting.

The acclaimed and irresistible truth-telling poetics found in Ponder Awhile is magical. Poet Mohit K. Misra does more than ponder as he contemplates the nature of man and God, he unveils the very essence of humanity. An atheist from a long line of Hindu and Parsi priests, in his mid-twenties the sea conjured his restless spirit into action and in fact, he gained enlightenment in the middle of the Atlantic Ocean. A decade later, Award Winning Finalist "USA Book News" Spirituality General 2009; Top 100 Recommended Religion and Spirituality "ebookmall" 2009; Ranked 1 in Religious and Spiritual eBooks "Franklin" 2010/ 2011; "Best Book Buys" Ranked 1 in Poetry books 2011- Top 10 Poetry, Top 10 Body, Mind and Spirit and Top 10 Philosophy- Religious Books 2011/2012 and 2013; , Ponder Awhile shares his soul's awakening to the truth and the light.

It is almost impossible to envision what childhood would be like without the enchanting world of fairyland. Princes and princesses, flying dragons, monsters and magicians, giants and dwarfs, ogres and fairies--these are the companions who thrill youngsters of all lands and times. This book contains 19 such tales. Coming from all quarters of the world, including France, England, Germany, Russia, Hungary, Poland, Iceland and America, the stories provide rich insight into the lives and cultures of different peoples. Narrated in clear, lively and easy to understand language, the tales are enriched with beautiful illustrations.