DICE SOURCE TEXTS FOR ERIN DORNEY’S CENTO BOX

“flesh memory: an invocation in cento” by drea brown from Claudia Rankine’s Citizen; Akilah Oliver’s The She Said Dialogues: Flesh Memory; Ntozake Shange’s For Colored Girls Who Have Considered Suicide / When the Rainbow Is Enuf.

“Epitaph for a Perished Child” by Zakiya Cowan from Emily Jungmin Yoon, Amy Gerstler, Meg Kearny, Carl Phillips, Cyrus Cassells, Nikole Brown, Maggie Smith, Yusef Komunyakaa, Hieu Mihn Nguyen, David Feinstein.

“sweat&allspice cento” by P.E. Garcia from Eduardo C. Corral’s poems “To Robert Hayden,” “Sentence,” “To a Straight Man,”“Ceremonial,” “Cayucos,” “All the Trees of the Field Shall Clap Their Hands,” “In Colorado My Father Scoured and Stacked Dishes,” and “Testament Scratched Into a Water Station Barrel (Translation #11),” as well as lines he posted on Twitter.

“On Missing My Lover Who Agreed With The Concept of Past Lives, I Read Moby Dick” by C. Russell Price.

“Living With Cancer: A Quilt of Poetry” by Susan Gubar from Sandra Steingraber’s “Outpatient” in Post- Diagnosis; Richard M. Berlin‘s “Wounds” in Secret Wounds; Lucille Clifton’s “Consulting the Book of Changes: Radiation” in The Terrible Stories; Abba Kovnar‘s “The Windows Grow Dark” in Sloan- Kettering; Harold Pinter’s “Cancer Cells” in Various Voices.

“Cento: Carry Me” by Laurie Kolp from Billy Collins’ “Forgetfulness“; Kim Addonizio’s “What Do Women Want?,” Sharon Olds’ “The Unborn,” Edgar Allan Poe’s “Eulalie,” Dylan Thomas’ “I Dreamed My Genesis,” Naomi Shihab Nye’s “Making a Fist,” Ted Hughes’ “Wind,” Katherine Mansfield’s “Sleeping Together,” Pablo Neruda’s “If You Forget Me”.

“Silent Cento” by Trevor Ketner from Gaston Bachelard’s The Poetics of Space; Gernot Böhme’s Atmospheric Architectures: The Aesthetics of Felt Spaces; Federico García Lorca’s Poet in New York: Bilingual Edition; Melody S. Gee’s Each Crumbling House; Mark Irwin’s Large White House Speaking; Jane Kenyon’s Collected Poems; Gertrude Stein’s Tender Buttons: Centennial Edition; lines from Novalis and Rilke as quoted by Bachelard; Anna Akhmatova as translated by Jane Kenyon.

["Like a pond in winter"] by Jennifer Moore from Claribel Alegría’s “Rain,” Rae Armantrout’s “Unbidden,” Linda Bierds’ “The Ghost Trio,” Lucie Brock-Broido’s “How Can It Be I Am No Longer I,” Emily Dickinson’s [“One need not be a chamber”], John Donne’s “The Apparition,” Carolyn Forché’s “Sequestered Writing,” Lola Haskins’ “Patsy Sees a Ghost,” Mark Irwin’s “Ghost,” Christopher Kennedy’s “Ghost in the Land of Skeletons,” Nathaniel Mackey’s “Ghost of a Trance,” Eric Pankey’s “Restless Ghost,” Edgar Allan Poe’s “Lenore,” Lisa Sewell’s “Letter from a Haunted Room,” Wallace Stevens’ “A Rabbit as King of the Ghosts,” Keith Waldrop’s “The Ghost of a Hunter,” Dara Wier’s “Blue Oxen”.

“The fourW28 cento” by Ivy Alvarez from Sofial Azam’s “To a Gunman,” Christopher Barnes’ “Lord Byron Joins a Dating Site,” Robert Beveridge’s “The Poetry Bowl,” Craig Billingham’s “The Messenger,” Julie Briggs‘ “White Christmas,” Erwin Cabucos’ “Lights of Different Colours,” Joan Cahill’s “One-Eyed Trust,“ Chloë Callistemon’s “X,” John Carey’s “Post Truth,” Carol Chandler’s “Watched,” Sue Clennel’s “Frida,” Lucy Coughran’s “Hera,” Michael Crane’s “A Café in Marrakesh,” Louise D’Arcy’s “Alex and Max Go for a Walk,” Sally Denshire’s “after Horses,” Michel Dignand’s “Next Door to Charles,” Tug Dumbly’s “Incredible,” Claire Feild’s “Palpable,” Adam Fieled’s “Nights I Staggered Drunkenly,” David Gilbey’s “To Speak of the Woe ...,” Mitchell Krockmalnik Grabois’s “Stinky Cheese,” Jonathan Greenhause’s “I am a God,” Rory Harris’ “road,” Elanna Herbert’s “Road to Gallipoli: between Cappadocia and Pamukkale,” Matt Hetherington’s “Seidel’s,” Ross Jackson’s “Waking something,” Jill Jones’ “Undoing,” Christopher (Kit) Kelen’s “practice of a disappearance,” Maryanne Khan’s “Sideways,” Zohab Khan’s “Untitled,” Daniel King’s “King Henry X and The Astrological Coasters,” Vanessa Kirkpatrick’s “The balcony,” Andy Kissane’s “Caught,” Mran-Maree Laing’s “The raw faces,” Gary Langford’s “p154,” Wes Lee’s “Airbnb Weekend,” Alison Lesley’s “Weightless,” Rosanna Licari’s “All Saints’ Eve,” Natalya Lowndes‘ “The Professionals,” Julie Maclean’s “Joel and Jess on the Verge,” Alex McKeown’s “qu’est-ce que c’est qu’un sansonnet?,” Derek Motion’s “birds poem,” Jan Napier Kennels’ “The Black Dog,” Damon O’Brien’s “Catching the Last Wave,” Mark O’Flynn’s “(Missing)(The)(Point),” Nathanael O’Reilly’s “(Un)belonging,” Liam Perry’s “Fool’s Gold #1,” Andrew Purches’ “Individual Cities,” Caroline Reid’s “the kid,” Graham Rowlands’ “Absolutely,” Rajith Savanadasa’s “T'o Keep Pace,” Steven Sharman’s “The Kill,” Dorothy Simmons’ “In Your Face,” Ali Jane Smith’s “Christmastime!,” Barnaby Smith’s“Docklands,” Ian C. Smith’s “Mixed Fruit,” Rob Walker’s “Tommy Ru,” Biff Ward’s “To the West,” Les Wicks’ “The Mad Book,” Gail Willems’ “Woman Holding Roses Standing Between Two Springs,” Jena Woodhouse’s “Wild Geese Migrating,” Mark Young’s “or part thereof,” Robyne Young’s “Afternoon Tea”

“Sam Cooke Cento” by Tyree Daye.

“Mother. I’m frightened.” by E. Kristin Anderson from Anne Rice’s Lasher, p. 336-341.

“Wolf Cento” by Simone Muench from Anne Sexton, Dylan Thomas, Larry Levis, Ingeborg Bachmann, Octavio Paz, Henri Michaux, Agnes Nemes Nagy, Joyce Mansour, William Burroughs, Meret Oppenheim, Mary Low, Adrienne Rich, Carl Sandburg.

“To the Executioners” by Diana Arterian from Cherokee Bill, Saddam Hussein, Melcho Ocampo, Carl Panzram, Sir Walter Raleigh, Edward H. Rulloff, Hannie Schaft, Madame du Barry, Adolf Eichmann, John Doyle Lee, Michael Ney, Schillschen officer, Mary Surratt, Karla Faye Tucker.

“Cento for the Night I Said, ‘I Love You’” by Nicole Sealey from C.D. Wright, Mary Jo Salter, Patricia Smith, Toi Derricotte, Philip Levine, Lynda Hull, Langston Hughes, Malachi Black, Kimberly Blaeser, Maxine Kumine, Afaa Michael Weaver, Hédi Kaddour, dg nanouk okpik, Claude McKay, Deborah Landau, Sharkmeat Blue, George Bradley, Yona Harvey, Federico García Lorca, June Jordan, Kwame Dawes, W.H. Auden, Ana Castillo, Erica Hunt, Muriel Rukeyser, Ed Roberson, Ruth Madievsky, Thylias Moss, Gregory Orr, Yusef Komunyakaa, Elizabeth Spires, Lyrae Van Clief-Stefanon, Tim Seibles, Nathalie Handal, Wisława Szymborska, Lucille Clifton, C.P. Cavafy, Rainer Maria Rilke, Raúl Zurita, August Kleinzahler, Louise Glück, Victoria Redel, Adélia Prado, Sonia Sanchez, Jean Sénac, Claribel Alegría, Remica L. Bingham-Risher, Sylvia Plath, Harryette Mullen, Emily Dickinson, Sharon Strange, Larry Levis, Sherman Alexie, Franz Wright, Marianne Boruch, Andrea Cohen, Linda Susan Jackson, Carl Phillips, Robert Hayden, Eavan Boland, Anne Waldman, Dorianne Laux, Natasha Trethewey, Eric Gamalinda, Galway Kinnell, John Murillo, Yves Bonnefoy, Tina Chang, David Wojahn, Nick Laird, Simone White, Catherine Barnett, Vladimir Mayakovsky, Brenda Shaughnessy, Kazim Ali, Brenda Hillman, Valzhyna Mort, Blas Falconer, Theodore Roethke, Kahlil Gibran, Rita Dove, Brigit Pegeen Kelly, Khaled Mattawa, Tracy K. Smith, Ed Skoog, Alice Walker, Pablo Neruda, Adrienne Rich, Percy Bysshe Shelley, Edna St. Vincent Millay, Aimé Césaire, Jake Adam York, Bob Kaufman, William Blake, Frank Bidart, Marilyn Nelson, Polina Barskova, Santee Frazier, Suheir Hammad, Cornelius Eady.

“Earth Omen, Earth Omen, Will You Be Mine?” by Lynne Thompson from Crystal Williams’ “Double Helix,” John Hodgen’s “Hamlet Texts Guilderstern about Playing Upon the Pipe,” David Feinstein’s “Kaddish,” Gregory Orr’s “Three Dark Proverb Sonnets,” Major Jackson’s “The Flâneur Tends A Well- Liked Summer Cocktail,” David Brendan Hopes’ “Certain Things,” Rodney Jones’ “Homecoming,” Yusef Komunyakaa’s “The Last Bohemian of Avenue A,” Amit Jahmudar’s “Kill List,” Judson Mitcham’s “White,” Matthew Olzmann’s “Letter Beginning With Two Lines by Czeslaw Milosz,” Wendy Viedlock’s “Deconstruction”.

“Drunken Child” by Roy Guzmán from Chen Chen’s “Poem in Noisy Mouthfuls,” Naomi Shihab Nye’s “My Uncle’s Favorite Coffee Shop,” Ed Bok Lee’s “Night Work,” Wang Ping’s “Immigrant Can’t Write Poetry,” Ari Banias’ “Villagers,” Ailbhe Darcy’s “Ansel Adams’ Aspens,” Bhanu Kapil’s “Handwritten Preface to Reverse the Book,” Arthur Rimbaud’s “Novel,” Layli Long Soldier’s Whereas, Mark Halliday’s “Bad People,” Philip Levine’s “Blasting from Heaven,” Rebecca Lindenberg’s “Catalogue of Ephemera,” Jacob Saenz’s “I Remember Lotería,” Derek Walcott’s “The Schooner Flight,” Daniel Borzutzky’s “Dream Song #16,” Walt Whitman’s “Song of Myself,” Sheryl Luna’s “Woman as a River Between Borders,” Arthur Sze’s “Chrysalis,” Carl Marcum’s “Dreaming Pancho Villa,” Natasha Trethewey’s “History Lesson,” Craig Santos Perez’s “ginentidelands [latte stone park] [hagåtña, guåhan],” C. Dale Young’s “Devon House,” Vi Khi Nao’s “Tarragon, Are You a Wild Boar?,” Bertolt Brecht’s play Baal, Dana Ward’s “This Can’t Be Life,” Michael Hofmann’s “Portrait d’une Femme,” Francisco Aragón’s “Asleep You Become a Continent,” Joy Harjo’s “Becoming Seventy,” Sandy Florian’s “Our Big City,” Marianne Boruch’s “The Mermaids,” T. S. Eliot’s The Waste Land, Robert Lowell’s “Dolphin,” Ric O’Barry’s documentary The Cove, Elizabeth Bishop’s “Roosters,” Rosmarie Waldrop’s “Conversation 9: On Varieties of Oblivion,” Ai’s “Cuba, 1962,” Gertrude Stein’s “Idem the Same: A Valentine to Sherwood Anderson,” Juan Felipe Herrera’s “Iowa Blues Bar Spiritual,” Jorie Graham’s “San Sepolcro”.