Series I: Ghazal (Middle Eastern poetic form)
Series II: Free Verse
Series III: Tercets (villanelles and terzanelles)
General information

This chapbook collection is no longer available. I have moved most of the poetry found herein to my blog at Form and Formlessness. There, the various types of poems explored by this series can be found under their respective categories. I link to them below in what were previously the introductions to the various chapbook series.

You'll find the contents of this series now at my blog under the categories: villanelles, terzanelles, and hybridanelles. Since producing the last chapbook for this series in 2006, many of its poems have been further refined. Of course there are other categories, too, if you find you want to fan out from there.

You'll find the contents of this series now at my blog mixed in with other poems under the category: free verse. I have continued writing poetry over the years since producing the last chapbook of this series in 2006, and hopefully the quality has improved. In fact, many of the poems that were originally in this series have since been revised or rewritten altogether.

You'll find some of the ghazals from this series now at my blog under the category: ghazals. I have continued writing the occasional ghazal since producing the last chapbook of this series in 2003. Several of the ghazals from this series have also been rewritten entirely. When you follow the link to the category listing, the ghazals are arranged from the most recently written (or rewritten) poem to the oldest. As you move down the list you'll find a clear delineation at ghazal #125, titled "My Love", between following the form's traditional structure as closely as possible and deviating from tradition to take certain liberties that I feel make the ghazal more practicable as an English art form. I still strive to employ accentual isometry, but I now allow myself to use other devices in place of rhyme, such as alliteration or even hyponymy. I also no longer use my penname in the final couplet, preferring instead to allude to it via the use of one of its meanings.