
I've chosen this intriguing painting by 
Rick Mobbs to highlight 
Jo Hemmant, a participant in Rick Mobb's invitation to readers to write poems for his paintings.   I also chose 
Jo Hemmant because  I want to tell my readers about a 
superb new online literary journal, 
Asphalt Sky, of which Jo is an editor. Asphalt Sky is an elegantly appointed 
journal that is "
committed to publishing 
emerging and established artists and giving 
a place for thoughtful and engaging 
poetry, prose, and art work."  My thought is 
to present a juxtaposition between 
earth and sky, highlighting the poet whose 
feet are firmly grounded on terra firma who has the ability to 
guide us into the heavenly through the written 
word.   
Asphalt Sky has just stepped into the world of online publishing.  A 
very impressive first issue revels in earth's nature while taking the reader 
up, up, up and away into 
self-mesmerizing day-dreamy thoughts and images provided by these exceptional writers, poets and artists.   I love that this 
first issue reminds me of all things earthbound but takes me into 
quiet contemplation that speaks to 
otherwordly thoughtscapes.  I find myself 
scultping images into solid landscape and 
bucolic meanderings.   I say 
kudos, and a 
cartwheel to Asphalt Sky's first  foray into online literary journaling.  
Artists Cris Halverson  and 
Catherine Farmer further 
attest to the otherworldly glimpses I 
experienced while reading this splendid issue.
Jo Hemmant's editorial essay, 
Beginnings, featured in 
Asphalt Sky, is as 
fresh as a newborn babe's first slap and hits you as 
strong as that first slap's wail.  
Please read it.  Here's just a 
snippet of the essay, followed by 
Jo's poem written for Rick Mobb's painting gracing the top of this post.  Enjoy!
Beginnings 
"Language surrounds us, defines us, is how we express our selves, how we try to decode the universe.  When I visualize it, it is as water flowing, meaning always and endlessly deferred, passing through the connections, the spaces between words and moving on, understanding contextual.  And this deferral means that there can be no endings as such.  Yet still the records are made, and they come out of two very different beginnings -- origin and starting point."
To which Jo goes on to describe these two very different beginnings.
 
Hallowed ground
he has exposed history for us,
fortified walls arc over earth
as deceptive as love, territory
cross-sectioned, the blade finding
the soft beginning of the belly that
mounds then slitting the fundaments
from pubis to throat.
Note the foreground, a woman’s head
resting on an arm as if sleeping,
a child close, tender shorn,
these two recognisable in a scree of
faceless figures, a continuum,
a latitude, the others vulnerable curvature,
ribcages scored like the knife’s
sliding through skin, muscle,
 bone to marrow’s...Please 
follow the linked last line to read the remainder of this poem at Jo Hemmant's blog 
florescence.