Three of my poems published in isacoustic….

via person Donna Snyder, three poems


A poem of mine published in new issue of VEXT Magazine


Poetry by Gillian Prew-“Sequence after Celan”

via ‘Sequence after Celan’ by Gillian Prew


the piano rain: an encounter with Petra Whiteley at Spectral Lyrw

Source: the piano rain: an encounter with Petra Whiteley


The back of the book. . . Susan Hawthorne

Susan Hawthorne’s comment on the back of The Tongue Has Its Secrets

“Here is a poet who tongues the language of birds, delves into the minds of sybils, explores connections with animals. She tests the boundaries of nothingness and somethingness. Donna Snyder’s poems are like Nüshu: secrets cast skywards like a cipher for those who know, to read.”

– Susan Hawthorne, poet and author of Lupa and Lamb


cover art


Interview on State of the Arts aired on NPR’s KTEP

Marina Monsivais interviews Donna Snyder on State of the Arts on NPR’s KTEP





watching a poem – the writing of Phibby Venable

One red bird morning too bright for melancholy all hard things fell away For several years, it has been my honor and privilege to observe, and enjoy, the daily postings of Phibby Venable from afar.…

Source: watching a poem – the writing of Phibby Venable


Review of The Tongue Has Its Secrets in Yellow Chair Review

Review of The Tongue Has Its Secrets reviewed in Yellow Chair Review

The Tongue Has Its Secrets

Donna Snyder

NeoPoiesis Press, 2016

Reviewed by Eric A. Cline

The Tongue Has Its Secrets by Donna Snyder is a poetry volume rife with spirituality, sensuality, mourning, violence, and prayer. The language utilized throughout the books possesses what may be the most important criteria for establishing strong voice in writing: uniqueness glossed in polish. Snyder actualizes her vision for her work through meticulously crafted execution, resulting in the sense that the book’s many words, lines, and stanzas have all been cradled and cared for at length by the artistic mother who birthed them.


During my initial reading of the work, the most consistent theme to catch my attention was Snyder’s frequent evocation of the religious. More specifically, Snyder references a myriad of feminine deities, from the Corn Maiden to Athena to Mother Crow. Even when not referencing a specific deity, Snyder envisions God as a woman. One example of this can be found in the poem “Creation Myth,” excerpted below:

          “A fairy whispers in my ear that God

            is a woman at all times being pleasured.

            Out of her pleasure unfolds the world.”

 This union of spirituality and sensuality weaves throughout many of Snyder’s poems. The result is an affirmation of not only the femaleness of God as a concept, but also of the ways human sexual energies can result in something almost like worship. This worship can be of the self, or of others one is attracted to, as in this segment from the poem “Fat beauty:”

            “…Boys slipped

            you grins like magic potions, charms for your altar,

            offerings to the image of la Roseanne.”

 Snyder’s examination of femaleness further extends beyond the divine. In “The Muse of Juárez,” Snyder turns her attention toward violence against women. The poem details the sad phenomenon of femicide through gruesome images of the rape and murder of innocent women in Juárez, Mexico. The poem is one of the volume’s darkest in tone, and rather than try to express humanity’s horrified reaction to the subject matter, Snyder ends the poem with the sounds of blackbirds:

            “The world silent. A dead stone.


            Nothing but the sound of blackbirds cawing,

            crying out in grief.”


Snyder’s verse cries not only for human victims, but also for animals that have suffered at mankind’s hands as well. The poem “The Sunday news” describes dolphin mutilations and the resultant tears of God. The grief found within this piece and others sharing its theme provide the book with a theme of sorrow and hurt that make the book’s other themes of divinity and holiness through sexuality all the more important. Snyder is not content to simply write about pain without offering alternatives or remedies, and though her work transports the reader to places of great misery, it also reminds them why she has bothered to write at all. “Invoking the muse,” a short poem about the power of language, closes with the following description of a female wordsmith:

            “maker of kings

            caster of spells

            inciter of riots


            she who wields the power of words”


Donna Snyder wields the power of words, and hers is quite the weapon to behold. I would recommend The Tongue Has Its Secrets to anyone interested in female spirituality, sexuality, struggle, or hope. Though dense with references to gods the reader may not possess immediate knowledge of, the book makes all time spent researching its subject matter worth it for the experience of Snyder’s artistic divinations.


‘Not nothing’ means something

A poem from Lori Gómez


(Poem) Compassion goddess hears the cries of the world and descends to help those in need by Donna Snyder

I came here on the back of an extinct crane Its slender neck Wings fierce and gilded with the feathers of the north wind I heard the needs of the people and the tormented world I fled the other pla…

Source: (Poem) Compassion goddess hears the cries of the world and descends to help those in need by Donna Snyder