“Ron Singer’s brief memoir of his grandmother is full of snapshots so rooted in a particular time and place and culture that it creates a universal understanding of a generation for whom the world changed more rapidly than most. He creates a picture as multifaceted as a Picasso portrait.”

- from Bill Dorn’s review of A Voice for My Grandmother, Golden Handcuffs, Winter/Spring 2007.

 

Singer is currently working with Kassahun Chekole of Africa World Press on Uhuru Revisited, a book of interviews with African pro-democracy activists.

 





Ron Singer trawls the genres: poetry, fiction, satire, journalism (about Africa), and drama (including librettos for two operas, recorded and performed). Among the places his work has appeared are Borderlands: The Texas Poetry Review; The Bulletin of the Atomic Scientists; diagram (e-zine and print anthology); Ellipsis; Gander Press Review; The Georgia Review; Hampden-Sydney Poetry Review; Poets & Writers (online); SN (Starry Night) Review (e-zine and print anthology); The Wall Street Journal; Waterways: Poetry in the Mainstream; Willow Review; Windsor Review; and numerous literary e-zines.

Singer wrote the Introduction to Thackeray’s Vanity Fair (Bantam Books). In November 2006 his chapbook, A Voice for My Grandmother, was published by Ten Penny Players. It has been reviewed ten times, and a second printing was issued in October 2007. In Fall 2008, he was Featured Poet, New Works Review, and he has three poems in the 2009 anthology, Poetic Voices without Borders-2 (PVWB-2, Gival Press). The Second Kingdom (fiction: "The Key," "The Changing Woman Health Conference," and "The Parents We Deserve") was issued as an e-book on March 15, 2009 by Cantarabooks LLC.

“Mainly little semi-documentary flash-poems that catch reality as it flashes by. Like Ron Singer’s poem, “You Can’t Write Fast Enough”: “You can’t write fast enough to chronicle the visible world...” An excellent mag that teaches succinctness, terseness, focus. No blathering, no big experimental ego-trips, just sketches that bring you into realities that are mainly art- and literature-centered but caught up and wounded by the barbed-wire realities that surround artists and writers (and everyone else) these days.

–Hugh Fox, “Flashes,” (writing about Waterways: Vol.26, #8),
small press review, March-April 2006.