Monthly Archives: December 2008

An Actor Prepares

Who would photograph me
more than once
after they realize

that the only pictures
that show me happy
show me onstage?

All other images
make me look as though
I’ve just swallowed a pillar of salt.

Apparently, to fake confidence
in the future,
I require an audience.

My motivation? 
A singular view
of the end of the world,

paralyzed inside me.
In the moment,
I regret it all, blame myself

because I gave up everything
to gain a spotlight in return.  But
that smile you see up there

is genuine, if fleeting.
Stick with that
if you want to look back

at what I’ve done.
No flash, no video. 
Remember me instead:

standing there,
with dark all around,
pretending like mad.


Tired as hell…random thoughts on IWPS article to think about…

and think about, and still be thinking about after it’s all over….always thinking.  Nothing I will say is new or groundbreaking.  Nothing is unknown or revelatory; nothing needs to be said, but it will be.

It’s just a slam, yes.  It’s just a game…but focusing solely upon the game can obscure the deadly serious truth that can be found within it.

Every slammer does not play the same game when they slam. 

Is it still a game if you don’t think of it as one? 
If you don’t know you’re playing? 
If you don’t think everyone should play?

Artists produce their work from the point of view of their own context; that is unavoidable.  Critics critique from their own context; that is unavoidable.  The audience for any work of art brings a context of their own to the enjoyment and understanding of the work; this is also unavoidable.

None of this is news. 

The freedom to assume the absolute supremacy of your own context over all others is a luxury.   

There is no such thing as a work of art that does not express a cultural heritage.

 

 


Late night thoughts on IWPS

My next column for GotPoetry is going to be about what I saw this week.

Some of you aren’t going to like it.  Some of you are going to love it.  And some of you may defriend me as a result.  I don’t care. 

Bottom line: I’m a lot more hopeful about this rude beast than I’ve been in years.  And in order to talk about that effectively, I’m going to have to talk in some way about a cultural divide within slam that no one talks much about, at least not directly.  This may take a few days to do well, but I will do it.

And then, we’ll see what we shall see, won’t we?


Finalists for IWPS

Ganked from McGee: the number is their final overall numerical rank after all the math.  If you want to know more about that, post the question; someone other than me is sure to answer it.  😉

Lizz Straight 7
Jason McBeth 8
The Original Woman 8
Queen Sheba 9
Colin Gilbert 11
Andrew Tyree 11
Tara Hardy 11
6 is 9 12
Bobby LeFebre 12
Joaquin Zihuatanejo 12
Joshua Bennet 13
Buddy Wakefield 14
Ayinde Russell 14 (Sac)

Would like to point out that three of those (Lizz, Andrew, and Ayinde) came out of the bout I emceed tonight, which WAS HOT and excellent if I do say so myself.

More tomorrow on all this.


Total Recall, revisited

I mentioned in my previous post that I read the poem "Total Recall" at the Cultural Identity reading yesterday.  Wanted to say something about what I’ve noticed about varied audience reactions to the poem.

When I first read this poem out to an audience, it was at the Poets’ Asylum, where (obviously) people know my work well.  It got a lot of horrified gasps, with a couple of chuckles at the "funny" lines (the "buffalo lasagna" incident being the most obvious).  For the record, I prefaced it with a comment or two about being scared to read it, so I know that prepped the crowd for that reaction.

The next couple of times I did it, it was in front of audiences that were mostly white.  It was received on those occasions with gales of laughter throughout, and there were post-reading comments about how "hysterical" the poem is.  In each of those cases, though, there was always someone who approached me and asked for a copy of it — a mixed race kid in Delaware being the most memorable one.  I’ve given away several since.

Doing it here, and in the past in front of more racially diverse crowds, was a different experience…big laughs at the "funny lines" and lots of angry, impassioned and positive vocal response to the ones that aren’t meant to be funny;  huge sustained applause and cheers afterward with all kinds of after-talk with people about it.

No real insights, because I don’t think it needs a lot of commentary from me…just an observation about how the same poem can mean different things to different people, or at the very least evoke very diverse responses based on the experiences of the folks in the crowd.


IWPS Paradox:

I’m hearing a lot of the same poetic stuff I’m always decrying, but enjoying it anyway.

Still, it’s folks like Esme Vandraager who are still rocking my boat the most, because they aren’t doing the same old things.  There are others, of course…she’s just the first one who came to mind.

For those of you keeping track at home, Lizz Straight and Chad Anderson are tied at the top of the leaderboard after the first night’s bouts with…um…everybody else behind them.  If you were expecting more details on numbers from me, you don’t know me very well.  😉

Have to toot my own horn a bit:  read "Total Recall" at the Cultural Identity reading this afternoon and rocked the house.  i’ll have more to say about this later, I think.

Went to the Erotic reading tonight, heard two poems and turned around and came home.  Sucked in again.

And for those keeping track at home…yup, I’m a little drunk once again.


The Last Chance SLam for the final slot at IWPS was won by CP Maze (formerly Maze Forever), but any of the final three (BPE and Curtis Meyer of Orlando were the other two) could have taken it and I would have been fine with the judges’ decision.  In the end, Curtis rocked the house but came up 0.1 short of the final two who tied with 30s; the slot was decided by adding the cumulative scores, with Maze winning that by just 0.1. 

A decent slam over all  with some brilliant moments.  Curtis, especially, rocked the non-judging house across the board with great written work, although he was slightly outperformed by the two vets; that made the margin of victory.  Totally worthy victory by Maze, and again, any outcome among those three would have been more than fair.  Curtis has got a fan club here in Charlotte now though, I’ll tell ya.

I’m a tad drunk from the afterparty at the Breakfast Club, an 80s themed club.  I even danced (don’t tell anyone). 

Later, all… it’s bedtime…

 PS:  One weird note: three separate poets did pieces tonight featuring tales of sexual abuse of a child that happened on Sundays — one, the story of a brother who abused his sister while mom was at church; one, a male cousin taking advantage of the family’s absence on Sunday to rape his young cousin; one of a priest abusing an altar boy.  Strange and unsettling.  None made it to the final round…


It’s raining in Charlotte…

and poets are arriving.  I’ve seen Steve Marsh, Henry Sampson, Stacie Boschma, BPE, Brian Ellis, Erich Hagen, and Cassandra from FL whose last name I can never recall; I’ve heard from Mike McGee, Cyndi Keeley, and Dawn Gabriel.  I know there are others here — Missy thinks she spotted Pilote from a distance earlier. 

Let the games begin.


Charlotte report/Macho? What the hell is that?

IMPORTANT:  If you’re coming to Charlotte, bring rain gear. I hear tell of a potential two inches of rain on Wednesday and Thursday…

We’ve had fun with our non-poetry events so far — got in Monday, goofed around at a music store, ate dinner and sacked out early; spent Tuesday as stock car tourists, driving around to various NASCAR speed shops/race museums and the Lowe’s Speedway. Today we drop off the car and get to the host hotel to check in for the rest of the week, probably going out to a good dinner at night, but skipping the Last Chance Slam.

Looking forward to seeing everyone — especially my soon to be upstairs neighbor, Mighty Mike McGee!

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johnnylexicon has an interesting discussion going on over on his LJ about who the most macho poets are in slam right now.  I showed up on nerak_g ‘s list, which I find a little strange (not in a bad way, Karen; no offense meant by this)…

I suppose I can see a certain residual, superficial machismo in my public presentation…the knife, the leather jacket, the NASCAR fandom…but I kinda feel like although a LOT of my poetry touches on issues regarding male gender concerns, I’ve spent a lot of time distancing myself from a really poisonous machismo that I was intimately involved in for a long time when I was younger.  My father was and is a "macho" guy; ex-military/POW, that whole "warrior" thing he drilled into me at a young age down to teaching me various hand-to hand combat stuff and knifefighting tricks; the whole "suck it up and get on with it" thing; the stuffing down of feelings.  All that.  And of course, there’s more I don’t talk about publicly…

But honestly…what the hell does "macho" mean any more?  Is it those things I’ve listed above?  Is it the immediately obvious representation of a traditional, stereotyped masculinity?   If so, what is expected of a "macho man" in this day and age that could be considered worthwhile?

When I think of relatively positive representations of "machismo" in current popular culture I think of someone like Jethro Gibbs, the character Mark Harmon plays on "NCIS."  But he’s such an oversized character that it’s hard to see him as anything more than a cartoon — a decent cartoon, mind you, and one I enjoy watching most of the time; but he’s not real — too perfect too often.

What does it mean to be "macho" these days?How should we define "machismo," especially if, as Christian suggests in his post, we need more of it?  If there are positive aspects to machismo, are they limited to men?  Is there some reason women can’t be "macho?"  If a woman is "macho," is it still "machismo" we’re seeing?  (All questions designed to provoke thought, folks.  That’s all.)

All this to say the following:  I don’t think I’m macho.  And I really don’t want to be, at least not in the way I have always understood the concept.
 


Off to Charlotte in the AM. Will be blogging from there, especially later in the week during IWPS; probably not much if at all till Wednesday or Thursday. Have fun, y’all…and looking forward to seeing some of you there!

Also, don’t forget Sam Teitel and Steve Subrizi at GotPoetry Live on Tuesday! We had a good crowd last week and I don’t want to be disappointed in you guys for not keeping the momentum going. Go and keep Ryk company in my absence…


Just a note to all:

9/11 conspiracy talk makes me irrationally crazy with rage. Please don’t do it in my blog, ok? I skip it elsewhere, and I don’t want to talk about it here.

Thanks.


Writer’s Block: Infamous

You’re kidding, right? I mean, what date could possibly have been drummed into the collective consciousness so deeply that it would have this kind of resonance for the average reader on this list, hm? I wonder.

I mean, I can recall (very dimly) JFK being shot on 11/22/63, and King (04/04/68) and RFK (June 5, 1968) more clearly than that; I remember watching the moon landing/walk on July 20, 1969; Obama’s election on November 4, 2008 may resonate strongly for a lot of folks. But the only date that’s been treated and sanctified and manipulated and exploited in the same way that Pearl Harbor Day has been handled — so that if you say the date it immediately conjures up stuff — is, of course, 9/11/01.


Out Of Tune

With the first chord, I know
she’s out of tune enough
that this is not going to be pretty.
I don’t care. Two more strums
and I can tell which pegs
I could twist just a hair to bring her back.
I don’t care.
Right now, it’s all I can do
to keep from plugging her in
just as she is
although it’s late
and everyone for a block around
is sleeping, and will call
for my head if I do it. I don’t.
Instead, I bang on for a hot quiet minute
like neither of us has a future.
As if this dissonance, this breakdown
between tolerable noise and
“what the fuck is he thinking,”
is an imperative. Because of course,
it is; at least for tonight,
right now, before I go to bed angry;
right now, as I try to keep myself
from going to bed angry.


Writer’s Block: Legends of Rock

1. First Who show, 1973…

2. Amnesty International “Human Rights Now” show, 1989, Philadelphia: Bruce, Peter Gabriel, Sting, Tracy Chapman, Youssou N’Dour, Joanie Baez. Hearing “Biko” for the first time live; Sting’s “They Dance Alone” with widows of the desparaceidos from Chile dancing on stage; Gabriel and Chapman harmonizing; it was Bruce’s birthday, so it was a Jersey crowd at RFK Stadium for his set, with Shankar on violin for “Jungleland” and David Sancious rejoining E Street for the night. Amazing.

3. Any one of a number of Fugazi shows.

4. Various Dead shows in the late 70s Keith and Donna years.

5. And of course…the most recent Boss show at the Garden; Danny Feterici’s last show ever. I think we all knew that that night…


Flood

an old piece revisited and revised.  the "made up" words for some reason returned to me today, so I figured I’d let them out to play again.

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1.
i open every night with a prayer: sleep, come sooner than the flood.

then, the flood.  then, the lifting faces.

julie’s blonde hair floating out. paul robichaux’s rockabilly daring submerged in white. grandmother’s dear severe wrinkles. grandfather’s mean low brow. eddie with his broken head still full of tar. blue glaze of paul gentile holding a gun up to a temple. mysteries upon cellar stairs: blood stars, whimpering, sticks breaking underfoot.

impossible things happening: see my own head, my own hands on my own ears. palaces built of centipedes. sharp stones set like crystals into  the back of a baby.

ineurope they have gargoyles for moments like this. in bali there are chants for them, but in new england we simply do not allow moments like this, so when they come we keep them under our scalps.

still, the lifting faces.

george and jerry barone rise from the shell of their Volkswagen. the twins died angry.
wayne king never knew me but i knew him and he was everywhere after he died and now he’s here again.
that man died surprised that he was the only one.

in the corner my hands fling my head to the cement mouth first. i spit a tooth out and it lands and grows into the next piece of me to be terrified.

the myth of the hydra explains everything: a horror killed begets more horror.

still, those lifting faces:

stricky the flying head, veech the forlorn missile, carole the rolling bag of bones, jacob the ghost before he even passed, martin the bisected prince of the railroad track.

all their sleep that has lasted to this day, and i am still awake.

those lifting faces.  that’s me in the center, my eyes shut, squeezed tight, knowing what is coming…

2.
some sounds will not go away: a woman’s voice saying slink, dove, scrap, green face, sun on a gourd, crumbs on a dragon, coupons, carver, slide, rumble, escapement, clipping, stolen, pulse, penlight, painting, bands, pickup, relate, lard, gungrease, quillon, medallion…

then, words appear that mean themselves and no other thing:
unspecific twoolyala, skevot, abbredient briest...
if they could be translated they might fall in love and breed me my absolution.

no word means nothing.
deny that and the clock stops.

3.
when faces float up to see me i pretend to understand heaven and hell, perhaps even purgatory, buying my peace from my parent’s store. when i shrug it off god laughs like a steamboat whistle.

4.
again, the lifting faces: who understands why they never quite break the surface? who understands why they do not speak? why the random soundtrack? why the words i don’t hear well enough to force them into service?

i sink myself in the clouded pool and dig into my ears with my eyes closed. i know what is to come.