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On Saturday, June 22, Civil will perform \u003ci>\u003ca href=\"https://www.smallpresstraffic.org/event/my-san-francisco\">My San Francisco\u003c/a>\u003c/i> at The Lab, the final event in her five-part series \u003ci>\u003ca href=\"https://www.smallpresstraffic.org/currently-post/where-would-i-be-without-you\">Where Would I Be Without You?\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Commissioned by SPT in celebration of their 50th anniversary, the series has explored the power of friendship and literary connections. The four previous events, which included an \u003ca href=\"https://www.smallpresstraffic.org/event/listening-party\">album listening party\u003c/a>, collective poetry writing while \u003ca href=\"https://www.smallpresstraffic.org/event/watch-party-workshop-tongues-untied\">watching movies over Zoom\u003c/a> and readings by \u003ca href=\"https://www.smallpresstraffic.org/event/a-friendly-reading-social\">pairs of poet friends\u003c/a>, often used artworks from Bay Area history as starting points. One of those was the 1993 John Singleton film \u003ci>\u003ca href=\"https://www.smallpresstraffic.org/event/watch-party-workshop-poetic-justice\">Poetic Justice\u003c/a>\u003c/i> (starring Janet Jackson and Tupac Shakur). Another was the 1976 Pat Parker & Judy Grahn album that gave the series its name.\u003c/p>\n\u003cfigure id=\"attachment_13959997\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed.png\" alt=\"Black woman stands with right hand on chest in front of mic in gallery space\" width=\"2560\" height=\"1408\" class=\"size-full wp-image-13959997\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed.png 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-800x440.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-1020x561.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-160x88.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-768x422.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-1536x845.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-2048x1126.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-1920x1056.png 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Gabrielle Civil reading during the May 31 event ‘A Friendly Reading & Social’ at Et al. \u003ccite>(Courtesy Small Press Traffic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What kind of relationship does a Detroit-born, Los Angeles-based artist have to San Francisco that would occasion the use of such a possessive title? For Civil, it began with an appreciation of the region’s poetic output and the poets who spread out from this place.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I was especially informed and inspired by the woman of color poetry-performance scene,” she says. “That would be Ntozake Shange and \u003ci>for colored girls\u003c/i>. Even though I think people think of it — and they \u003cem>should\u003c/em> think of it — as the first Black woman’s show on Broadway, it \u003ca href=\"https://www.kqed.org/arts/13954709/alta-shameless-hussy-press-dies-at-81\">started in the Bay\u003c/a>.”\u003c/p>\n\u003cp>Spending time in the SPT archives, Civil says, has allowed her to recognize how much the Bay Area has informed her imagination as a poet, and how much location has shaped her own coming of age.\u003c/p>\n\u003cp>For Civil, \u003ci>Where Would I Be Without You?\u003c/i> has been an opportunity to marvel at the criss-crossing networks represented in SPT’s holdings, then turn around and create even more connections within the present-day literary circles. \u003c/p>\n\u003cp>“What I try to do is set an experience for people to open up in their imaginations,” she says, “and have opportunities to consider themselves, and the people around them, and this whole weird thing of poetry that we’re trying to make together in some new ways.” \u003c/p>\n\u003cfigure id=\"attachment_13959996\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-1.jpg\" alt=\"Two people look at each other as they speak into mics\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13959996\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-1.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-1-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Gabrielle Civil in conversation with Judy Grahn at the ‘Where Would I Be Without You’ listening party at The Lab. \u003ccite>(Courtesy of Small Press Traffic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One need not have attended any of the previous events to enjoy \u003ci>My San Francisco\u003c/i>. Civil says, “You don’t even have to be knowledgeable about poetry, or like poetry.” (But if you are an aficionado, you might geek out on some of the things she brings in.)\u003c/p>\n\u003cp>Saturday’s performance will be a combination of storytelling, sound, humor and conversation, with photo documentation from Civil’s forays into the archive. “The one thing that they should know about me is that I’m interactive,” she says to prospective attendees, “but I am also very respectful.”\u003c/p>\n\u003cp>Lasting traces of her time in the archives will exist in the form of documentation of all five events, but Civil emphasizes that this will be a one-night-only performance. \u003c/p>\n\u003cp>“If people are curious or are interested, I’d encourage them to come, because it’s not going to be happening every week,” she says. “We’re just going to come together and give it a shot.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Gabrielle Civil performs ‘My San Francisco’ at The Lab (2948 16th St., San Francisco) on June 22, 2024 at 7 p.m. The event is free to attend; \u003ca href=\"https://www.thelab.org/projects/2024/6/22/gabrielle-civil-my-san-francisco\">reserve tickets here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Gabrielle Civil’s performance at The Lab marks the end of a six-month residency with Small Press Traffic.","status":"publish","parent":0,"modified":1726700514,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":724},"headData":{"title":"Poet Gabrielle Civil Performs ‘My San Francisco’ at The Lab | KQED","description":"Gabrielle Civil’s performance at The Lab marks the end of a six-month residency with Small Press Traffic.","ogTitle":"A Performance Artist and Poet Presents ‘My San Francisco’","ogDescription":"","ogImgId":"","twTitle":"A Performance Artist and Poet Presents ‘My San Francisco’","twDescription":"","twImgId":"","socialTitle":"Poet Gabrielle Civil Performs ‘My San Francisco’ at The Lab %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Performance Artist and Poet Presents ‘My San Francisco’","datePublished":"2024-06-19T08:00:32-07:00","dateModified":"2024-09-18T16:01:54-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13959993/gabrielle-civil-my-san-francisco-small-press-traffic-the-lab","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>For the past six months, Los Angeles performance artist \u003ca href=\"https://www.gabriellecivilartist.com/\">Gabrielle Civil\u003c/a> has been digging through 50 years worth of archives in Small Press Traffic’s Mission District offices.\u003c/p>\n\u003cp>“It’s been so juicy and fun,” she says. “You can see a lot of different relationships just through ephemeral material.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13951003","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>As a nonprofit dedicated to boundary-pushing poets, Small Press Traffic (SPT) has found a fitting partner in Civil, who has premiered over 50 performance artworks and written several performance memoirs, blurring the lines between static writing, live events and archives of Black women’s creative expression. On Saturday, June 22, Civil will perform \u003ci>\u003ca href=\"https://www.smallpresstraffic.org/event/my-san-francisco\">My San Francisco\u003c/a>\u003c/i> at The Lab, the final event in her five-part series \u003ci>\u003ca href=\"https://www.smallpresstraffic.org/currently-post/where-would-i-be-without-you\">Where Would I Be Without You?\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Commissioned by SPT in celebration of their 50th anniversary, the series has explored the power of friendship and literary connections. The four previous events, which included an \u003ca href=\"https://www.smallpresstraffic.org/event/listening-party\">album listening party\u003c/a>, collective poetry writing while \u003ca href=\"https://www.smallpresstraffic.org/event/watch-party-workshop-tongues-untied\">watching movies over Zoom\u003c/a> and readings by \u003ca href=\"https://www.smallpresstraffic.org/event/a-friendly-reading-social\">pairs of poet friends\u003c/a>, often used artworks from Bay Area history as starting points. One of those was the 1993 John Singleton film \u003ci>\u003ca href=\"https://www.smallpresstraffic.org/event/watch-party-workshop-poetic-justice\">Poetic Justice\u003c/a>\u003c/i> (starring Janet Jackson and Tupac Shakur). Another was the 1976 Pat Parker & Judy Grahn album that gave the series its name.\u003c/p>\n\u003cfigure id=\"attachment_13959997\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed.png\" alt=\"Black woman stands with right hand on chest in front of mic in gallery space\" width=\"2560\" height=\"1408\" class=\"size-full wp-image-13959997\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed.png 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-800x440.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-1020x561.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-160x88.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-768x422.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-1536x845.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-2048x1126.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-1920x1056.png 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Gabrielle Civil reading during the May 31 event ‘A Friendly Reading & Social’ at Et al. \u003ccite>(Courtesy Small Press Traffic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What kind of relationship does a Detroit-born, Los Angeles-based artist have to San Francisco that would occasion the use of such a possessive title? For Civil, it began with an appreciation of the region’s poetic output and the poets who spread out from this place.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I was especially informed and inspired by the woman of color poetry-performance scene,” she says. “That would be Ntozake Shange and \u003ci>for colored girls\u003c/i>. Even though I think people think of it — and they \u003cem>should\u003c/em> think of it — as the first Black woman’s show on Broadway, it \u003ca href=\"https://www.kqed.org/arts/13954709/alta-shameless-hussy-press-dies-at-81\">started in the Bay\u003c/a>.”\u003c/p>\n\u003cp>Spending time in the SPT archives, Civil says, has allowed her to recognize how much the Bay Area has informed her imagination as a poet, and how much location has shaped her own coming of age.\u003c/p>\n\u003cp>For Civil, \u003ci>Where Would I Be Without You?\u003c/i> has been an opportunity to marvel at the criss-crossing networks represented in SPT’s holdings, then turn around and create even more connections within the present-day literary circles. \u003c/p>\n\u003cp>“What I try to do is set an experience for people to open up in their imaginations,” she says, “and have opportunities to consider themselves, and the people around them, and this whole weird thing of poetry that we’re trying to make together in some new ways.” \u003c/p>\n\u003cfigure id=\"attachment_13959996\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-1.jpg\" alt=\"Two people look at each other as they speak into mics\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13959996\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-1.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-1-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Gabrielle Civil in conversation with Judy Grahn at the ‘Where Would I Be Without You’ listening party at The Lab. \u003ccite>(Courtesy of Small Press Traffic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One need not have attended any of the previous events to enjoy \u003ci>My San Francisco\u003c/i>. Civil says, “You don’t even have to be knowledgeable about poetry, or like poetry.” (But if you are an aficionado, you might geek out on some of the things she brings in.)\u003c/p>\n\u003cp>Saturday’s performance will be a combination of storytelling, sound, humor and conversation, with photo documentation from Civil’s forays into the archive. “The one thing that they should know about me is that I’m interactive,” she says to prospective attendees, “but I am also very respectful.”\u003c/p>\n\u003cp>Lasting traces of her time in the archives will exist in the form of documentation of all five events, but Civil emphasizes that this will be a one-night-only performance. \u003c/p>\n\u003cp>“If people are curious or are interested, I’d encourage them to come, because it’s not going to be happening every week,” she says. “We’re just going to come together and give it a shot.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Gabrielle Civil performs ‘My San Francisco’ at The Lab (2948 16th St., San Francisco) on June 22, 2024 at 7 p.m. The event is free to attend; \u003ca href=\"https://www.thelab.org/projects/2024/6/22/gabrielle-civil-my-san-francisco\">reserve tickets here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13959993/gabrielle-civil-my-san-francisco-small-press-traffic-the-lab","authors":["61"],"programs":["arts_140"],"categories":["arts_1","arts_73"],"tags":["arts_1496","arts_4109","arts_585"],"featImg":"arts_13959995","label":"arts_140"},"arts_13958221":{"type":"posts","id":"arts_13958221","meta":{"index":"posts_1716263798","site":"arts","id":"13958221","score":null,"sort":[1716458454000]},"guestAuthors":[],"slug":"when-the-youth-speak-mush-lee-listens","title":"When the Youth Speak, Mush Lee Listens","publishDate":1716458454,"format":"audio","headTitle":"When the Youth Speak, Mush Lee Listens | KQED","labelTerm":{"term":8720,"site":"arts"},"content":"\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>View the full episode transcript.\u003c/i>\u003c/a>\u003c/p>\n\u003cp>As young people across the nation lead protests addressing war, climate change, reproductive rights and other major issues of our time, it’s important that adults in positions of power give them a platform and step back so the next generation of leaders can shine.\u003c/p>\n\u003cp>Young people have something to say, and they need allies. They need people like poet and educator \u003ca href=\"https://www.instagram.com/mush510_/\" target=\"_blank\" rel=\"noopener\">Michelle “Mush” Lee\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13958226\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13958226\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/download-800x800.jpg\" alt=\"Woman faces camera with a smile, while wearing a gold necklace over a white top in front of a white background. \" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/download-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/download-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/download-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/download-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/download.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Once you put your pen to paper, don’t stop’ — Michelle ‘Mush’ Lee\u003c/figcaption>\u003c/figure>\n\u003cp>Lee is the executive director of the renowned poetry organization \u003ca href=\"https://youthspeaks.org/\" target=\"_blank\" rel=\"noopener\">Youth Speaks\u003c/a>. The organization boasts a long list of alums who’ve become playwrights and poets, actors and activists. Just two years after its founding in 1996, Youth Speaks launched the annual youth poetry slam, Brave New Voices. This year, the three-day conference that pulls young poets from all corners of the country will be held in the nation’s capital, Washington D.C., just months before the presidential election.\u003c/p>\n\u003cp>As an organizer, Lee is looking ahead to this year’s conference with a clear understanding of why young people’s voices are so important right now.\u003c/p>\n\u003cp>Raised between San Francisco and Hercules, Lee didn’t get into spoken word and poetry until her college years, but the seeds had been planted through her family lineage. Her grandfather was a pastor who she saw rigorously working on his craft when she was a kid. Years later, when Lee stumbled across a book her mother wrote and had published in Korea, she truly saw the connection.\u003c/p>\n\u003cp>This week on Rightnowish we take a little dive into family history and explore the big concerns of the next generation with published poet, educator and youth advocate, Michelle “Mush” Lee.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC5141054590\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This is a computer-generated transcript. While our team has reviewed it, there may be errors.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, Host: \u003c/b>\u003cspan style=\"font-weight: 400\">Today we’re in conversation with poet and educator Michelle Lee, better known as Mush. Growing up between San Francisco and Hercules, Mush didn’t identify as a poet or spoken word artist until her college days, which is funny because her family has a pretty deep and profound connection to words.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Michelle “Mush” Lee, Guest: \u003c/b>\u003cspan style=\"font-weight: 400\">I\u003c/span>\u003cspan style=\"font-weight: 400\"> was helping my dad clear out the garage. There was a bunch of boxes with, you know, we open ‘em, it’s the same book. And it’s in Korean, and, you know, so we’re like, man, they’re like 200 copies of this book, what is it? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I go to the back, you know, where the artist bio and and picture is, and there’s my mom. It’s a whole book of poems that she secretly, somehow published in Korea. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Now, Mush is at the helm of Youth Speaks, a nationally recognized organization that\u003c/span> \u003cspan style=\"font-weight: 400\">created a platform for young emerging poets. And it all started right here in Frisco!\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As we continue to read news headlines about young people being on the forefront of combating climate change, pushing for reproductive rights, and organizing anti-war protests across our country, we’re going to hear how adults like Mush Lee are helping young poets raise their voices. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">I’m Rightnowish host, Pendarvis Harshaw, stick around for our conversation right after this.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Before poetry, spoken word, you were attracted to the oral tradition through the church. How did that play a role in who you are?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Michelle “Mush” Lee: \u003c/b>\u003cspan style=\"font-weight: 400\">Thank you for asking it because it’s a straight, it’s a direct line to my grandparents. You know, I’m a first generation born in San Francisco, California. L\u003c/span>\u003cspan style=\"font-weight: 400\">ike a lot of children of immigrant parents or parents that are just working hella hard, you know, you get bounced around from family to family. You know what I mean? The cousin, the uncle.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">My grandfather was a Presbyterian pastor. \u003c/span>\u003cb> \u003c/b>\u003cspan style=\"font-weight: 400\">You know, Presbyterians get a rap of being like the boring square and nerdy theological super textbook.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">But still, even in my grandfather’s church, you know, I would always hear him behind the pew practicing. He would always be rehearsing. I’d always see him at his dinner table just writing and writing, reading scripture. So the act of going from the pen to the page to the book to the oral, mouth to the ear\u003c/span> \u003cspan style=\"font-weight: 400\">That was something I think, that I was just exposed to at a really, really young age. And despite being super like Presbyterian Christians, like, there was still some version of call and response, like the Korean grandmother’s in the, you know, in the pews. They were they were, you know, doing their call and responsing. And so there’s certain elements of, I think, hip hop cultural spaces and hip hop ethos and spoken word that resonated very quickly for me, even though where I was first exposed to those kind of expressions was not necessarily through poetry at all.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">But the seed was planted and then\u003c/span> \u003cspan style=\"font-weight: 400\">you stepped into poetry full on, all ten toes as a young adult. Bring me into that experience.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Michelle “Mush” Lee: \u003c/b>\u003cspan style=\"font-weight: 400\">I was in the West Indies in undergrad. I was 19, maybe, studying abroad. The war breaks out. It was Bush’s first term, I think, Bush son, junior. And I just was alone. You know, there’s something about being lonely and alone and kind of physically apart and disconnected.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I got really reflective. I got really angry and I got scared, but mostly angry. So I started reading about what’s happening in the war. I started,I don’t know where, I just started watching YouTube.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I found some poets, some def poets, Def Poetry Jam poets and\u003c/span> \u003cspan style=\"font-weight: 400\">you know. There was an invitation from a professor in my women’s studies class there at University of West Indies who, that come and do open mic, all the women in the class. So I wrote my first poem about like, f*ck Bush, you know, f*ck the war. A lot of f*cks in there\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And also like, I’m the sh*t because I’m an Asian woman, you know, hear me that, you know, it’s like the first sound. We call it first sound, at Youth Speaks when it’s like the first time a poet really has to say something serious and meaningful and like it’s urgent, and then it just comes out like that. So it was my little first sound moment.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And then as soon as I got back home that December, I hit every single open mic that I could. So my best friend, Merv drove me around. And that’s where I found Youth Speaks. And I was 19. Just turning 20.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\"> You are the executive director of Youth Speaks. It’s a nationally renowned organization that promotes young folks using their voice to speak about what’s really going on. I need the origin story. Where did it all start?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Michelle “Mush” Lee: \u003c/b>\u003cspan style=\"font-weight: 400\">Legend is, is that it started in the back of somebody’s trunk, with a bunch of loose paper, pencils and books, like books of poetry. And it was like a roving mobile poetry workshop space before that became a thing. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So shout out to our, our founders, James Kass, our founding artistic director, Mark Bamuthi Joseph. Of course, the legendary Paul Flores.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The story is James Paul, they were MFA writers over at a university.\u003c/span> \u003cspan style=\"font-weight: 400\">They’re like, man, what’s up with all these white writers? And like 78% of them are dead, \u003c/span>\u003cb> \u003c/b>\u003cspan style=\"font-weight: 400\">and they said, you know, this can’t be right. You know, there’s got to be other ways of learning and engaging poetry and creative writing. And so they said ‘Look, why don’t we just hit up, schools and see if any teacher wants to, you know, give us 30 minutes of writing time?’ \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And that was it. And we had the first youth poetry slam in the world that following year. Had no idea what was going to happen. Opened the doors in San Francisco, California and there was a line out the door, packed.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">What year we talking about?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Michelle “Mush” Lee: \u003c/b>\u003cspan style=\"font-weight: 400\">The organization started formally, formed in 1996. So it was around the early 90s, you know, hip hop was taking kind of a global commercial stance, and it was becoming more relevant. You know, and hip hop theater was something that was starting to bubble up. You remember \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Carmen\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Oh yeah, with Beyonce and Mos Def, how can I forget?\u003c/span>\u003c/p>\n\u003cp>\u003cem>[2001 movie trailer for “Carmen: A Hip Hopera”]\u003c/em>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Mekhi Phifer, Beyonce Knowles, Mos Def, Rah Digga, Da Brat, \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Carmen, the original Hip Hopera\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Michelle “Mush” Lee: \u003c/b>\u003cspan style=\"font-weight: 400\">As I was going back during that time and figuring out what were the kind of the cultural moments that catalyzed some of, you know, the spoken word movement, the hip hop theater, hip hop education spaces? My memory brought me back to \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Carmen.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">I remember watching it, and I love Beyonce then and now, but I remember watching it thinking, I don’t understand what’s happening! You know what I mean?! and i love beyonce and i love Mos and Mos def went on host 6 seasons of Def Poetry on HBO so that’s around the cultural moment and zeitgeist when Youth Speaks was being formed.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Got it okay, okay. And then put it in context, how does the event, the annual event, Brave New Voices play a part in spreading the idea behind Youth Speaks?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Michelle “Mush” Lee: \u003c/b>\u003cspan style=\"font-weight: 400\">In 1997, we started the first, you know, hosted the first Youth Poetry Slam in Frisco in San Francisco. And, we realized quickly that there were other cities, you know, poets were teaching other young folks. And so four cities got together a couple of years later, in New Mexico and said, you know, let’s convene every year. Let’s just get us together\u003c/span> \u003cspan style=\"font-weight: 400\">to create a space, 3 or 4 days, for young folks to just share their stories but also engage in this, like, oral poetic that was, again, from the hip hop culture, born of a very specific social context, from Black oral tradition. And, you know, it’s like when you meet your people, you find your people. And it’s like, by all means, any means and all means, like, let’s stay together.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Michelle “Mush” Lee:\u003c/b>\u003cspan style=\"font-weight: 400\">That became kind of the pathway to connecting with eventually what became a network of 60 different youth voice organizations in the country: every corner, including, some First Nations reservations. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It was a way for young people to see and experience other poets who don’t look like them, who who might not even sound like them, definitely did not come from the same type of walk of life. But what, what bound everybody together was their love for the word and we thought that was the best type of exchange.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">So Brave New Voices, toeing the line of three decades of being in existence and bringing young folks together to platform their voices and talk about issues that matter right now. Why is this July’s event so special and what’s the focus of it?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Michelle “Mush” Lee: \u003c/b>\u003cspan style=\"font-weight: 400\">There’s this kind of collective, disposition that and spirit energy, whatever you want to call it, that says that things feel particularly difficult. You know, so language like collective grief, collective punishment, collective fatigue, collective exhaustion,it’s weighing on us. And let’s the, you know, the obvious this November is the presidential election.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s a lot at stake, I think, and there’s a lot of legitimate resistance and frustration and rage amongst young people at the ways that our generation and our parents and grandparents generations um\u003c/span> \u003cspan style=\"font-weight: 400\">voluntary or involuntary have created like, the conditions.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. What are some of the key issues that you folks are looking to talk about?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Michelle “Mush” Lee: \u003c/b>\u003cspan style=\"font-weight: 400\">The stuff that comes up is social media and mental health,\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cem>[Clip of Youth Speaks poet reciting poem on healing]\u003c/em>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">You believe that you are the definition of opaque. \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">You don’t even realize that you are the centerpiece in a room of double-sided mirrors and if only you cupped your hands around the glass, you would realize this is what healing looks like,\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">allowing yourself to become some sort of transparency. \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">And yes, they say healing is not linear, but healing is a revolving door..\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>Michelle “Mush” Lee: …\u003c/b>\u003cspan style=\"font-weight: 400\">climate justice… \u003c/span>\u003c/p>\n\u003cp>\u003cem>[Clip of Youth Speaks poets talking about climate justice]\u003c/em>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Abuelos and Abuelas\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Kids scattered on playgrounds\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Farmers toiling the fields\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Boiling under blistering heat\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Michelle “Mush” Lee: …\u003c/b>\u003cspan style=\"font-weight: 400\">kind of an interrogation of colonialism, rematriation movements. What does that mean? What does it mean to be indigenous and sovereign? Also, you know, American Samoa, and other kind of nations that are, have been struggling in movement and movement work to be able to take back their ancestral land.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Michelle “Mush” Lee: \u003c/b>\u003cspan style=\"font-weight: 400\">Censorship,\u003c/span>\u003c/p>\n\u003cp>\u003cem>[Clip of Youth Speaks poet reciting poem about banned books]\u003c/em>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">We are not perfect but our nation is based on hope. \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/i> \u003ci>\u003cspan style=\"font-weight: 400\">We are always striving for a more perfect union \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/i> \u003ci>\u003cspan style=\"font-weight: 400\">That hope is crushed when books are banned, \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/i> \u003ci>\u003cspan style=\"font-weight: 400\">ripping away stories that need to be told. [audience hmm]\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/i> \u003ci>\u003cspan style=\"font-weight: 400\">If voices can be so easily muzzled in America, \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/i> \u003ci>\u003cspan style=\"font-weight: 400\">what hope do people yearning for freedom have in \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/i> \u003ci>\u003cspan style=\"font-weight: 400\">Russia, China, Ukraine, Gaza?\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/i> \u003ci>\u003cspan style=\"font-weight: 400\">Silencing books by banning them only leads to \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/i> \u003ci>\u003cspan style=\"font-weight: 400\">silencing people by bombing them. [audience cheering]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Michelle “Mush” Lee: \u003c/b>\u003cspan style=\"font-weight: 400\">Last thing I’ll say is, underneath it all, one of the greatest powers that every poet I know has is the power to time travel. And by that, I mean\u003c/span> \u003cspan style=\"font-weight: 400\">somebody says or shares something that you know is authentic, you know, is real and you know, took some type of risk to, to to share\u003c/span>\u003cb>. \u003c/b>\u003cspan style=\"font-weight: 400\">And suddenly, you know them in a new way,\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">I don’t know how to describe that. I always just describe it as time travel. We don’t give it enough due credit. You know, funders are always trying to measure that stuff. I’m like, ‘you can’t measure it man You can’t. You just got to trust. Just come into this space and feel it. I promise you, you’re just gonna want to write checks to the shorties.’ But, yeah, I think that is one of the most magical things that a poet and most artists I know are able to do.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The ability to connect people across, you know, imagined or real dividing lines is something that we’re trying to preserve through Brave New voices.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">i love that. I love that you said that it’s there are so many different issues to address. Underneath that is the human connection and the ability to create empathy, situations where people can be open to other people’s lived experiences. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With that said, do you have any advice to a young poet, someone in their teens, 20s, or even an older person who’s looking to make their first sound, as you said?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Michelle “Mush” Lee: \u003c/b>\u003cspan style=\"font-weight: 400\">Look, I’m 41 years old. I was born in 1982. This is a different moment. You know, I have a child that’s 11 years old, so it’s a different moment. I recognize that. It’s really hard. I feel like it’s even harder for our young people today to feel like they can truly make mistakes and fail publicly.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">Shame based culture, there’s all kinds of stuff that existed even when we were children but it’s, it’s a different scale and scope. And so I would say, look, you’re going to suck. And it’s going to be fine. But if it feels right when you’re up there, no matter how much your paper is shaking, you got to keep doing it and that’s it.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">Once you put your pen to paper, don’t stop and seek out mentors. And then finally, come find Youth Speaks. Even if you’ve never written a poem,\u003c/span> \u003cspan style=\"font-weight: 400\">and we will walk with you.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Mush, thank you for your time, for your personal story and for assisting the next generation in telling their story. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Again, Mush is the Executive Director of Youth Speaks, you can learn more about that organization by checking out their website, \u003c/span>\u003cspan style=\"font-weight: 400\">youthspeaks.org\u003c/span>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This summer Youth Speaks will be one of the many poetry orgs participating in Brave New Voices in Washington D.C., for more info on that check youthspeaks.org/bravenewvoices\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And for more on Mush, she’s on Instagram. You can find her @ Mush510_ \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This episode was hosted by me, Pendarvis Harshaw. Marisol Medina-Cadena produced this episode. Chris Hambrick held it down for edits on this one. Christopher Beale engineered this joint. \u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Rightnowish team is also supported by Jen Chien, Ugur Dursun, Holly Kernan, Cesar Saldaña, and Katie Sprenger. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish is a KQED production. Until next time, peace!\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]=\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Michelle Mush Lee of Youth Speaks talks about the issues on the minds of young poets today. ","status":"publish","parent":0,"modified":1726875378,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":61,"wordCount":3089},"headData":{"title":"When the Youth Speak, Mush Lee Listens | KQED","description":"As young people across the nation lead protests addressing war, climate change, reproductive rights and the major issues of our time, it's important that adults in positions of power give them a platform and step back so the next generation of leaders can shine. Young people have something to say, and they need allies. They need people like poet and educator Michelle "Mush" Lee.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialDescription":"As young people across the nation lead protests addressing war, climate change, reproductive rights and the major issues of our time, it's important that adults in positions of power give them a platform and step back so the next generation of leaders can shine. Young people have something to say, and they need allies. They need people like poet and educator Michelle "Mush" Lee.","schema":{"@context":"http://schema.org","@type":"Article","headline":"When the Youth Speak, Mush Lee Listens","datePublished":"2024-05-23T03:00:54-07:00","dateModified":"2024-09-20T16:36:18-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.podtrac.com/pts/redirect.mp3/chrt.fm/track/G6C7C3/traffic.megaphone.fm/KQINC5141054590.mp3?updated=1716329439","sticky":false,"nprStoryId":"kqed-13958221","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13958221/when-the-youth-speak-mush-lee-listens","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>View the full episode transcript.\u003c/i>\u003c/a>\u003c/p>\n\u003cp>As young people across the nation lead protests addressing war, climate change, reproductive rights and other major issues of our time, it’s important that adults in positions of power give them a platform and step back so the next generation of leaders can shine.\u003c/p>\n\u003cp>Young people have something to say, and they need allies. They need people like poet and educator \u003ca href=\"https://www.instagram.com/mush510_/\" target=\"_blank\" rel=\"noopener\">Michelle “Mush” Lee\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13958226\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13958226\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/download-800x800.jpg\" alt=\"Woman faces camera with a smile, while wearing a gold necklace over a white top in front of a white background. \" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/download-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/download-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/download-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/download-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/download.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Once you put your pen to paper, don’t stop’ — Michelle ‘Mush’ Lee\u003c/figcaption>\u003c/figure>\n\u003cp>Lee is the executive director of the renowned poetry organization \u003ca href=\"https://youthspeaks.org/\" target=\"_blank\" rel=\"noopener\">Youth Speaks\u003c/a>. The organization boasts a long list of alums who’ve become playwrights and poets, actors and activists. Just two years after its founding in 1996, Youth Speaks launched the annual youth poetry slam, Brave New Voices. This year, the three-day conference that pulls young poets from all corners of the country will be held in the nation’s capital, Washington D.C., just months before the presidential election.\u003c/p>\n\u003cp>As an organizer, Lee is looking ahead to this year’s conference with a clear understanding of why young people’s voices are so important right now.\u003c/p>\n\u003cp>Raised between San Francisco and Hercules, Lee didn’t get into spoken word and poetry until her college years, but the seeds had been planted through her family lineage. Her grandfather was a pastor who she saw rigorously working on his craft when she was a kid. Years later, when Lee stumbled across a book her mother wrote and had published in Korea, she truly saw the connection.\u003c/p>\n\u003cp>This week on Rightnowish we take a little dive into family history and explore the big concerns of the next generation with published poet, educator and youth advocate, Michelle “Mush” Lee.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC5141054590\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This is a computer-generated transcript. While our team has reviewed it, there may be errors.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, Host: \u003c/b>\u003cspan style=\"font-weight: 400\">Today we’re in conversation with poet and educator Michelle Lee, better known as Mush. Growing up between San Francisco and Hercules, Mush didn’t identify as a poet or spoken word artist until her college days, which is funny because her family has a pretty deep and profound connection to words.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Michelle “Mush” Lee, Guest: \u003c/b>\u003cspan style=\"font-weight: 400\">I\u003c/span>\u003cspan style=\"font-weight: 400\"> was helping my dad clear out the garage. There was a bunch of boxes with, you know, we open ‘em, it’s the same book. And it’s in Korean, and, you know, so we’re like, man, they’re like 200 copies of this book, what is it? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I go to the back, you know, where the artist bio and and picture is, and there’s my mom. It’s a whole book of poems that she secretly, somehow published in Korea. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Now, Mush is at the helm of Youth Speaks, a nationally recognized organization that\u003c/span> \u003cspan style=\"font-weight: 400\">created a platform for young emerging poets. And it all started right here in Frisco!\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As we continue to read news headlines about young people being on the forefront of combating climate change, pushing for reproductive rights, and organizing anti-war protests across our country, we’re going to hear how adults like Mush Lee are helping young poets raise their voices. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">I’m Rightnowish host, Pendarvis Harshaw, stick around for our conversation right after this.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Before poetry, spoken word, you were attracted to the oral tradition through the church. How did that play a role in who you are?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Michelle “Mush” Lee: \u003c/b>\u003cspan style=\"font-weight: 400\">Thank you for asking it because it’s a straight, it’s a direct line to my grandparents. You know, I’m a first generation born in San Francisco, California. L\u003c/span>\u003cspan style=\"font-weight: 400\">ike a lot of children of immigrant parents or parents that are just working hella hard, you know, you get bounced around from family to family. You know what I mean? The cousin, the uncle.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">My grandfather was a Presbyterian pastor. \u003c/span>\u003cb> \u003c/b>\u003cspan style=\"font-weight: 400\">You know, Presbyterians get a rap of being like the boring square and nerdy theological super textbook.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">But still, even in my grandfather’s church, you know, I would always hear him behind the pew practicing. He would always be rehearsing. I’d always see him at his dinner table just writing and writing, reading scripture. So the act of going from the pen to the page to the book to the oral, mouth to the ear\u003c/span> \u003cspan style=\"font-weight: 400\">That was something I think, that I was just exposed to at a really, really young age. And despite being super like Presbyterian Christians, like, there was still some version of call and response, like the Korean grandmother’s in the, you know, in the pews. They were they were, you know, doing their call and responsing. And so there’s certain elements of, I think, hip hop cultural spaces and hip hop ethos and spoken word that resonated very quickly for me, even though where I was first exposed to those kind of expressions was not necessarily through poetry at all.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">But the seed was planted and then\u003c/span> \u003cspan style=\"font-weight: 400\">you stepped into poetry full on, all ten toes as a young adult. Bring me into that experience.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Michelle “Mush” Lee: \u003c/b>\u003cspan style=\"font-weight: 400\">I was in the West Indies in undergrad. I was 19, maybe, studying abroad. The war breaks out. It was Bush’s first term, I think, Bush son, junior. And I just was alone. You know, there’s something about being lonely and alone and kind of physically apart and disconnected.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I got really reflective. I got really angry and I got scared, but mostly angry. So I started reading about what’s happening in the war. I started,I don’t know where, I just started watching YouTube.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I found some poets, some def poets, Def Poetry Jam poets and\u003c/span> \u003cspan style=\"font-weight: 400\">you know. There was an invitation from a professor in my women’s studies class there at University of West Indies who, that come and do open mic, all the women in the class. So I wrote my first poem about like, f*ck Bush, you know, f*ck the war. A lot of f*cks in there\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And also like, I’m the sh*t because I’m an Asian woman, you know, hear me that, you know, it’s like the first sound. We call it first sound, at Youth Speaks when it’s like the first time a poet really has to say something serious and meaningful and like it’s urgent, and then it just comes out like that. So it was my little first sound moment.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And then as soon as I got back home that December, I hit every single open mic that I could. So my best friend, Merv drove me around. And that’s where I found Youth Speaks. And I was 19. Just turning 20.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\"> You are the executive director of Youth Speaks. It’s a nationally renowned organization that promotes young folks using their voice to speak about what’s really going on. I need the origin story. Where did it all start?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Michelle “Mush” Lee: \u003c/b>\u003cspan style=\"font-weight: 400\">Legend is, is that it started in the back of somebody’s trunk, with a bunch of loose paper, pencils and books, like books of poetry. And it was like a roving mobile poetry workshop space before that became a thing. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So shout out to our, our founders, James Kass, our founding artistic director, Mark Bamuthi Joseph. Of course, the legendary Paul Flores.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The story is James Paul, they were MFA writers over at a university.\u003c/span> \u003cspan style=\"font-weight: 400\">They’re like, man, what’s up with all these white writers? And like 78% of them are dead, \u003c/span>\u003cb> \u003c/b>\u003cspan style=\"font-weight: 400\">and they said, you know, this can’t be right. You know, there’s got to be other ways of learning and engaging poetry and creative writing. And so they said ‘Look, why don’t we just hit up, schools and see if any teacher wants to, you know, give us 30 minutes of writing time?’ \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And that was it. And we had the first youth poetry slam in the world that following year. Had no idea what was going to happen. Opened the doors in San Francisco, California and there was a line out the door, packed.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">What year we talking about?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Michelle “Mush” Lee: \u003c/b>\u003cspan style=\"font-weight: 400\">The organization started formally, formed in 1996. So it was around the early 90s, you know, hip hop was taking kind of a global commercial stance, and it was becoming more relevant. You know, and hip hop theater was something that was starting to bubble up. You remember \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Carmen\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Oh yeah, with Beyonce and Mos Def, how can I forget?\u003c/span>\u003c/p>\n\u003cp>\u003cem>[2001 movie trailer for “Carmen: A Hip Hopera”]\u003c/em>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Mekhi Phifer, Beyonce Knowles, Mos Def, Rah Digga, Da Brat, \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Carmen, the original Hip Hopera\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Michelle “Mush” Lee: \u003c/b>\u003cspan style=\"font-weight: 400\">As I was going back during that time and figuring out what were the kind of the cultural moments that catalyzed some of, you know, the spoken word movement, the hip hop theater, hip hop education spaces? My memory brought me back to \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Carmen.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">I remember watching it, and I love Beyonce then and now, but I remember watching it thinking, I don’t understand what’s happening! You know what I mean?! and i love beyonce and i love Mos and Mos def went on host 6 seasons of Def Poetry on HBO so that’s around the cultural moment and zeitgeist when Youth Speaks was being formed.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Got it okay, okay. And then put it in context, how does the event, the annual event, Brave New Voices play a part in spreading the idea behind Youth Speaks?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Michelle “Mush” Lee: \u003c/b>\u003cspan style=\"font-weight: 400\">In 1997, we started the first, you know, hosted the first Youth Poetry Slam in Frisco in San Francisco. And, we realized quickly that there were other cities, you know, poets were teaching other young folks. And so four cities got together a couple of years later, in New Mexico and said, you know, let’s convene every year. Let’s just get us together\u003c/span> \u003cspan style=\"font-weight: 400\">to create a space, 3 or 4 days, for young folks to just share their stories but also engage in this, like, oral poetic that was, again, from the hip hop culture, born of a very specific social context, from Black oral tradition. And, you know, it’s like when you meet your people, you find your people. And it’s like, by all means, any means and all means, like, let’s stay together.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Michelle “Mush” Lee:\u003c/b>\u003cspan style=\"font-weight: 400\">That became kind of the pathway to connecting with eventually what became a network of 60 different youth voice organizations in the country: every corner, including, some First Nations reservations. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It was a way for young people to see and experience other poets who don’t look like them, who who might not even sound like them, definitely did not come from the same type of walk of life. But what, what bound everybody together was their love for the word and we thought that was the best type of exchange.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">So Brave New Voices, toeing the line of three decades of being in existence and bringing young folks together to platform their voices and talk about issues that matter right now. Why is this July’s event so special and what’s the focus of it?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Michelle “Mush” Lee: \u003c/b>\u003cspan style=\"font-weight: 400\">There’s this kind of collective, disposition that and spirit energy, whatever you want to call it, that says that things feel particularly difficult. You know, so language like collective grief, collective punishment, collective fatigue, collective exhaustion,it’s weighing on us. And let’s the, you know, the obvious this November is the presidential election.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s a lot at stake, I think, and there’s a lot of legitimate resistance and frustration and rage amongst young people at the ways that our generation and our parents and grandparents generations um\u003c/span> \u003cspan style=\"font-weight: 400\">voluntary or involuntary have created like, the conditions.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. What are some of the key issues that you folks are looking to talk about?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Michelle “Mush” Lee: \u003c/b>\u003cspan style=\"font-weight: 400\">The stuff that comes up is social media and mental health,\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cem>[Clip of Youth Speaks poet reciting poem on healing]\u003c/em>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">You believe that you are the definition of opaque. \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">You don’t even realize that you are the centerpiece in a room of double-sided mirrors and if only you cupped your hands around the glass, you would realize this is what healing looks like,\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">allowing yourself to become some sort of transparency. \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">And yes, they say healing is not linear, but healing is a revolving door..\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>Michelle “Mush” Lee: …\u003c/b>\u003cspan style=\"font-weight: 400\">climate justice… \u003c/span>\u003c/p>\n\u003cp>\u003cem>[Clip of Youth Speaks poets talking about climate justice]\u003c/em>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Abuelos and Abuelas\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Kids scattered on playgrounds\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Farmers toiling the fields\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Boiling under blistering heat\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Michelle “Mush” Lee: …\u003c/b>\u003cspan style=\"font-weight: 400\">kind of an interrogation of colonialism, rematriation movements. What does that mean? What does it mean to be indigenous and sovereign? Also, you know, American Samoa, and other kind of nations that are, have been struggling in movement and movement work to be able to take back their ancestral land.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Michelle “Mush” Lee: \u003c/b>\u003cspan style=\"font-weight: 400\">Censorship,\u003c/span>\u003c/p>\n\u003cp>\u003cem>[Clip of Youth Speaks poet reciting poem about banned books]\u003c/em>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">We are not perfect but our nation is based on hope. \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/i> \u003ci>\u003cspan style=\"font-weight: 400\">We are always striving for a more perfect union \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/i> \u003ci>\u003cspan style=\"font-weight: 400\">That hope is crushed when books are banned, \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/i> \u003ci>\u003cspan style=\"font-weight: 400\">ripping away stories that need to be told. [audience hmm]\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/i> \u003ci>\u003cspan style=\"font-weight: 400\">If voices can be so easily muzzled in America, \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/i> \u003ci>\u003cspan style=\"font-weight: 400\">what hope do people yearning for freedom have in \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/i> \u003ci>\u003cspan style=\"font-weight: 400\">Russia, China, Ukraine, Gaza?\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/i> \u003ci>\u003cspan style=\"font-weight: 400\">Silencing books by banning them only leads to \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/i> \u003ci>\u003cspan style=\"font-weight: 400\">silencing people by bombing them. [audience cheering]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Michelle “Mush” Lee: \u003c/b>\u003cspan style=\"font-weight: 400\">Last thing I’ll say is, underneath it all, one of the greatest powers that every poet I know has is the power to time travel. And by that, I mean\u003c/span> \u003cspan style=\"font-weight: 400\">somebody says or shares something that you know is authentic, you know, is real and you know, took some type of risk to, to to share\u003c/span>\u003cb>. \u003c/b>\u003cspan style=\"font-weight: 400\">And suddenly, you know them in a new way,\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">I don’t know how to describe that. I always just describe it as time travel. We don’t give it enough due credit. You know, funders are always trying to measure that stuff. I’m like, ‘you can’t measure it man You can’t. You just got to trust. Just come into this space and feel it. I promise you, you’re just gonna want to write checks to the shorties.’ But, yeah, I think that is one of the most magical things that a poet and most artists I know are able to do.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The ability to connect people across, you know, imagined or real dividing lines is something that we’re trying to preserve through Brave New voices.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">i love that. I love that you said that it’s there are so many different issues to address. Underneath that is the human connection and the ability to create empathy, situations where people can be open to other people’s lived experiences. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With that said, do you have any advice to a young poet, someone in their teens, 20s, or even an older person who’s looking to make their first sound, as you said?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Michelle “Mush” Lee: \u003c/b>\u003cspan style=\"font-weight: 400\">Look, I’m 41 years old. I was born in 1982. This is a different moment. You know, I have a child that’s 11 years old, so it’s a different moment. I recognize that. It’s really hard. I feel like it’s even harder for our young people today to feel like they can truly make mistakes and fail publicly.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">Shame based culture, there’s all kinds of stuff that existed even when we were children but it’s, it’s a different scale and scope. And so I would say, look, you’re going to suck. And it’s going to be fine. But if it feels right when you’re up there, no matter how much your paper is shaking, you got to keep doing it and that’s it.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">Once you put your pen to paper, don’t stop and seek out mentors. And then finally, come find Youth Speaks. Even if you’ve never written a poem,\u003c/span> \u003cspan style=\"font-weight: 400\">and we will walk with you.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Mush, thank you for your time, for your personal story and for assisting the next generation in telling their story. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Again, Mush is the Executive Director of Youth Speaks, you can learn more about that organization by checking out their website, \u003c/span>\u003cspan style=\"font-weight: 400\">youthspeaks.org\u003c/span>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This summer Youth Speaks will be one of the many poetry orgs participating in Brave New Voices in Washington D.C., for more info on that check youthspeaks.org/bravenewvoices\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And for more on Mush, she’s on Instagram. You can find her @ Mush510_ \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This episode was hosted by me, Pendarvis Harshaw. Marisol Medina-Cadena produced this episode. Chris Hambrick held it down for edits on this one. Christopher Beale engineered this joint. \u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Rightnowish team is also supported by Jen Chien, Ugur Dursun, Holly Kernan, Cesar Saldaña, and Katie Sprenger. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish is a KQED production. Until next time, peace!\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>=\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13958221/when-the-youth-speak-mush-lee-listens","authors":["11491","11528"],"programs":["arts_8720"],"categories":["arts_1","arts_21759"],"tags":["arts_22160","arts_1496","arts_2672"],"featImg":"arts_13958225","label":"arts_8720"},"arts_13954736":{"type":"posts","id":"arts_13954736","meta":{"index":"posts_1716263798","site":"arts","id":"13954736","score":null,"sort":[1712167804000]},"guestAuthors":[],"slug":"jk-fowler-heurto-osos-perezosos-xalapa-mexico-artist-residency","title":"In Southern Mexico, Bay Area Artists Seek Refuge and Cultural Exchange","publishDate":1712167804,"format":"standard","headTitle":"In Southern Mexico, Bay Area Artists Seek Refuge and Cultural Exchange | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cspan style=\"font-weight: 400\">“Xalapa is a magical portal of colors, culture, great energy and healing. It felt like my soul knew it was right at home.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Those are the words of \u003c/span>\u003ca href=\"https://www.kqed.org/forum/2010101894675/poet-mimi-tempestt-defies-and-reclaims-her-identity-in-new-book\">\u003cspan style=\"font-weight: 400\">Oakland poet Mimi Tempestt\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, who recently traveled to Xalapa — the capital of Veracruz, Mexico. She spent a week in the Spanish colonial city, visiting for the first time as part of a new artist residency that has taken root in the city’s downtown: \u003c/span>\u003ca href=\"https://www.huertodeososperezosos.org/\">\u003cspan style=\"font-weight: 400\">Huerto de Osos Perezosos\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (“vegetable patch of the sloths”).\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13955339\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955339\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa3-scaled.jpg\" alt=\"a mural of a sloth is painted on a tall concrete wall in an outdoor garden\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa3-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa3-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa3-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa3-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa3-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa3-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa3-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa3-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">A mural of a sloth (or “oso perezoso”) is painted within the arts residency compound. The mural was painted by San Francisco’s Adrian Arias, who visited Xalapa last year. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s not every day that a Bay Area poet decides to visit Xalapa. I would know. It’s \u003ca href=\"https://www.latimes.com/food/story/2022-10-16/history-pickled-jalapenos-xalapa-veracruz-mexican-food\">my parents’ hometown\u003c/a>, where my mother and grandfather currently live. I’ve been there many times throughout my life, and have always enjoyed its quaint historical vibe with narrow cobblestone roads, orchid blooms and artistic ebullience. But I’ve never encountered Bay Area artists there, especially ones who aren’t Mexican.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So I was delighted — and surprised — when I heard that a poetry acquaintance of mine, \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13924716/nomadic-press-a-chosen-family-for-queer-and-bipoc-writers-closes-up-shop\">\u003cspan style=\"font-weight: 400\">J.K. Fowler\u003c/span>\u003c/a>, \u003cspan style=\"font-weight: 400\">had relocated from the Bay to Xalapa, a place that feels hidden, tucked in the misty mountains along Mexico’s southeastern shoreline. \u003ca href=\"https://www.kqed.org/arts/13924716/nomadic-press-a-chosen-family-for-queer-and-bipoc-writers-closes-up-shop\">Previously, Fowler operated Nomadic Press in Oakland\u003c/a>, which was known as a grassroots hub for diverse voices until it shuttered about a year ago. (Over the years, I read my work at several of their events.) [aside postid='arts_13955195']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As Fowler does, he is now working down there to connect others through his growing network of local artists — and he has a slate of Bay Area writers, muralists and multidisciplinary creators who are just beginning to enter Xalapa’s “magical portal.”\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On my recent trip to see family in Xalapa, I caught up with Fowler at his artist compound. “Consider it your second home,” he told me as we strolled through a wondrous garden where he hosts events.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“If you ever need chayote, you can take some from here,” he said, and I could tell he meant it.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13955343\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955343\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa7-scaled.jpg\" alt=\"a tropical garden in southern Mexico\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa7-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa7-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa7-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa7-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">One of Xalapa’s biggest attractions is the verdant greenery. Within the artist residency, there are two tropical outdoor gardens. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The thing about Fowler’s vision is that it doesn’t function like a simple Airbnb might. It’s an integrated cultural exchange, in which Fowler partners with artists from the region and fosters an international dialogue through collaborations and events.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Fowler also has a cafe, Bundo, which used to be located less than a 10 minute walk from the residency, and offered an array of beverages and snacks, specializing in oven-fired pizzas. He is currently in the process of moving the cafe inside of Huerto to give visiting artists an on-site dining option. (Xalapa has a heralded food scene, even by Mexico’s standards.) \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Huerto has high ceilings and earth tones that radiate a modern, minimalist Mexican aura. The lower portion of the living space has a total of five rooms, including a dining area, lounging spaces, an office, a bedroom and a kitchen, with Fowler’s living quarters located beyond the courtyard’s garden. While touring the spacious property, I met two local artists lounging in the outdoor patio discussing their ideas in Spanish, before switching over to English to introduce themselves to me.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13955341\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955341\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa5-scaled.jpg\" alt=\"plates of food are laid out on a wooden table\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa5-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa5-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa5-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa5-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa5-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Part of Fowler’s vision is to provide a cafe space for locals and visiting artists. At Bundo’s former location in downtown, the cafe served a variety of fresh dishes. Fowler plans to relocate Bundo. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Huerto feels fresh, and full of potential. It’s a bicultural space where artists of diverse backgrounds can intermingle and inform each other’s practices. It also offers respite and privacy for those in need of a fresh environment.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Visiting artists from Northern California include Tempestt (who recently published her debut book with City Lights), Keenan Norris (a novelist who received the 2022 Northern California Book Award), E.K. Keith (a San Francisco-based poet) and Adrian Arias (a Bay Area writer, painter and illustrator). \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13955340\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955340\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa4-scaled.jpg\" alt=\"books about Oakland art are on display at a shop in Mexico\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa4-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa4-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa4-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa4-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Fowler’s mission is to create an international exchange between artists, and he shares work from Bay Area authors and painters with local Xalapeños. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">This summer, \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13900077/ayodele-nzinga-oaklands-first-poet-laureate-is-here-for-the-people\">\u003cspan style=\"font-weight: 400\">Ayodele Nzinga\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (Oakland’s poet laureate) and \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13916674/tongo-eisen-martin-poet-laureate-parker-occupied-school-city-lights\">\u003cspan style=\"font-weight: 400\">Tongo Eisen-Martin\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (San Francisco’s poet laureate) have signed up for visits. Nzinga is planning an anthology titled \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Bridge\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, in which she will gather poems from authors based in both the Bay Area and Xalapa, culminating with a reading at Bundo.\u003c/span>\u003c/p>\n\u003cp>And it’s not only for Bay Area artists, either. Huerto is also a way-point for local Xalapeños and Mexican nationals from other parts of the country. In fact, Huerto’s inaugural resident was Javier Peñalosa\u003cem>, \u003c/em>a screenwriter and children’s book author from Mexico City. [aside postid='arts_13954510']\u003c/p>\n\u003cp>“The space is genuinely tranquil and inspiring,” Peñalosa wrote in Spanish on Huerto’s website. “It’s like an oasis in the heart of Xalapa,”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For first-timers in Xalapa — a small city that has virtually no foreigner presence, \u003ca href=\"https://www.latimes.com/food/story/2023-07-13/mexico-city-essay-daniel-hernandez\">unlike Mexico City with its influx of U.S. transplants \u003c/a>— the scenery and ambiance can overwhelm with its quiet positivity and reflective possibility.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13955338\" class=\"wp-caption alignnone\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955338\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa2-scaled.jpg\" alt=\"a quaint kitchen in Mexico \" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa2-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa2-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa2-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa2-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa2-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa2-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa2-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa2-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Huerto de Osos Perezosos offers ample living space for visiting artists, including a full kitchen that is attached to an outdoor garden. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s a certain synergy that artists can tap into in this off-the-radar destination, whose population is slightly larger than Oakland’s. Xalapa is ensconced in verdant greenery and often clouded and foggy like London, but with much warmer weather and tree-lined avenues where friendly women sell banana leaf-wrapped tamales. It’s the kind of unknown dimension that you might stumble into as a U.S. citizen and return from with an altered sense of gratitude.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My last night at Huerto, I walked out to the courtyard after dinner and stood in the lovely mist, and appreciated the way the lamplight fell over the compound walls and into the courtyard, beautifying the quiet, tropical scene,” Norris shared in a testimonial. “It really did feel like a caesura in time itself, a space to contemplate.” \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.huertodeososperezosos.org/\">\u003cspan style=\"font-weight: 400\">Huerto de Osos Perezosos\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (located in Xalapa’s historic center) is available for seven-day visits with varying price ranges. Xalapa is roughly four and a half hours from Mexico City’s easternmost airport via bus, and one hour via taxi from Veracruz’s international airport.\u003c/span>\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"After closing Nomadic Press, J.K. Fowler created an artist residency in the verdant, historic city of Xalapa.","status":"publish","parent":0,"modified":1726701751,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":1168},"headData":{"title":"In Southern Mexico, Bay Area Artists Seek Refuge and Cultural Exchange | KQED","description":"After closing Nomadic Press, J.K. Fowler created an artist residency in the verdant, historic city of Xalapa.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"In Southern Mexico, Bay Area Artists Seek Refuge and Cultural Exchange","datePublished":"2024-04-03T11:10:04-07:00","dateModified":"2024-09-18T16:22:31-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13954736","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13954736/jk-fowler-heurto-osos-perezosos-xalapa-mexico-artist-residency","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">“Xalapa is a magical portal of colors, culture, great energy and healing. It felt like my soul knew it was right at home.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Those are the words of \u003c/span>\u003ca href=\"https://www.kqed.org/forum/2010101894675/poet-mimi-tempestt-defies-and-reclaims-her-identity-in-new-book\">\u003cspan style=\"font-weight: 400\">Oakland poet Mimi Tempestt\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, who recently traveled to Xalapa — the capital of Veracruz, Mexico. She spent a week in the Spanish colonial city, visiting for the first time as part of a new artist residency that has taken root in the city’s downtown: \u003c/span>\u003ca href=\"https://www.huertodeososperezosos.org/\">\u003cspan style=\"font-weight: 400\">Huerto de Osos Perezosos\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (“vegetable patch of the sloths”).\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13955339\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955339\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa3-scaled.jpg\" alt=\"a mural of a sloth is painted on a tall concrete wall in an outdoor garden\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa3-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa3-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa3-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa3-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa3-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa3-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa3-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa3-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">A mural of a sloth (or “oso perezoso”) is painted within the arts residency compound. The mural was painted by San Francisco’s Adrian Arias, who visited Xalapa last year. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s not every day that a Bay Area poet decides to visit Xalapa. I would know. It’s \u003ca href=\"https://www.latimes.com/food/story/2022-10-16/history-pickled-jalapenos-xalapa-veracruz-mexican-food\">my parents’ hometown\u003c/a>, where my mother and grandfather currently live. I’ve been there many times throughout my life, and have always enjoyed its quaint historical vibe with narrow cobblestone roads, orchid blooms and artistic ebullience. But I’ve never encountered Bay Area artists there, especially ones who aren’t Mexican.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So I was delighted — and surprised — when I heard that a poetry acquaintance of mine, \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13924716/nomadic-press-a-chosen-family-for-queer-and-bipoc-writers-closes-up-shop\">\u003cspan style=\"font-weight: 400\">J.K. Fowler\u003c/span>\u003c/a>, \u003cspan style=\"font-weight: 400\">had relocated from the Bay to Xalapa, a place that feels hidden, tucked in the misty mountains along Mexico’s southeastern shoreline. \u003ca href=\"https://www.kqed.org/arts/13924716/nomadic-press-a-chosen-family-for-queer-and-bipoc-writers-closes-up-shop\">Previously, Fowler operated Nomadic Press in Oakland\u003c/a>, which was known as a grassroots hub for diverse voices until it shuttered about a year ago. (Over the years, I read my work at several of their events.) \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955195","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As Fowler does, he is now working down there to connect others through his growing network of local artists — and he has a slate of Bay Area writers, muralists and multidisciplinary creators who are just beginning to enter Xalapa’s “magical portal.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On my recent trip to see family in Xalapa, I caught up with Fowler at his artist compound. “Consider it your second home,” he told me as we strolled through a wondrous garden where he hosts events.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“If you ever need chayote, you can take some from here,” he said, and I could tell he meant it.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13955343\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955343\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa7-scaled.jpg\" alt=\"a tropical garden in southern Mexico\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa7-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa7-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa7-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa7-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">One of Xalapa’s biggest attractions is the verdant greenery. Within the artist residency, there are two tropical outdoor gardens. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The thing about Fowler’s vision is that it doesn’t function like a simple Airbnb might. It’s an integrated cultural exchange, in which Fowler partners with artists from the region and fosters an international dialogue through collaborations and events.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Fowler also has a cafe, Bundo, which used to be located less than a 10 minute walk from the residency, and offered an array of beverages and snacks, specializing in oven-fired pizzas. He is currently in the process of moving the cafe inside of Huerto to give visiting artists an on-site dining option. (Xalapa has a heralded food scene, even by Mexico’s standards.) \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Huerto has high ceilings and earth tones that radiate a modern, minimalist Mexican aura. The lower portion of the living space has a total of five rooms, including a dining area, lounging spaces, an office, a bedroom and a kitchen, with Fowler’s living quarters located beyond the courtyard’s garden. While touring the spacious property, I met two local artists lounging in the outdoor patio discussing their ideas in Spanish, before switching over to English to introduce themselves to me.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13955341\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955341\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa5-scaled.jpg\" alt=\"plates of food are laid out on a wooden table\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa5-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa5-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa5-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa5-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa5-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Part of Fowler’s vision is to provide a cafe space for locals and visiting artists. At Bundo’s former location in downtown, the cafe served a variety of fresh dishes. Fowler plans to relocate Bundo. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Huerto feels fresh, and full of potential. It’s a bicultural space where artists of diverse backgrounds can intermingle and inform each other’s practices. It also offers respite and privacy for those in need of a fresh environment.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Visiting artists from Northern California include Tempestt (who recently published her debut book with City Lights), Keenan Norris (a novelist who received the 2022 Northern California Book Award), E.K. Keith (a San Francisco-based poet) and Adrian Arias (a Bay Area writer, painter and illustrator). \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13955340\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955340\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa4-scaled.jpg\" alt=\"books about Oakland art are on display at a shop in Mexico\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa4-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa4-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa4-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa4-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Fowler’s mission is to create an international exchange between artists, and he shares work from Bay Area authors and painters with local Xalapeños. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">This summer, \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13900077/ayodele-nzinga-oaklands-first-poet-laureate-is-here-for-the-people\">\u003cspan style=\"font-weight: 400\">Ayodele Nzinga\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (Oakland’s poet laureate) and \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13916674/tongo-eisen-martin-poet-laureate-parker-occupied-school-city-lights\">\u003cspan style=\"font-weight: 400\">Tongo Eisen-Martin\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (San Francisco’s poet laureate) have signed up for visits. Nzinga is planning an anthology titled \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Bridge\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, in which she will gather poems from authors based in both the Bay Area and Xalapa, culminating with a reading at Bundo.\u003c/span>\u003c/p>\n\u003cp>And it’s not only for Bay Area artists, either. Huerto is also a way-point for local Xalapeños and Mexican nationals from other parts of the country. In fact, Huerto’s inaugural resident was Javier Peñalosa\u003cem>, \u003c/em>a screenwriter and children’s book author from Mexico City. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954510","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The space is genuinely tranquil and inspiring,” Peñalosa wrote in Spanish on Huerto’s website. “It’s like an oasis in the heart of Xalapa,”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For first-timers in Xalapa — a small city that has virtually no foreigner presence, \u003ca href=\"https://www.latimes.com/food/story/2023-07-13/mexico-city-essay-daniel-hernandez\">unlike Mexico City with its influx of U.S. transplants \u003c/a>— the scenery and ambiance can overwhelm with its quiet positivity and reflective possibility.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13955338\" class=\"wp-caption alignnone\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955338\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa2-scaled.jpg\" alt=\"a quaint kitchen in Mexico \" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa2-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa2-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa2-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa2-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa2-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa2-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa2-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa2-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Huerto de Osos Perezosos offers ample living space for visiting artists, including a full kitchen that is attached to an outdoor garden. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s a certain synergy that artists can tap into in this off-the-radar destination, whose population is slightly larger than Oakland’s. Xalapa is ensconced in verdant greenery and often clouded and foggy like London, but with much warmer weather and tree-lined avenues where friendly women sell banana leaf-wrapped tamales. It’s the kind of unknown dimension that you might stumble into as a U.S. citizen and return from with an altered sense of gratitude.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My last night at Huerto, I walked out to the courtyard after dinner and stood in the lovely mist, and appreciated the way the lamplight fell over the compound walls and into the courtyard, beautifying the quiet, tropical scene,” Norris shared in a testimonial. “It really did feel like a caesura in time itself, a space to contemplate.” \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.huertodeososperezosos.org/\">\u003cspan style=\"font-weight: 400\">Huerto de Osos Perezosos\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (located in Xalapa’s historic center) is available for seven-day visits with varying price ranges. Xalapa is roughly four and a half hours from Mexico City’s easternmost airport via bus, and one hour via taxi from Veracruz’s international airport.\u003c/span>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954736/jk-fowler-heurto-osos-perezosos-xalapa-mexico-artist-residency","authors":["11748"],"categories":["arts_1"],"tags":["arts_22040","arts_7624","arts_10278","arts_14985","arts_5573","arts_17282","arts_1496","arts_2209","arts_7085"],"featImg":"arts_13955337","label":"arts"},"arts_13954709":{"type":"posts","id":"arts_13954709","meta":{"index":"posts_1716263798","site":"arts","id":"13954709","score":null,"sort":[1711478721000]},"parent":0,"labelTerm":{"site":"arts"},"blocks":[],"publishDate":1711478721,"format":"aside","title":"Alta, ‘Shameless Hussy’ and Founder of Nation's First Feminist Press, Dies at 81","headTitle":"Alta, ‘Shameless Hussy’ and Founder of Nation’s First Feminist Press, Dies at 81 | KQED","content":"\u003cfigure id=\"attachment_13954753\" class=\"wp-caption aligncenter\" style=\"max-width: 1533px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing.jpg\" alt=\"A young woman with a short bob haircut stands in a collared shirt and pants at a large metal printing press in a cluttered room.\" width=\"1533\" height=\"1920\" class=\"size-full wp-image-13954753\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing.jpg 1533w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing-800x1002.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing-1020x1277.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing-768x962.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing-1226x1536.jpg 1226w\" sizes=\"(max-width: 1533px) 100vw, 1533px\">\u003cfigcaption class=\"wp-caption-text\">Alta at her printing press, circa 1972. Founded in 1969, Shameless Hussy Press was first to publish the work of Ntozake Shange and others, and is recognized as the first feminist press in the United States. \u003ccite>(Paul Steinbrink)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alta Gerrey loved being in the thick of the conversation.\u003c/p>\n\u003cp>The award-winning poet, gallerist and people magnet — who published under a single moniker, Alta — kicked down the door to the predominately male preserve of publishing in the early 1970s. With a keen eye for talent, she ushered some of the most consequential women writers of that turbulent era onto the literary scene.\u003c/p>\n\u003cp>She died March 10 at the age of 81, at home in Oakland, after a long struggle with cancer.\u003c/p>\n\u003cfigure id=\"attachment_13954752\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown.jpg\" alt=\"\" width=\"1920\" height=\"1707\" class=\"size-full wp-image-13954752\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown-800x711.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown-1020x907.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown-160x142.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown-768x683.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown-1536x1366.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alta in the 1970s. Photographer unknown. \u003ccite>(Courtesy Kia Simon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like many women who joined the feminist movement’s second wave in the late 1960s, Alta had been active in the civil rights movement. After realizing that she and her peers couldn’t get their work published, she launched \u003ca href=\"https://library.ucsc.edu/reg-hist/alta\">the nation’s first feminist press\u003c/a> in 1969, Shameless Hussy Press.\u003c/p>\n\u003cp>The ribald name signaled both Alta’s irreverent sensibility and her openness to writers who were sidelined and ignored by mainstream publishing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I had been reading Anaïs Nin’s diaries, and I knew that she and Henry Miller had made books on a letterpress,” she told Irene Reti in an interview for an essay about Shameless Hussy Press for the UC Santa Cruz University Library, which holds the \u003ca href=\"https://oac.cdlib.org/findaid/ark:/13030/tf396nb2dv/admin/\">Shameless Hussy archives\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13954751\" class=\"wp-caption aligncenter\" style=\"max-width: 1211px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover.jpg\" alt=\"\" width=\"1211\" height=\"1920\" class=\"size-full wp-image-13954751\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover.jpg 1211w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover-800x1268.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover-1020x1617.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover-160x254.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover-768x1218.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover-969x1536.jpg 969w\" sizes=\"(max-width: 1211px) 100vw, 1211px\">\u003cfigcaption class=\"wp-caption-text\">Alta’s 1980 anthology, ‘The Shameless Hussy: Selected Stories, Essays and Poetry.’ \u003ccite>(Crossing Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shameless Hussy was the first to publish Ntozake Shange’s \u003cem>for colored girls who have considered suicide / when the rainbow is enuf\u003c/em>, which went on to become a Tony-winning Broadway play. It introduced Mitsuye Yamada, whose \u003cem>Camp Notes and Other Poems\u003c/em> were written during and after her experience in Minidoka, the internment camp in Hunt, Idaho. Shameless Hussy was also the first to publish work by Pat Parker, Susan Griffin, and Mary Mackey.\u003c/p>\n\u003cp>Mackey credits Alta with launching a career that now includes \u003cem>New York Times\u003c/em> best-selling novels and eight volumes of poetry. Even with Fred Cody serving as her agent, Mackey couldn’t find a publisher for her first novel, 1972’s \u003cem>Immersion\u003c/em>, a roman à clef about “a woman looking for her own personal and sexual liberation in the jungles of Costa Rica,” Mackey said. \u003c/p>\n\u003cp>“Alta looked at it and said, ‘I’m going to print it.’ She had the ability to look at a piece of work and not care who you knew, what class you were, or how you identified. She could see things in the work itself,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13954743\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture.jpg\" alt=\"\" width=\"1920\" height=\"1276\" class=\"size-full wp-image-13954743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture-1536x1021.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alta, holding court in 1988. \u003ccite>(Harold Parrish)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Susan Griffin was part of an Oakland women’s group with Alta and had faced multiple rejections from mainstream publishing houses when Shameless Hussy published her books \u003cem>The Sink: Six Short Stories\u003c/em> and \u003cem>dear sky\u003c/em>, a collection of poems. Part of the book deal involved working with Alta’s AB Dick 360 offset press, which she moved to San Lorenzo after receiving multiple death threats from people offended by work she had published.\u003c/p>\n\u003cp>“You would come out to San Lorenzo and help a couple of days in the printing process,” Griffin recalled. “She was a bit wacky, mostly in a great way, but sometimes not. Alta was just one of the most courageous people I knew. She was very very honest, unless she was on purpose not being honest. She would tell you about anything, say anything, or do anything she thought was right. That made her very effective regarding social change.”\u003c/p>\n\u003cp>By the mid 1970s, Alta had returned to Oakland, where she continued printing batches of groundbreaking poetry, essays and novels until 1989. The press’s biggest money maker was \u003cem>Calamity Jane’s Letters to her Daughter\u003c/em>, a collection of uncertain provenance that got increased attention in 2016 when actor Ethan Hawke listed it as one of the best books he’d recently read. (Alta quickly printed up a batch of new copies.)\u003c/p>\n\u003cfigure id=\"attachment_13954757\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane.jpg\" alt=\"\" width=\"1920\" height=\"1492\" class=\"size-full wp-image-13954757\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane-800x622.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane-1020x793.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane-768x597.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane-1536x1194.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Shameless Hussy Press titles included ‘Calamity Jane’s Letters to Her Daughter’ and Ntozake Shange’s ‘for colored girls who have considered suicide / when the rainbow is enuf.’ \u003ccite>(Shameless Hussy Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Running her own press gave Alta tremendous freedom, but it wasn’t a one-woman show.\u003c/p>\n\u003cp>“Everybody was part of the operation,” said her daughter Kia Simon, an independent video editor who sometimes works for KQED. “In elementary school we were making 10 cents an hour to fold books. It was a family business. My stepdad was pumping gas at a service station when they met, and he moved in with us. He was very focused on distribution, and the press actually paid for itself for 10 years.”\u003c/p>\n\u003cfigure id=\"attachment_13954747\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13954747\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alta in Oakland, in 2010. \u003ccite>(Kia Simon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born in 1942 in Reno, Nevada, Alta was 12 when her family moved to Berkeley so that her brother could attend the California School for the Blind. In the early 1960s, she dropped out of UC Berkeley to teach in the South. After the end of her first marriage to Danny Bosserman, she became caught up in the Bay Area’s literary ferment.\u003c/p>\n\u003cp>When her partnership with poet and noted Spanish-language translator John Oliver Simon ended in 1970, she founded a commune in Oakland for women seeking refuge from abusive relationships, which she wrote about enduring herself. Her second marriage to Daniel “Angel” Skarry in the early 1970s ended in divorce a decade later.\u003c/p>\n\u003cp>Alta’s 1980 book \u003ci>The Shameless Hussy: Selected Stories, Essays and Poetry\u003c/i> won a Before Columbus Foundation American Book Award. Other volumes include 1990’s \u003ci>Traveling Tales: Flings I’ve Flung in Foreign Parts\u003c/i> and 2015’s \u003ci>Another Moment: Living Well with a Dread Disease and Everything That Grows Can Also Shrink\u003c/i>.\u003c/p>\n\u003cfigure id=\"attachment_13954750\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024.jpg\" alt=\"\" width=\"1440\" height=\"1920\" class=\"size-full wp-image-13954750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024-1152x1536.jpg 1152w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Alta in early 2024. \u003ccite>(Pam Strayer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Always looking to stay in the mix culturally, she opened Alta Galleria in Berkeley’s Elmwood neighborhood in 2006, representing local artists and artists from China. She was forced to close the gallery due to the financial straits of the 2008 recession. \u003c/p>\n\u003cp>Misdiagnosed with multiple sclerosis, Alta spent many years studying healing and diet while contending with increasingly limited mobility. She was a regular presence in her Temescal neighborhood, hanging out for hours with other writers, academics and artists at Pizzaiolo, where she always had a copy of the \u003cem>Financial Times\u003c/em> and never seemed to pick up a check.\u003c/p>\n\u003cp>“Alta had a superpower for eating for free at restaurants,” Simon said. “There are a bunch of places where she wouldn’t get a bill, and Pizzaiolo was one of them.”\u003c/p>\n\u003cp>Alta is survived by her daughters Lorelei Bosserman of Oakland and Kia Simon of San Francisco, as well as her granddaughter Tesla Rose Moyer. A memorial will be held at noon on April 21 at Chapel of the Chimes in Oakland.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Shameless Hussy \u003c/strong>\u003c/p>\n\u003cp>\u003cem>i am one of the true hussies;\u003cbr>\ni have no shame;\u003cbr>\ni was a housewife, and\u003cbr>\nstretched from the housiness of it (hus)\u003cbr>\nand the wifiness of (wif/hus-wif) to\u003cbr>\na woman who cant bear wifedom (hussy) / i\u003cbr>\ngrew beyond the house, like alice after eating\u003cbr>\ntoo many cookies. exactly what i did; i ate\u003cbr>\ntoo many cookies; lovers, poetry, moving my\u003cbr>\nbody in a new way, an old way, the way women\u003cbr>\nlike me have always moved, largely; with great\u003cbr>\nmotions beyond our allotted sphere, with more\u003cbr>\nneed than fear, and more grace than shame.[1]\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>—By Alta\u003c/strong>\u003c/p>\n\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":1328,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":26},"modified":1712689062,"excerpt":"From her East Bay press, the poet published groundbreaking work by Ntozake Shange and others. ","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"From her East Bay press, the poet published groundbreaking work by Ntozake Shange and others. ","title":"Alta, ‘Shameless Hussy’ and Founder of Nation's First Feminist Press, Dies at 81 | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Alta, ‘Shameless Hussy’ and Founder of Nation's First Feminist Press, Dies at 81","datePublished":"2024-03-26T11:45:21-07:00","dateModified":"2024-04-09T11:57:42-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"alta-shameless-hussy-press-dies-at-81","status":"publish","templateType":"standard","excludeFromSiteSearch":"Include","featuredImageType":"standard","sticky":false,"articleAge":"0","path":"/arts/13954709/alta-shameless-hussy-press-dies-at-81","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13954753\" class=\"wp-caption aligncenter\" style=\"max-width: 1533px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing.jpg\" alt=\"A young woman with a short bob haircut stands in a collared shirt and pants at a large metal printing press in a cluttered room.\" width=\"1533\" height=\"1920\" class=\"size-full wp-image-13954753\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing.jpg 1533w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing-800x1002.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing-1020x1277.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing-768x962.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing-1226x1536.jpg 1226w\" sizes=\"(max-width: 1533px) 100vw, 1533px\">\u003cfigcaption class=\"wp-caption-text\">Alta at her printing press, circa 1972. Founded in 1969, Shameless Hussy Press was first to publish the work of Ntozake Shange and others, and is recognized as the first feminist press in the United States. \u003ccite>(Paul Steinbrink)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alta Gerrey loved being in the thick of the conversation.\u003c/p>\n\u003cp>The award-winning poet, gallerist and people magnet — who published under a single moniker, Alta — kicked down the door to the predominately male preserve of publishing in the early 1970s. With a keen eye for talent, she ushered some of the most consequential women writers of that turbulent era onto the literary scene.\u003c/p>\n\u003cp>She died March 10 at the age of 81, at home in Oakland, after a long struggle with cancer.\u003c/p>\n\u003cfigure id=\"attachment_13954752\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown.jpg\" alt=\"\" width=\"1920\" height=\"1707\" class=\"size-full wp-image-13954752\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown-800x711.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown-1020x907.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown-160x142.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown-768x683.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown-1536x1366.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alta in the 1970s. Photographer unknown. \u003ccite>(Courtesy Kia Simon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like many women who joined the feminist movement’s second wave in the late 1960s, Alta had been active in the civil rights movement. After realizing that she and her peers couldn’t get their work published, she launched \u003ca href=\"https://library.ucsc.edu/reg-hist/alta\">the nation’s first feminist press\u003c/a> in 1969, Shameless Hussy Press.\u003c/p>\n\u003cp>The ribald name signaled both Alta’s irreverent sensibility and her openness to writers who were sidelined and ignored by mainstream publishing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I had been reading Anaïs Nin’s diaries, and I knew that she and Henry Miller had made books on a letterpress,” she told Irene Reti in an interview for an essay about Shameless Hussy Press for the UC Santa Cruz University Library, which holds the \u003ca href=\"https://oac.cdlib.org/findaid/ark:/13030/tf396nb2dv/admin/\">Shameless Hussy archives\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13954751\" class=\"wp-caption aligncenter\" style=\"max-width: 1211px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover.jpg\" alt=\"\" width=\"1211\" height=\"1920\" class=\"size-full wp-image-13954751\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover.jpg 1211w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover-800x1268.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover-1020x1617.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover-160x254.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover-768x1218.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover-969x1536.jpg 969w\" sizes=\"(max-width: 1211px) 100vw, 1211px\">\u003cfigcaption class=\"wp-caption-text\">Alta’s 1980 anthology, ‘The Shameless Hussy: Selected Stories, Essays and Poetry.’ \u003ccite>(Crossing Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shameless Hussy was the first to publish Ntozake Shange’s \u003cem>for colored girls who have considered suicide / when the rainbow is enuf\u003c/em>, which went on to become a Tony-winning Broadway play. It introduced Mitsuye Yamada, whose \u003cem>Camp Notes and Other Poems\u003c/em> were written during and after her experience in Minidoka, the internment camp in Hunt, Idaho. Shameless Hussy was also the first to publish work by Pat Parker, Susan Griffin, and Mary Mackey.\u003c/p>\n\u003cp>Mackey credits Alta with launching a career that now includes \u003cem>New York Times\u003c/em> best-selling novels and eight volumes of poetry. Even with Fred Cody serving as her agent, Mackey couldn’t find a publisher for her first novel, 1972’s \u003cem>Immersion\u003c/em>, a roman à clef about “a woman looking for her own personal and sexual liberation in the jungles of Costa Rica,” Mackey said. \u003c/p>\n\u003cp>“Alta looked at it and said, ‘I’m going to print it.’ She had the ability to look at a piece of work and not care who you knew, what class you were, or how you identified. She could see things in the work itself,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13954743\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture.jpg\" alt=\"\" width=\"1920\" height=\"1276\" class=\"size-full wp-image-13954743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture-1536x1021.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alta, holding court in 1988. \u003ccite>(Harold Parrish)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Susan Griffin was part of an Oakland women’s group with Alta and had faced multiple rejections from mainstream publishing houses when Shameless Hussy published her books \u003cem>The Sink: Six Short Stories\u003c/em> and \u003cem>dear sky\u003c/em>, a collection of poems. Part of the book deal involved working with Alta’s AB Dick 360 offset press, which she moved to San Lorenzo after receiving multiple death threats from people offended by work she had published.\u003c/p>\n\u003cp>“You would come out to San Lorenzo and help a couple of days in the printing process,” Griffin recalled. “She was a bit wacky, mostly in a great way, but sometimes not. Alta was just one of the most courageous people I knew. She was very very honest, unless she was on purpose not being honest. She would tell you about anything, say anything, or do anything she thought was right. That made her very effective regarding social change.”\u003c/p>\n\u003cp>By the mid 1970s, Alta had returned to Oakland, where she continued printing batches of groundbreaking poetry, essays and novels until 1989. The press’s biggest money maker was \u003cem>Calamity Jane’s Letters to her Daughter\u003c/em>, a collection of uncertain provenance that got increased attention in 2016 when actor Ethan Hawke listed it as one of the best books he’d recently read. (Alta quickly printed up a batch of new copies.)\u003c/p>\n\u003cfigure id=\"attachment_13954757\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane.jpg\" alt=\"\" width=\"1920\" height=\"1492\" class=\"size-full wp-image-13954757\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane-800x622.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane-1020x793.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane-768x597.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane-1536x1194.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Shameless Hussy Press titles included ‘Calamity Jane’s Letters to Her Daughter’ and Ntozake Shange’s ‘for colored girls who have considered suicide / when the rainbow is enuf.’ \u003ccite>(Shameless Hussy Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Running her own press gave Alta tremendous freedom, but it wasn’t a one-woman show.\u003c/p>\n\u003cp>“Everybody was part of the operation,” said her daughter Kia Simon, an independent video editor who sometimes works for KQED. “In elementary school we were making 10 cents an hour to fold books. It was a family business. My stepdad was pumping gas at a service station when they met, and he moved in with us. He was very focused on distribution, and the press actually paid for itself for 10 years.”\u003c/p>\n\u003cfigure id=\"attachment_13954747\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13954747\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alta in Oakland, in 2010. \u003ccite>(Kia Simon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born in 1942 in Reno, Nevada, Alta was 12 when her family moved to Berkeley so that her brother could attend the California School for the Blind. In the early 1960s, she dropped out of UC Berkeley to teach in the South. After the end of her first marriage to Danny Bosserman, she became caught up in the Bay Area’s literary ferment.\u003c/p>\n\u003cp>When her partnership with poet and noted Spanish-language translator John Oliver Simon ended in 1970, she founded a commune in Oakland for women seeking refuge from abusive relationships, which she wrote about enduring herself. Her second marriage to Daniel “Angel” Skarry in the early 1970s ended in divorce a decade later.\u003c/p>\n\u003cp>Alta’s 1980 book \u003ci>The Shameless Hussy: Selected Stories, Essays and Poetry\u003c/i> won a Before Columbus Foundation American Book Award. Other volumes include 1990’s \u003ci>Traveling Tales: Flings I’ve Flung in Foreign Parts\u003c/i> and 2015’s \u003ci>Another Moment: Living Well with a Dread Disease and Everything That Grows Can Also Shrink\u003c/i>.\u003c/p>\n\u003cfigure id=\"attachment_13954750\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024.jpg\" alt=\"\" width=\"1440\" height=\"1920\" class=\"size-full wp-image-13954750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024-1152x1536.jpg 1152w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Alta in early 2024. \u003ccite>(Pam Strayer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Always looking to stay in the mix culturally, she opened Alta Galleria in Berkeley’s Elmwood neighborhood in 2006, representing local artists and artists from China. She was forced to close the gallery due to the financial straits of the 2008 recession. \u003c/p>\n\u003cp>Misdiagnosed with multiple sclerosis, Alta spent many years studying healing and diet while contending with increasingly limited mobility. She was a regular presence in her Temescal neighborhood, hanging out for hours with other writers, academics and artists at Pizzaiolo, where she always had a copy of the \u003cem>Financial Times\u003c/em> and never seemed to pick up a check.\u003c/p>\n\u003cp>“Alta had a superpower for eating for free at restaurants,” Simon said. “There are a bunch of places where she wouldn’t get a bill, and Pizzaiolo was one of them.”\u003c/p>\n\u003cp>Alta is survived by her daughters Lorelei Bosserman of Oakland and Kia Simon of San Francisco, as well as her granddaughter Tesla Rose Moyer. A memorial will be held at noon on April 21 at Chapel of the Chimes in Oakland.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Shameless Hussy \u003c/strong>\u003c/p>\n\u003cp>\u003cem>i am one of the true hussies;\u003cbr>\ni have no shame;\u003cbr>\ni was a housewife, and\u003cbr>\nstretched from the housiness of it (hus)\u003cbr>\nand the wifiness of (wif/hus-wif) to\u003cbr>\na woman who cant bear wifedom (hussy) / i\u003cbr>\ngrew beyond the house, like alice after eating\u003cbr>\ntoo many cookies. exactly what i did; i ate\u003cbr>\ntoo many cookies; lovers, poetry, moving my\u003cbr>\nbody in a new way, an old way, the way women\u003cbr>\nlike me have always moved, largely; with great\u003cbr>\nmotions beyond our allotted sphere, with more\u003cbr>\nneed than fear, and more grace than shame.[1]\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>—By Alta\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954709/alta-shameless-hussy-press-dies-at-81","authors":["86"],"categories":["arts_1","arts_73","arts_235"],"tags":["arts_1270","arts_10342","arts_10278","arts_1143","arts_1091","arts_1496","arts_22041"],"featImg":"arts_13954754","label":"arts"},"arts_13953754":{"type":"posts","id":"arts_13953754","meta":{"index":"posts_1716263798","site":"arts","id":"13953754","score":null,"sort":[1709932374000]},"parent":0,"labelTerm":{"site":"arts","term":140},"blocks":[],"publishDate":1709932374,"format":"standard","title":"3 Collections Take the Poetic Measure of America in the Aftermath of the Pandemic","headTitle":"3 Collections Take the Poetic Measure of America in the Aftermath of the Pandemic | KQED","content":"\u003cp>Every time I write a book review lately, I seem to start by saying something like this: Here are three poets responding in different ways to this deeply terrifying time, when the personal and the political are utterly inextricable and life is everywhere at stake. This review is no different.\u003c/p>\n\u003cp>In their new collections, poets Monica McClure, Rowan Ricardo Phillips, and Diane Seuss are all taking the poetic measure of America in the aftermath of the pandemic, as the whole country suffers a tremendous crisis of faith in itself. Each of them offers poetry as, if not a solution, then a kind of truth-telling companion, a mirror with a real person on both sides of it.\u003c/p>\n\u003ch3>‘The Gone Thing’\u003c/h3>\n\u003cfigure id=\"attachment_13953760\" class=\"wp-caption aligncenter\" style=\"max-width: 806px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953760\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-1.03.52-PM.png\" alt=\"A book cover featuring a vintage photo of a woman's face turned on its side.\" width=\"806\" height=\"1206\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-1.03.52-PM.png 806w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-1.03.52-PM-800x1197.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-1.03.52-PM-160x239.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-1.03.52-PM-768x1149.png 768w\" sizes=\"(max-width: 806px) 100vw, 806px\">\u003cfigcaption class=\"wp-caption-text\">‘The Gone Thing’ by Monica McClure. \u003ccite>(Winter Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Monica McClure is one of my favorite contemporary poets. \u003cem>The Gone Thing\u003c/em>, her follow-up to \u003cem>Tender Data\u003c/em>, her mind-bending 2015 debut, is powered by the tension between seemingly contrary forces: money and poverty; the too-cool-for-you world of couture fashion and utter vulnerability; art and office life; motherhood and daughterhood. It’s a book about borders — the U.S. southern border, the borders between high and low culture, between McClure’s Mexican heritage and her cosmopolitan New York life, and between humor and dire seriousness. It’s all rolled into one slippery sensibility, equal parts social critique and personal excavation.\u003c/p>\n\u003cp>[aside postid='arts_13937655']With arresting simplicity, McClure paraphrases the basic message the United States has for immigrants: “It’s a crime to be born poor/ It’s treason to stay that way.” This double bind is presented in countless ways throughout the poems. “Nothing shocks me,” writes McClure in “Serving Many Masters,” a poem that tallies the costs of success in a society bent on keeping the poor poor and powerless: “Don’t get up if you’re not/ Ready to crawl.”\u003c/p>\n\u003cp>The poems also hint that a baby is on the horizon, and McClure tries to envision how to safely bring a child into such a fallen world, where “at best, I can do an interpretation of justice/ And hope it doesn’t go up in smoke.” How can one explain post-Trump America to a child who “will live/ Where people who are better than me/ Had their babies wrenched from their arms/ Scattered to the winds”?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>McClure’s means of facing this entrapment is to reclaim the language, to ice it with biting humor, and to use it against itself, to defy categories, to be more than one thing at once: “You’re an earner/ as well as a mother You’re a midwife to conversations.,” she writes in the long title poem, which closes the book. We are in desperate need of those conversations — perhaps they’ll start here.\u003c/p>\n\u003ch3>‘Modern Poetry: Poems’\u003c/h3>\n\u003cfigure id=\"attachment_13953759\" class=\"wp-caption aligncenter\" style=\"max-width: 844px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953759\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-1.01.08-PM.png\" alt=\"A book cover depicting a close up on a woman's face, shoulder and hand.\" width=\"844\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-1.01.08-PM.png 844w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-1.01.08-PM-800x1149.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-1.01.08-PM-160x230.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-1.01.08-PM-768x1103.png 768w\" sizes=\"(max-width: 844px) 100vw, 844px\">\u003cfigcaption class=\"wp-caption-text\">‘Modern Poetry: Poems’ by Diane Seuss. \u003ccite>(Graywolf Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The danger/ of memory is going/ to it for respite,” writes Diana Seuss in “Weeds,” the best poem in her first collection following the Pulitzer-winning \u003cem>Frank\u003c/em>. On page after page, she asks: How can we bear to live in the present, given what a mess it is, but also avoid living in memory, which, she says, is a trap? Seuss, too, comes to poetry as a means of survival, though, for her, even retreating into poetry risks painting things with a false glimmer: “What luxury to think of milkweed cars/ and cookie jars and turning lights on in the dark.”\u003c/p>\n\u003cp>These extemporaneous poems reckon with the past, have their say, almost lightheartedly romping through meditations on whatever she feels like thinking about, often poetry and The Great Poets of the past (Gerard Manley Hopkins, Wallace Stevens, Theodore Roethke), but also the pandemic, love, and all the suffering that comes with it.\u003c/p>\n\u003cp>[aside postid='arts_13952372']In what amounts to a book-length origin story, Seuss explains how she became a poet, finding, if not beauty, then at least a sense of mission in repurposing the ugliness she encounters: “I could find some things repulsive and still/ require them for my project. My project/ was my life.” She takes us on a tour of “the desolate town where I was raised,” and where she became familiar with “that icky-sweet smell of a dead mouse in the wall.”\u003c/p>\n\u003cp>Like an off-beat Virgil, she tosses off gems of odd aphoristic wisdom (“Every town has a two-headed something”) and makes poetry more accessible by mixing in a bit of pop culture: “Keats made such a compact corpse/ Only five feet tall, shorter than Prince.” Finally, she wonders whether poetry is mostly a home for misfits: “What did modern poetry really mean? Maybe/ just fucked up.”\u003c/p>\n\u003cp>I am a late convert to the cult of Seuss, but came around forcefully to \u003cem>Frank\u003c/em> and the many ways it finds to explode the sonnet form while also taking advantage of its tradition and its argumentative powers. \u003cem>Modern Poetry\u003c/em> lacks the rigor of that book, as if to say it’s simply foolish to try to tame all this pain. I do think the box of the sonnet did something useful for Seuss’s poetry, organizing her improvisations. I miss that rigor, but maybe disorder is part of the message: “A cobbled mind,” she notes, “is not fatal.”\u003c/p>\n\u003ch3>‘Silver’\u003c/h3>\n\u003cfigure id=\"attachment_13953758\" class=\"wp-caption aligncenter\" style=\"max-width: 824px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953758\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-12.58.03-PM.png\" alt=\"A book cover depicting a dark night with tiny stars.\" width=\"824\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-12.58.03-PM.png 824w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-12.58.03-PM-800x1179.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-12.58.03-PM-160x236.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-12.58.03-PM-768x1131.png 768w\" sizes=\"(max-width: 824px) 100vw, 824px\">\u003cfigcaption class=\"wp-caption-text\">‘Silver’ by Rowan Ricardo Phillips. \u003ccite>(Farrar, Straus and Giroux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“No one is ever alone with their thoughts,” writes Rowan Ricardo Phillips in his fourth collection. To meet an increasingly isolating and terrifying era, Phillips retrenches in poetry, which, he claims, can be found everywhere. “The imagination hides in plain sight.” Poetry stands by us, ready, Phillips seems to say, to console us with the truth, whether or not we want to hear it.\u003c/p>\n\u003cp>Only poetry, Phillips suggests, can express the horrendous illogic of our moment, which may be “like real flowers in a field/ Of memes or a meme in a filed of real/ Flowers.” And when it fails as a stay against confusion, poetry holds our grief, stores the unresolved: “George Floyd’s face floats slightly out of focus/…/ Remember the heat,/ how it burns the back/ Of the throat as night screams his name through the flames.”\u003c/p>\n\u003cp>Of course, Phillips is not saying that everyone must become a poet in order to manage the hell of 2024. Poetry is, of course, a metaphor for a more creative, nuanced form of engagement — for the conversations all three of these poets are midwifing.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Craig Morgan Teicher is the author of several books, including \u003c/em>The Trembling Answers\u003cem>, which won the 2018 Lenore Marshall Poetry Prize from the Academy of American Poets, and the essay collection \u003c/em>We Begin in Gladness: How Poets Progress\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=3+collections+take+the+poetic+measure+of+America+in+the+aftermath+of+the+pandemic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":1198,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":17},"modified":1709932374,"excerpt":"New collections ‘The Gone Thing,’ ‘Silver’ and ‘Modern Poetry’ each offer a mirror with a real person on both sides of it.","headData":{"twImgId":"","twTitle":"3 Collections Take the Poetic Measure of America in the Aftermath of the Pandemic","socialTitle":"Best New Poetry Collections for Early 2024 %%page%% %%sep%% KQED","ogTitle":"3 Collections Take the Poetic Measure of America in the Aftermath of the Pandemic","ogImgId":"","twDescription":"","description":"New collections ‘The Gone Thing,’ ‘Silver’ and ‘Modern Poetry’ each offer a mirror with a real person on both sides of it.","title":"Best New Poetry Collections for Early 2024 | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"3 Collections Take the Poetic Measure of America in the Aftermath of the Pandemic","datePublished":"2024-03-08T13:12:54-08:00","dateModified":"2024-03-08T13:12:54-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"new-poetry-collections-silver-modern-gone-thing-mcclure-seuss-phillips","status":"publish","nprApiLink":"http://api.npr.org/query?id=1234472527&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","templateType":"standard","nprStoryDate":"Thu, 07 Mar 2024 13:21:00 -0500","excludeFromSiteSearch":"Include","nprLastModifiedDate":"Thu, 07 Mar 2024 13:57:26 -0500","featuredImageType":"standard","nprHtmlLink":"https://www.npr.org/2024/03/07/1234472527/poetry-monica-mcclure-gone-thing-rowan-ricardo-phillips-silver-diane-seuss?ft=nprml&f=1234472527","nprImageAgency":"NPR","nprStoryId":"1234472527","nprByline":"Craig Morgan Teicher","sticky":false,"showOnAuthorArchivePages":"No","articleAge":"0","nprRetrievedStory":"1","nprPubDate":"Thu, 07 Mar 2024 13:57:00 -0500","path":"/arts/13953754/new-poetry-collections-silver-modern-gone-thing-mcclure-seuss-phillips","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every time I write a book review lately, I seem to start by saying something like this: Here are three poets responding in different ways to this deeply terrifying time, when the personal and the political are utterly inextricable and life is everywhere at stake. This review is no different.\u003c/p>\n\u003cp>In their new collections, poets Monica McClure, Rowan Ricardo Phillips, and Diane Seuss are all taking the poetic measure of America in the aftermath of the pandemic, as the whole country suffers a tremendous crisis of faith in itself. Each of them offers poetry as, if not a solution, then a kind of truth-telling companion, a mirror with a real person on both sides of it.\u003c/p>\n\u003ch3>‘The Gone Thing’\u003c/h3>\n\u003cfigure id=\"attachment_13953760\" class=\"wp-caption aligncenter\" style=\"max-width: 806px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953760\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-1.03.52-PM.png\" alt=\"A book cover featuring a vintage photo of a woman's face turned on its side.\" width=\"806\" height=\"1206\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-1.03.52-PM.png 806w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-1.03.52-PM-800x1197.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-1.03.52-PM-160x239.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-1.03.52-PM-768x1149.png 768w\" sizes=\"(max-width: 806px) 100vw, 806px\">\u003cfigcaption class=\"wp-caption-text\">‘The Gone Thing’ by Monica McClure. \u003ccite>(Winter Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Monica McClure is one of my favorite contemporary poets. \u003cem>The Gone Thing\u003c/em>, her follow-up to \u003cem>Tender Data\u003c/em>, her mind-bending 2015 debut, is powered by the tension between seemingly contrary forces: money and poverty; the too-cool-for-you world of couture fashion and utter vulnerability; art and office life; motherhood and daughterhood. It’s a book about borders — the U.S. southern border, the borders between high and low culture, between McClure’s Mexican heritage and her cosmopolitan New York life, and between humor and dire seriousness. It’s all rolled into one slippery sensibility, equal parts social critique and personal excavation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13937655","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>With arresting simplicity, McClure paraphrases the basic message the United States has for immigrants: “It’s a crime to be born poor/ It’s treason to stay that way.” This double bind is presented in countless ways throughout the poems. “Nothing shocks me,” writes McClure in “Serving Many Masters,” a poem that tallies the costs of success in a society bent on keeping the poor poor and powerless: “Don’t get up if you’re not/ Ready to crawl.”\u003c/p>\n\u003cp>The poems also hint that a baby is on the horizon, and McClure tries to envision how to safely bring a child into such a fallen world, where “at best, I can do an interpretation of justice/ And hope it doesn’t go up in smoke.” How can one explain post-Trump America to a child who “will live/ Where people who are better than me/ Had their babies wrenched from their arms/ Scattered to the winds”?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>McClure’s means of facing this entrapment is to reclaim the language, to ice it with biting humor, and to use it against itself, to defy categories, to be more than one thing at once: “You’re an earner/ as well as a mother You’re a midwife to conversations.,” she writes in the long title poem, which closes the book. We are in desperate need of those conversations — perhaps they’ll start here.\u003c/p>\n\u003ch3>‘Modern Poetry: Poems’\u003c/h3>\n\u003cfigure id=\"attachment_13953759\" class=\"wp-caption aligncenter\" style=\"max-width: 844px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953759\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-1.01.08-PM.png\" alt=\"A book cover depicting a close up on a woman's face, shoulder and hand.\" width=\"844\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-1.01.08-PM.png 844w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-1.01.08-PM-800x1149.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-1.01.08-PM-160x230.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-1.01.08-PM-768x1103.png 768w\" sizes=\"(max-width: 844px) 100vw, 844px\">\u003cfigcaption class=\"wp-caption-text\">‘Modern Poetry: Poems’ by Diane Seuss. \u003ccite>(Graywolf Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The danger/ of memory is going/ to it for respite,” writes Diana Seuss in “Weeds,” the best poem in her first collection following the Pulitzer-winning \u003cem>Frank\u003c/em>. On page after page, she asks: How can we bear to live in the present, given what a mess it is, but also avoid living in memory, which, she says, is a trap? Seuss, too, comes to poetry as a means of survival, though, for her, even retreating into poetry risks painting things with a false glimmer: “What luxury to think of milkweed cars/ and cookie jars and turning lights on in the dark.”\u003c/p>\n\u003cp>These extemporaneous poems reckon with the past, have their say, almost lightheartedly romping through meditations on whatever she feels like thinking about, often poetry and The Great Poets of the past (Gerard Manley Hopkins, Wallace Stevens, Theodore Roethke), but also the pandemic, love, and all the suffering that comes with it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13952372","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>In what amounts to a book-length origin story, Seuss explains how she became a poet, finding, if not beauty, then at least a sense of mission in repurposing the ugliness she encounters: “I could find some things repulsive and still/ require them for my project. My project/ was my life.” She takes us on a tour of “the desolate town where I was raised,” and where she became familiar with “that icky-sweet smell of a dead mouse in the wall.”\u003c/p>\n\u003cp>Like an off-beat Virgil, she tosses off gems of odd aphoristic wisdom (“Every town has a two-headed something”) and makes poetry more accessible by mixing in a bit of pop culture: “Keats made such a compact corpse/ Only five feet tall, shorter than Prince.” Finally, she wonders whether poetry is mostly a home for misfits: “What did modern poetry really mean? Maybe/ just fucked up.”\u003c/p>\n\u003cp>I am a late convert to the cult of Seuss, but came around forcefully to \u003cem>Frank\u003c/em> and the many ways it finds to explode the sonnet form while also taking advantage of its tradition and its argumentative powers. \u003cem>Modern Poetry\u003c/em> lacks the rigor of that book, as if to say it’s simply foolish to try to tame all this pain. I do think the box of the sonnet did something useful for Seuss’s poetry, organizing her improvisations. I miss that rigor, but maybe disorder is part of the message: “A cobbled mind,” she notes, “is not fatal.”\u003c/p>\n\u003ch3>‘Silver’\u003c/h3>\n\u003cfigure id=\"attachment_13953758\" class=\"wp-caption aligncenter\" style=\"max-width: 824px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953758\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-12.58.03-PM.png\" alt=\"A book cover depicting a dark night with tiny stars.\" width=\"824\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-12.58.03-PM.png 824w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-12.58.03-PM-800x1179.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-12.58.03-PM-160x236.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-12.58.03-PM-768x1131.png 768w\" sizes=\"(max-width: 824px) 100vw, 824px\">\u003cfigcaption class=\"wp-caption-text\">‘Silver’ by Rowan Ricardo Phillips. \u003ccite>(Farrar, Straus and Giroux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“No one is ever alone with their thoughts,” writes Rowan Ricardo Phillips in his fourth collection. To meet an increasingly isolating and terrifying era, Phillips retrenches in poetry, which, he claims, can be found everywhere. “The imagination hides in plain sight.” Poetry stands by us, ready, Phillips seems to say, to console us with the truth, whether or not we want to hear it.\u003c/p>\n\u003cp>Only poetry, Phillips suggests, can express the horrendous illogic of our moment, which may be “like real flowers in a field/ Of memes or a meme in a filed of real/ Flowers.” And when it fails as a stay against confusion, poetry holds our grief, stores the unresolved: “George Floyd’s face floats slightly out of focus/…/ Remember the heat,/ how it burns the back/ Of the throat as night screams his name through the flames.”\u003c/p>\n\u003cp>Of course, Phillips is not saying that everyone must become a poet in order to manage the hell of 2024. Poetry is, of course, a metaphor for a more creative, nuanced form of engagement — for the conversations all three of these poets are midwifing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Craig Morgan Teicher is the author of several books, including \u003c/em>The Trembling Answers\u003cem>, which won the 2018 Lenore Marshall Poetry Prize from the Academy of American Poets, and the essay collection \u003c/em>We Begin in Gladness: How Poets Progress\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=3+collections+take+the+poetic+measure+of+America+in+the+aftermath+of+the+pandemic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13953754/new-poetry-collections-silver-modern-gone-thing-mcclure-seuss-phillips","authors":["byline_arts_13953754"],"programs":["arts_140"],"categories":["arts_1","arts_73"],"tags":["arts_1496","arts_769","arts_585"],"affiliates":["arts_137"],"featImg":"arts_13953755","label":"arts_140"},"arts_13952372":{"type":"posts","id":"arts_13952372","meta":{"index":"posts_1716263798","site":"arts","id":"13952372","score":null,"sort":[1708035796000]},"guestAuthors":[],"slug":"aja-monet-poetry-interview-noise-pop-san-francisco","title":"How the Struggle for Liberation Made aja monet Into a Poet","publishDate":1708035796,"format":"standard","headTitle":"How the Struggle for Liberation Made aja monet Into a Poet | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>In an age of information overload and doom scrolling, poetry is essential. A good poem can cut to the core of an issue more immediately than an entire tome of research. It can jolt you awake, stir you to action or whisk you into a dream space in which you completely reimagine your life and its possibilities.\u003c/p>\n\u003cp>In her work, \u003ca href=\"https://ajamonet.com/\">aja monet\u003c/a> accomplishes all of the above. The New York-raised, L.A.-based writer and performer calls herself a “surrealist blues poet.” Her Grammy-nominated 2023 album \u003ci>when the poems do what they do\u003c/i> pairs her words — alternately searing, comforting, grief-stricken or romantic — with jazz grounded in Afro-Caribbean rhythms. (Keyboard and flute stylings by Berkeley-raised siblings \u003ca href=\"https://www.kqed.org/arts/13911226/samora-pinderhughes-ybca-the-healing-project\">Samora\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13931138/liner-notes-flutist-and-vocalist-elena-pinderhughes-is-limitless\">Elena Pinderhughes\u003c/a> add to the record’s dynamic emotional landscape.)\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3097307146/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>monet’s years of community organizing inform her heart-swelling invocations of love and gut-wrenching reflections on violence inflicted upon Black Americans. She spent years in Florida working with \u003ca href=\"https://www.dreamdefenders.org/\">Dream Defenders\u003c/a>, a prison abolitionist organization formed after the killing of Trayvon Martin, and the \u003ca href=\"https://communityjusticeproject.com/\">Community Justice Project\u003c/a>, which offers free legal aid in Miami. When her star as a poet began to rise after winning the Nuyorican Poets Cafe Grand Slam competition in 2007, monet had already spent years immersed in work instead of chasing accolades. Her numerous poetry books and debut album alike blossomed out of the movement.\u003c/p>\n\u003cp>In addition to fighting for racial justice, monet has long been an advocate for Palestinian liberation, using her words to draw throughlines between human rights struggles around the globe. Most recently, she authored the foreword to \u003ca href=\"https://www.haymarketbooks.org/books/1744-rifqa\">\u003ci>Rifqa\u003c/i>\u003c/a>, the debut poetry collection by Palestinian writer, activist and \u003ca href=\"https://www.thenation.com/authors/mohammed-el-kurd/\">\u003ci>The Nation\u003c/i>\u003c/a> correspondent \u003ca href=\"https://www.mohammedelkurd.com/\">Muhammed El-Kurd\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After sharing potent renditions of her poems on NPR’s Tiny Desk Concert last year, monet and her band make their San Francisco debut at the \u003ca href=\"http://events.noisepop.com/events/2024/2/29/aja-monet-tickets\">Swedish American Hall as part of Noise Pop\u003c/a> on Feb. 29. Ahead of the show, I spoke with her about writing for liberation, her growing platform and how her work resonates with the Bay’s deep legacy of revolutionary organizing.\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13952375\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952375\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1407618974.jpg\" alt=\"A poet recites on stage with a keyboard player in the background.\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1407618974.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1407618974-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1407618974-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1407618974-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1407618974-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">aja monet performs during 2022 BRIC celebrate Brooklyn at Lena Horne Bandshell at Prospect Park on July 08, 2022 in New York City. \u003ccite>(Jason Mendez/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Nastia Voynovskaya: \u003c/b>I’m excited that Noise Pop will be your first time performing in San Francisco. You’ve cited [Black Arts Movement co-founder and former San Francisco State University professor] Amiri Baraka and [\u003ci>for colored girls who have considered suicide\u003c/i> playwright] Ntozake Shange as influences, both of whom had a huge impact here in the Bay Area. What excites you about performing in the Bay Area in particular?\u003c/p>\n\u003cp>\u003cb>aja monet:\u003c/b> I think about the cultural legacy of what the Bay Area has created, in terms of people who have made an incredible impact, in this country and in the world. There’s the cultural work, but then there’s the organizing work that has made a huge impact on our movement and the ways that we approach ideas about social justice and freedom.\u003c/p>\n\u003cp>The Bay has a lot of significance to me. It was one of the first places I traveled on my own for a poetry competition when I was about 17 for Brave New Voices, which was hosted by Youth Speaks. Some of my best friends that I adore are from the Bay, and some of my favorite poets are from the Bay.\u003c/p>\n\u003cp>\u003cb>When you mention your favorite poets from the Bay, who comes to mind? \u003c/b>[aside postid='arts_13916674']\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/tongo-eisen-martin\">Tongo Eisen-Martin\u003c/a>, \u003ca href=\"https://www.instagram.com/chinakahodge/\">Chinaka Hodge\u003c/a>. \u003ca href=\"https://mobrowne.com/index.html\">Mahogany Browne\u003c/a> is originally from the Bay. June Jordan isn’t from the Bay, but she spent some time at Berkeley, and one of the most influential programs that she implemented has been a guiding light and force for me as an educator, as an organizer and a facilitator. So thinking about the revolutionary blueprint of \u003ca href=\"https://africam.berkeley.edu/poetry-for-the-people/\">Poetry for the People\u003c/a> and what she was able to implement at UC Berkeley.\u003c/p>\n\u003cp>\u003cb>You’ve been an organizer for years. Whether it’s Black liberation or Palestinian liberation, these are long, multi-generational fights. How does poetry help fuel and sustain these movements for the long haul?\u003c/b>\u003c/p>\n\u003cp>I don’t want to make blanket statements about poetry because not all poets are effective in this way. Certain poets have reflected establishment values and have been very focused on an objective that is rooted in accolades and awards.\u003c/p>\n\u003cp>Then there are poets who understand poetry as the function of the people’s heart and spirit and truth. Poetry, to me, is more of an approach. It’s a way of being in the world. When I think about that, I think about poetry as the measure of one’s true devotion to their craft. And so when I say someone dances like a poet, or someone sings like a poet, or someone plays an instrument like a poet, what I’m saying is they have a very different sort of profound orientation toward their gift. It’s taking it to an elevated dimension, and it’s bringing it new meaning and depth. And so I think poetry is really like a possessive, obsessive sort of devotion that transcends into a deeper sort of core truth that is really resonant to the spirit. [pullquote citation='aja monet' size='large']‘I don’t think poets create movements; I think movements create poets.’[/pullquote]\u003c/p>\n\u003cp>It’s no longer just a surface-level approach to an idea or a deep emotion that we all struggle with as humans, whether that be love or anger or war, frustration or death. It’s really delving into why, how, who, what’s the meaning behind that happening. And I think that when you can harness that sort of depth, it automatically elevates the consciousness of the people and the value system and the North Star — the thing that one ends up working towards.\u003c/p>\n\u003cp>So movements are incredibly powerful for the poets that are created through them. I don’t think poets create movements; I think movements create poets. When one is really accessing that real, urgent depth, then I think that all of us are transformed by that pursuit. It’s delving into the interior landscape, which is what we usually say is ultimately the final frontier of our freedom movements.\u003c/p>\n\u003cp>https://youtu.be/_Y-X9CpSiQ0?si=R1gqf8oBAoH8GSps\u003c/p>\n\u003cp>\u003cb>Live music is a big component of your work. Why is that important to you, and how does it change how the audience might receive your words?\u003c/b>\u003c/p>\n\u003cp>I’ve always seen myself as a sort of word musician. Finding musicians who hope to elevate what you’re doing, to be in conversation with you — I mean, that’s ultimately the dream, because being a poet on a stage by yourself is pretty lonely. The co-creative part of being with the band is what excites me, and it allows me to be less in my head and more playful. You feel more protected. You’re on a battlefield with others, with fellow soldiers that are trying to struggle with ideas and cultural norms and push against structures that have kept us from really expressing ourselves with authenticity.\u003c/p>\n\u003cp>Ultimately on the stage, it’s one of the few places where Black people are able to express the full range of one’s emotions without the threat of death. One can be utterly angry, upset, crazed, even ecstatic, enthused, joyful. The range of our full humanity is safe when it’s seen as a performance. But what we do is — we ultimately know we’re doing ceremony. We’re doing spirit work. And I think somehow the stage protects that work. What the West has made into a consumer capitalist venture, it ultimately is really just ceremony, displaced.\u003c/p>\n\u003cfigure id=\"attachment_13952374\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952374\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1988922565.jpg\" alt=\"A woman poses on the red carpet.\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1988922565.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1988922565-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1988922565-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1988922565-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1988922565-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">aja monet attends the 66th GRAMMY Awards at Crypto.com Arena on February 04, 2024 in Los Angeles, California. \u003ccite>(Jeff Kravitz/FilmMagic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb> Powerfully said. With your recent Grammy nomination, you’re getting recognized on a much larger platform. How does it feel getting validation from the entertainment industry?\u003c/b>\u003c/p>\n\u003cp>I don’t know if I’ve necessarily been acknowledged by the establishment quite yet. For me, the most meaningful thing about the nomination was people being excited about the work. Ultimately it takes people to say, “Nah, yo, whether they give this record an award or not … I’m going to support it because I know that it’s actually a quality thing done with intention, done with skill, with artistry, with creativity, with innovation, with spirit, with soul, with Black people in mind” — whatever it is that your metrics are.\u003c/p>\n\u003cp>We have to have some sort of, what are we measuring our worth towards? Who determines our value? And to me, it’ll always be the people. So that’s why I keep trying to remind folks, you know, when you like something, when you love something, when something really resonates with you, support it in every way, shape or form. We usually wait until we’re dead and gone to get our flowers. That’s kind of the expectation of poets, at least. Any opportunity as a living poet to be able to be appreciated and valued, I will never take for granted, ever.\u003c/p>\n\u003cp>If I could give awards to Sekou Sindiata, Amiri Baraka, June Jordan, I would give them all the awards they deserved and never got. As Black folks, as people of this time who care about the heart, the spirit, the soul, integrity, we have to not wait until people are dead and gone to acknowledge the impact of the work, and we must find ways to celebrate the things we love that don’t have us searching outside of ourselves for validation.\u003c/p>\n\u003cp>\u003cb>Well said. Now that you have more people’s attention, how do you want to use this moment?\u003c/b>\u003c/p>\n\u003cp>There are myriad issues that we are facing as humans in this time, in this life. And if I’m obedient to the gifts, if I’m obedient to the calling, then the work will do what it needs to do for this time.\u003c/p>\n\u003cp>That’s the way I have been orienting myself. Before, I used to think, “Well, I gotta speak to this. I gotta touch on this.” I think poetry in and of itself and how one moves, how one thinks and how one loves and how one relates — that’s how you show your values, and that’s how you show the concerns of the time. [aside postid='arts_13937865']\u003c/p>\n\u003cp>And so I’m not concerned with Palestine because it’s popular and everybody’s talking about it right now, and now people see, “Oh wow, it’s a genocide.” I’m concerned with Palestine because I have relationships with people who are Palestinian, who have changed my life. I’m concerned with Palestine because it affects my day-to-day life. You know what I mean? I’m concerned with the Congo because I have relationships with people that have impacted my life, and I know how this impacts the day-to-day of their lives.\u003c/p>\n\u003cp>So it’s not so much of like, “OK, well now I have attention. So let me bring everybody to this thing.” It’s just, how do you remain steadfast, consistent and of service to one’s calling and gift and be truthful to that and sincere to that? And hopefully, the truth will rise. The meat of it, the heart of it, the spirit and the musicality of it will reflect the best of who you are and what you’re trying to struggle with and the ideas you’re working through.\u003c/p>\n\u003cp>So I think it’ll change. I think I just want to continue to be able to create and to be provided the resources, the access, the ability to reach the people that I care about. So long as I’m here, let me just continue. I want to continue to do what I’m here to do.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>aja monet performs Thursday, Feb. 29, at the Swedish American Hall in San Francisco as part of Noise Pop. \u003ca href=\"http://events.noisepop.com/events/2024/2/29/aja-monet-tickets\">Tickets and details here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Ahead of her SF debut at Noise Pop, the organizer and Grammy-nominated poet talks politics, Palestine and process. ","status":"publish","parent":0,"modified":1726700552,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":true,"iframeSrcs":["https://bandcamp.com/EmbeddedPlayer/album=3097307146/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":34,"wordCount":2125},"headData":{"title":"How the Struggle for Liberation Made aja monet Into a Poet | KQED","description":"Ahead of her SF debut at Noise Pop, the organizer and Grammy-nominated poet talks politics, Palestine and process. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"How the Struggle for Liberation Made aja monet Into a Poet","datePublished":"2024-02-15T14:23:16-08:00","dateModified":"2024-09-18T16:02:32-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13952372/aja-monet-poetry-interview-noise-pop-san-francisco","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In an age of information overload and doom scrolling, poetry is essential. A good poem can cut to the core of an issue more immediately than an entire tome of research. It can jolt you awake, stir you to action or whisk you into a dream space in which you completely reimagine your life and its possibilities.\u003c/p>\n\u003cp>In her work, \u003ca href=\"https://ajamonet.com/\">aja monet\u003c/a> accomplishes all of the above. The New York-raised, L.A.-based writer and performer calls herself a “surrealist blues poet.” Her Grammy-nominated 2023 album \u003ci>when the poems do what they do\u003c/i> pairs her words — alternately searing, comforting, grief-stricken or romantic — with jazz grounded in Afro-Caribbean rhythms. (Keyboard and flute stylings by Berkeley-raised siblings \u003ca href=\"https://www.kqed.org/arts/13911226/samora-pinderhughes-ybca-the-healing-project\">Samora\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13931138/liner-notes-flutist-and-vocalist-elena-pinderhughes-is-limitless\">Elena Pinderhughes\u003c/a> add to the record’s dynamic emotional landscape.)\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3097307146/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>monet’s years of community organizing inform her heart-swelling invocations of love and gut-wrenching reflections on violence inflicted upon Black Americans. She spent years in Florida working with \u003ca href=\"https://www.dreamdefenders.org/\">Dream Defenders\u003c/a>, a prison abolitionist organization formed after the killing of Trayvon Martin, and the \u003ca href=\"https://communityjusticeproject.com/\">Community Justice Project\u003c/a>, which offers free legal aid in Miami. When her star as a poet began to rise after winning the Nuyorican Poets Cafe Grand Slam competition in 2007, monet had already spent years immersed in work instead of chasing accolades. Her numerous poetry books and debut album alike blossomed out of the movement.\u003c/p>\n\u003cp>In addition to fighting for racial justice, monet has long been an advocate for Palestinian liberation, using her words to draw throughlines between human rights struggles around the globe. Most recently, she authored the foreword to \u003ca href=\"https://www.haymarketbooks.org/books/1744-rifqa\">\u003ci>Rifqa\u003c/i>\u003c/a>, the debut poetry collection by Palestinian writer, activist and \u003ca href=\"https://www.thenation.com/authors/mohammed-el-kurd/\">\u003ci>The Nation\u003c/i>\u003c/a> correspondent \u003ca href=\"https://www.mohammedelkurd.com/\">Muhammed El-Kurd\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After sharing potent renditions of her poems on NPR’s Tiny Desk Concert last year, monet and her band make their San Francisco debut at the \u003ca href=\"http://events.noisepop.com/events/2024/2/29/aja-monet-tickets\">Swedish American Hall as part of Noise Pop\u003c/a> on Feb. 29. Ahead of the show, I spoke with her about writing for liberation, her growing platform and how her work resonates with the Bay’s deep legacy of revolutionary organizing.\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13952375\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952375\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1407618974.jpg\" alt=\"A poet recites on stage with a keyboard player in the background.\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1407618974.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1407618974-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1407618974-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1407618974-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1407618974-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">aja monet performs during 2022 BRIC celebrate Brooklyn at Lena Horne Bandshell at Prospect Park on July 08, 2022 in New York City. \u003ccite>(Jason Mendez/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Nastia Voynovskaya: \u003c/b>I’m excited that Noise Pop will be your first time performing in San Francisco. You’ve cited [Black Arts Movement co-founder and former San Francisco State University professor] Amiri Baraka and [\u003ci>for colored girls who have considered suicide\u003c/i> playwright] Ntozake Shange as influences, both of whom had a huge impact here in the Bay Area. What excites you about performing in the Bay Area in particular?\u003c/p>\n\u003cp>\u003cb>aja monet:\u003c/b> I think about the cultural legacy of what the Bay Area has created, in terms of people who have made an incredible impact, in this country and in the world. There’s the cultural work, but then there’s the organizing work that has made a huge impact on our movement and the ways that we approach ideas about social justice and freedom.\u003c/p>\n\u003cp>The Bay has a lot of significance to me. It was one of the first places I traveled on my own for a poetry competition when I was about 17 for Brave New Voices, which was hosted by Youth Speaks. Some of my best friends that I adore are from the Bay, and some of my favorite poets are from the Bay.\u003c/p>\n\u003cp>\u003cb>When you mention your favorite poets from the Bay, who comes to mind? \u003c/b>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13916674","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/tongo-eisen-martin\">Tongo Eisen-Martin\u003c/a>, \u003ca href=\"https://www.instagram.com/chinakahodge/\">Chinaka Hodge\u003c/a>. \u003ca href=\"https://mobrowne.com/index.html\">Mahogany Browne\u003c/a> is originally from the Bay. June Jordan isn’t from the Bay, but she spent some time at Berkeley, and one of the most influential programs that she implemented has been a guiding light and force for me as an educator, as an organizer and a facilitator. So thinking about the revolutionary blueprint of \u003ca href=\"https://africam.berkeley.edu/poetry-for-the-people/\">Poetry for the People\u003c/a> and what she was able to implement at UC Berkeley.\u003c/p>\n\u003cp>\u003cb>You’ve been an organizer for years. Whether it’s Black liberation or Palestinian liberation, these are long, multi-generational fights. How does poetry help fuel and sustain these movements for the long haul?\u003c/b>\u003c/p>\n\u003cp>I don’t want to make blanket statements about poetry because not all poets are effective in this way. Certain poets have reflected establishment values and have been very focused on an objective that is rooted in accolades and awards.\u003c/p>\n\u003cp>Then there are poets who understand poetry as the function of the people’s heart and spirit and truth. Poetry, to me, is more of an approach. It’s a way of being in the world. When I think about that, I think about poetry as the measure of one’s true devotion to their craft. And so when I say someone dances like a poet, or someone sings like a poet, or someone plays an instrument like a poet, what I’m saying is they have a very different sort of profound orientation toward their gift. It’s taking it to an elevated dimension, and it’s bringing it new meaning and depth. And so I think poetry is really like a possessive, obsessive sort of devotion that transcends into a deeper sort of core truth that is really resonant to the spirit. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘I don’t think poets create movements; I think movements create poets.’","name":"pullquote","attributes":{"named":{"citation":"aja monet","size":"large","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s no longer just a surface-level approach to an idea or a deep emotion that we all struggle with as humans, whether that be love or anger or war, frustration or death. It’s really delving into why, how, who, what’s the meaning behind that happening. And I think that when you can harness that sort of depth, it automatically elevates the consciousness of the people and the value system and the North Star — the thing that one ends up working towards.\u003c/p>\n\u003cp>So movements are incredibly powerful for the poets that are created through them. I don’t think poets create movements; I think movements create poets. When one is really accessing that real, urgent depth, then I think that all of us are transformed by that pursuit. It’s delving into the interior landscape, which is what we usually say is ultimately the final frontier of our freedom movements.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/_Y-X9CpSiQ0'\n title='//www.youtube.com/embed/_Y-X9CpSiQ0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>Live music is a big component of your work. Why is that important to you, and how does it change how the audience might receive your words?\u003c/b>\u003c/p>\n\u003cp>I’ve always seen myself as a sort of word musician. Finding musicians who hope to elevate what you’re doing, to be in conversation with you — I mean, that’s ultimately the dream, because being a poet on a stage by yourself is pretty lonely. The co-creative part of being with the band is what excites me, and it allows me to be less in my head and more playful. You feel more protected. You’re on a battlefield with others, with fellow soldiers that are trying to struggle with ideas and cultural norms and push against structures that have kept us from really expressing ourselves with authenticity.\u003c/p>\n\u003cp>Ultimately on the stage, it’s one of the few places where Black people are able to express the full range of one’s emotions without the threat of death. One can be utterly angry, upset, crazed, even ecstatic, enthused, joyful. The range of our full humanity is safe when it’s seen as a performance. But what we do is — we ultimately know we’re doing ceremony. We’re doing spirit work. And I think somehow the stage protects that work. What the West has made into a consumer capitalist venture, it ultimately is really just ceremony, displaced.\u003c/p>\n\u003cfigure id=\"attachment_13952374\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952374\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1988922565.jpg\" alt=\"A woman poses on the red carpet.\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1988922565.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1988922565-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1988922565-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1988922565-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1988922565-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">aja monet attends the 66th GRAMMY Awards at Crypto.com Arena on February 04, 2024 in Los Angeles, California. \u003ccite>(Jeff Kravitz/FilmMagic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb> Powerfully said. With your recent Grammy nomination, you’re getting recognized on a much larger platform. How does it feel getting validation from the entertainment industry?\u003c/b>\u003c/p>\n\u003cp>I don’t know if I’ve necessarily been acknowledged by the establishment quite yet. For me, the most meaningful thing about the nomination was people being excited about the work. Ultimately it takes people to say, “Nah, yo, whether they give this record an award or not … I’m going to support it because I know that it’s actually a quality thing done with intention, done with skill, with artistry, with creativity, with innovation, with spirit, with soul, with Black people in mind” — whatever it is that your metrics are.\u003c/p>\n\u003cp>We have to have some sort of, what are we measuring our worth towards? Who determines our value? And to me, it’ll always be the people. So that’s why I keep trying to remind folks, you know, when you like something, when you love something, when something really resonates with you, support it in every way, shape or form. We usually wait until we’re dead and gone to get our flowers. That’s kind of the expectation of poets, at least. Any opportunity as a living poet to be able to be appreciated and valued, I will never take for granted, ever.\u003c/p>\n\u003cp>If I could give awards to Sekou Sindiata, Amiri Baraka, June Jordan, I would give them all the awards they deserved and never got. As Black folks, as people of this time who care about the heart, the spirit, the soul, integrity, we have to not wait until people are dead and gone to acknowledge the impact of the work, and we must find ways to celebrate the things we love that don’t have us searching outside of ourselves for validation.\u003c/p>\n\u003cp>\u003cb>Well said. Now that you have more people’s attention, how do you want to use this moment?\u003c/b>\u003c/p>\n\u003cp>There are myriad issues that we are facing as humans in this time, in this life. And if I’m obedient to the gifts, if I’m obedient to the calling, then the work will do what it needs to do for this time.\u003c/p>\n\u003cp>That’s the way I have been orienting myself. Before, I used to think, “Well, I gotta speak to this. I gotta touch on this.” I think poetry in and of itself and how one moves, how one thinks and how one loves and how one relates — that’s how you show your values, and that’s how you show the concerns of the time. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13937865","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And so I’m not concerned with Palestine because it’s popular and everybody’s talking about it right now, and now people see, “Oh wow, it’s a genocide.” I’m concerned with Palestine because I have relationships with people who are Palestinian, who have changed my life. I’m concerned with Palestine because it affects my day-to-day life. You know what I mean? I’m concerned with the Congo because I have relationships with people that have impacted my life, and I know how this impacts the day-to-day of their lives.\u003c/p>\n\u003cp>So it’s not so much of like, “OK, well now I have attention. So let me bring everybody to this thing.” It’s just, how do you remain steadfast, consistent and of service to one’s calling and gift and be truthful to that and sincere to that? And hopefully, the truth will rise. The meat of it, the heart of it, the spirit and the musicality of it will reflect the best of who you are and what you’re trying to struggle with and the ideas you’re working through.\u003c/p>\n\u003cp>So I think it’ll change. I think I just want to continue to be able to create and to be provided the resources, the access, the ability to reach the people that I care about. So long as I’m here, let me just continue. I want to continue to do what I’m here to do.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>aja monet performs Thursday, Feb. 29, at the Swedish American Hall in San Francisco as part of Noise Pop. \u003ca href=\"http://events.noisepop.com/events/2024/2/29/aja-monet-tickets\">Tickets and details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13952372/aja-monet-poetry-interview-noise-pop-san-francisco","authors":["11387"],"programs":["arts_140"],"categories":["arts_1","arts_73","arts_835","arts_69"],"tags":["arts_10278","arts_1022","arts_1496","arts_585"],"featImg":"arts_13952417","label":"arts_140"},"arts_13939264":{"type":"posts","id":"arts_13939264","meta":{"index":"posts_1716263798","site":"arts","id":"13939264","score":null,"sort":[1702413084000]},"parent":0,"labelTerm":{"site":"arts","term":140},"blocks":[],"publishDate":1702413084,"format":"standard","title":"This Unpretentious Poetry Series Roams the Pockets of Golden Gate Park","headTitle":"This Unpretentious Poetry Series Roams the Pockets of Golden Gate Park | KQED","content":"\u003cp>On a brisk afternoon in Golden Gate Park’s Monarch Bear Grove, \u003ca href=\"https://www.amyberko.com/\">Amy Berkowitz\u003c/a> and \u003ca href=\"https://lucidtraversal.blogspot.com/\">Erick Saenz\u003c/a> are taking turns reading Google reviews about this secluded spot at the western edge of the AIDS Memorial Grove.\u003c/p>\n\u003cp>“Nice trees to walk through but easy to miss if you are here for the museums,” Berkowitz reads from her phone. An audience of several dozen people comfortably arranged on picnic blankets and stone blocks chuckles lightly — they aren’t here for the museums, they’re here for poetry.\u003c/p>\n\u003cp>This is the eighth event in the cheerily easygoing \u003ca href=\"https://www.instagram.com/lightjacketreadingseries/\">Light Jacket Reading Series\u003c/a>, an outdoor, roving poetry reading hosted by Berkowitz and Saenz since March 2023. Over the past nine months, they’ve featured 32 readers, mostly from the Bay Area, in casual and unamplified meet-ups in various nooks and crannies of the park.\u003c/p>\n\u003cfigure id=\"attachment_13939180\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939180\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231211-LIGHT-JACKET-READING-SERIES-23-MV-KQED.jpg\" alt=\"Two people sit next to each other in a wooded area, looking at the camera.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231211-LIGHT-JACKET-READING-SERIES-23-MV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231211-LIGHT-JACKET-READING-SERIES-23-MV-KQED-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231211-LIGHT-JACKET-READING-SERIES-23-MV-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231211-LIGHT-JACKET-READING-SERIES-23-MV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231211-LIGHT-JACKET-READING-SERIES-23-MV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231211-LIGHT-JACKET-READING-SERIES-23-MV-KQED-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231211-LIGHT-JACKET-READING-SERIES-23-MV-KQED-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hosts Erick Saenz and Amy Berkowitz near Monarch Bear Grove. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Saenz and Berkowitz, poets themselves, are not new to hosting. Before the pandemic hit, Saenz had just started putting together events at the since-closed San José arts space 3F, and Berkowitz was running a reading series called Amy’s Kitchen Organics out of her Upper Haight home.\u003c/p>\n\u003cp>Early this year, after Saenz moved back to San Francisco, he announced his desire to pick up where he left off. “I wanted,” he says, “to try to create some sort of lit scene that I could be a part of that felt local and felt good and felt kind of punk and DIY. And so Amy was a perfect person to collaborate with on that.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The timing — and concept — appealed to Berkowitz, who craved a return to curating and reading, but like many chronically ill people, wasn’t interested in entering unventilated indoor spaces where she might be the only one in a mask. “For me, it feels really nice to be doing poetry readings outdoors,” she says. “I sometimes see people show up who feel more comfortable wearing a mask outside and I’m like, ‘Great, I’m glad this is here for you.’”\u003c/p>\n\u003cp>Also, she says, “I fell in love with the park during the pandemic.”\u003c/p>\n\u003cfigure id=\"attachment_13939186\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939186\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231211-LIGHT-JACKET-READING-SERIES-29-MV-KQED.jpg\" alt=\"A group of people sit together smiling in a wooded area.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231211-LIGHT-JACKET-READING-SERIES-29-MV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231211-LIGHT-JACKET-READING-SERIES-29-MV-KQED-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231211-LIGHT-JACKET-READING-SERIES-29-MV-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231211-LIGHT-JACKET-READING-SERIES-29-MV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231211-LIGHT-JACKET-READING-SERIES-29-MV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231211-LIGHT-JACKET-READING-SERIES-29-MV-KQED-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231211-LIGHT-JACKET-READING-SERIES-29-MV-KQED-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Audience members listen during Light Jacket Reading Series #8 in Golden Gate Park. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meeting up at the \u003ca href=\"https://maps.app.goo.gl/s5dA1FqSh7ZDx5qh6\">Ghirardelli Card Shelter\u003c/a> or in a field near the Rhododendron Dell, Light Jacket sheds any semblance of institutional formality. “It was just like the wackiest idea that I could think of,” Saenz says of holding the readings outdoors. “We’ve all been to readings where it’s kind of weird and stuffy and people are trying to be too quiet. It’s just awkward to me.”\u003c/p>\n\u003cp>On \u003ca href=\"https://www.instagram.com/p/C0LuZdSOHZU/\">Dec. 9\u003c/a>, poets Lindsey Boldt, Sophia Dahlin, Danielle Freiman and Christine Imperial raised their voices over the sounds of a helicopter, passing mountain bikers and the repetitive thud of a nearby handball court. The limits of projection necessitated a cozy circle of audience members; at one point, a squirrel perched on a branch seemed to pause and listen. Berkowitz announced the final reader with her 14-month-old perched apprehensively on her hip.\u003c/p>\n\u003cp>Most poetry readings aren’t as family or kid-friendly — nor do they have playgrounds located conveniently nearby. As Light Jacket leans into comfort and accessibility for its audiences, the series also becomes truly public in a way few readings are. At the first event back in March, Saenz says, “People were stopping and listening to a poem or two and then carrying on — it was really cool.”\u003c/p>\n\u003cfigure id=\"attachment_13939179\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939179\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231211-LIGHT-JACKET-READING-SERIES-13-MV-KQED.jpg\" alt=\"A person holds a thin book marked with pink tabs.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231211-LIGHT-JACKET-READING-SERIES-13-MV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231211-LIGHT-JACKET-READING-SERIES-13-MV-KQED-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231211-LIGHT-JACKET-READING-SERIES-13-MV-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231211-LIGHT-JACKET-READING-SERIES-13-MV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231211-LIGHT-JACKET-READING-SERIES-13-MV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231211-LIGHT-JACKET-READING-SERIES-13-MV-KQED-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231211-LIGHT-JACKET-READING-SERIES-13-MV-KQED-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Poet Danielle Freiman reads from her chapbook at Light Jacket Reading Series #8. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://scoutfaller.com/\">Scout Faller\u003c/a>, a San Francisco poet who might hold the record for attending the most Light Jackets, was hooked from the get-go. “I first messaged Light Jacket before I knew the names of the organizers or anything,” Faller says. “I just had this excessive enthusiasm about it.”\u003c/p>\n\u003cp>Faller says they mostly associate the poetry scene with Oakland and Berkeley (and told Berkowitz as much at some point). “I was like, ‘Excuse me!’” Berkowitz laughs. “So to spite them, when we invited them to read, I curated the other readers to all be people from San Francisco.”\u003c/p>\n\u003cp>Faller met stevie redwood, Tatiana Luboviski-Acosta and Felix Dina for the first time at that \u003ca href=\"https://www.instagram.com/p/Ct3CGwArF8v/\">July 8 reading\u003c/a>; the poets have stayed in close touch ever since. “I talk to stevie every single day,” Faller says. “It’s like my dream of what would happen at a poetry reading but never quite does.”\u003c/p>\n\u003cp>At December’s event, the poets’ styles and subjects varied — Dahlin read from a collection devoted to Bernadette Mayer, Boldt included a piece written on the N-Judah earlier that day — and yet the whole thing hung together effortlessly, with space for all the tones.\u003c/p>\n\u003cfigure id=\"attachment_13939267\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939267\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Light-Jacket-Reading-Series-15_2000.jpg\" alt=\"Person with shoulder-length black hair and glasses reads from paperback in wooded area\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Light-Jacket-Reading-Series-15_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Light-Jacket-Reading-Series-15_2000-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Light-Jacket-Reading-Series-15_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Light-Jacket-Reading-Series-15_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Light-Jacket-Reading-Series-15_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Light-Jacket-Reading-Series-15_2000-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Light-Jacket-Reading-Series-15_2000-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Christine Imperial reads a poem during Light Jacket Reading Series #8. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I can think of certain reading series in the Bay Area that have had the same dozen people read multiple times over the last dozen years — and that’s fine,” Berkowitz says. “But that’s not what I want to do. I want to put people in front of an audience who hasn’t seen them yet. I want to give people a chance to do their first-ever poetry reading.”\u003c/p>\n\u003cp>The next Light Jacket will be another kind of first — the first time readings will take place virtually instead of in-person. The Jan. 4 event is co-hosted by \u003ca href=\"https://www.instagram.com/exquisitesbk/?hl=en\">Exquisites\u003c/a>, a queer reading series in Brooklyn, and \u003ca href=\"https://www.hotpinkmag.com/\">Hot Pink Magazine\u003c/a>, poets yet to be announced. (The timing is right for a screen-bound gig: January is too chilly, even in San Francisco, for just a light jacket.)\u003c/p>\n\u003cp>But on Dec. 9, even when the last shafts of warm sunlight were long gone, the crowd remained rapt. After the applause for Christine Imperial faded away, about an hour after the whole thing began, Berkowitz stepped back into the circle to close the event: “As I always say, feel free to hang around, it’s public space!”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Follow \u003ca href=\"https://www.instagram.com/lightjacketreadingseries/?hl=en\">Light Jacket Reading Series on Instagram\u003c/a> to stay up to date on future events, including a Jan. 4 virtual reading at 5 p.m.\u003c/i>\u003c/p>\n\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":1113,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":21},"modified":1705002989,"excerpt":"Light Jacket Reading Series, hosted by Amy Berkowitz and Erick Saenz, features Bay Area poets at outdoor readings.","headData":{"twImgId":"","twTitle":"This Unpretentious Poetry Series Roams the Pockets of Golden Gate Park","socialTitle":"Light Jacket Reading Series Brings Poetry to Golden Gate Park %%page%% %%sep%% KQED","ogTitle":"This Unpretentious Poetry Series Roams the Pockets of Golden Gate Park","ogImgId":"","twDescription":"","description":"Light Jacket Reading Series, hosted by Amy Berkowitz and Erick Saenz, features Bay Area poets at outdoor readings.","title":"Light Jacket Reading Series Brings Poetry to Golden Gate Park | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"This Unpretentious Poetry Series Roams the Pockets of Golden Gate Park","datePublished":"2023-12-12T12:31:24-08:00","dateModified":"2024-01-11T11:56:29-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"light-jacket-reading-series-poetry-golden-gate-park","status":"publish","templateType":"standard","excludeFromSiteSearch":"Include","featuredImageType":"standard","sticky":false,"articleAge":"0","path":"/arts/13939264/light-jacket-reading-series-poetry-golden-gate-park","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a brisk afternoon in Golden Gate Park’s Monarch Bear Grove, \u003ca href=\"https://www.amyberko.com/\">Amy Berkowitz\u003c/a> and \u003ca href=\"https://lucidtraversal.blogspot.com/\">Erick Saenz\u003c/a> are taking turns reading Google reviews about this secluded spot at the western edge of the AIDS Memorial Grove.\u003c/p>\n\u003cp>“Nice trees to walk through but easy to miss if you are here for the museums,” Berkowitz reads from her phone. An audience of several dozen people comfortably arranged on picnic blankets and stone blocks chuckles lightly — they aren’t here for the museums, they’re here for poetry.\u003c/p>\n\u003cp>This is the eighth event in the cheerily easygoing \u003ca href=\"https://www.instagram.com/lightjacketreadingseries/\">Light Jacket Reading Series\u003c/a>, an outdoor, roving poetry reading hosted by Berkowitz and Saenz since March 2023. Over the past nine months, they’ve featured 32 readers, mostly from the Bay Area, in casual and unamplified meet-ups in various nooks and crannies of the park.\u003c/p>\n\u003cfigure id=\"attachment_13939180\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939180\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231211-LIGHT-JACKET-READING-SERIES-23-MV-KQED.jpg\" alt=\"Two people sit next to each other in a wooded area, looking at the camera.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231211-LIGHT-JACKET-READING-SERIES-23-MV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231211-LIGHT-JACKET-READING-SERIES-23-MV-KQED-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231211-LIGHT-JACKET-READING-SERIES-23-MV-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231211-LIGHT-JACKET-READING-SERIES-23-MV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231211-LIGHT-JACKET-READING-SERIES-23-MV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231211-LIGHT-JACKET-READING-SERIES-23-MV-KQED-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231211-LIGHT-JACKET-READING-SERIES-23-MV-KQED-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hosts Erick Saenz and Amy Berkowitz near Monarch Bear Grove. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Saenz and Berkowitz, poets themselves, are not new to hosting. Before the pandemic hit, Saenz had just started putting together events at the since-closed San José arts space 3F, and Berkowitz was running a reading series called Amy’s Kitchen Organics out of her Upper Haight home.\u003c/p>\n\u003cp>Early this year, after Saenz moved back to San Francisco, he announced his desire to pick up where he left off. “I wanted,” he says, “to try to create some sort of lit scene that I could be a part of that felt local and felt good and felt kind of punk and DIY. And so Amy was a perfect person to collaborate with on that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The timing — and concept — appealed to Berkowitz, who craved a return to curating and reading, but like many chronically ill people, wasn’t interested in entering unventilated indoor spaces where she might be the only one in a mask. “For me, it feels really nice to be doing poetry readings outdoors,” she says. “I sometimes see people show up who feel more comfortable wearing a mask outside and I’m like, ‘Great, I’m glad this is here for you.’”\u003c/p>\n\u003cp>Also, she says, “I fell in love with the park during the pandemic.”\u003c/p>\n\u003cfigure id=\"attachment_13939186\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939186\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231211-LIGHT-JACKET-READING-SERIES-29-MV-KQED.jpg\" alt=\"A group of people sit together smiling in a wooded area.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231211-LIGHT-JACKET-READING-SERIES-29-MV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231211-LIGHT-JACKET-READING-SERIES-29-MV-KQED-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231211-LIGHT-JACKET-READING-SERIES-29-MV-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231211-LIGHT-JACKET-READING-SERIES-29-MV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231211-LIGHT-JACKET-READING-SERIES-29-MV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231211-LIGHT-JACKET-READING-SERIES-29-MV-KQED-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231211-LIGHT-JACKET-READING-SERIES-29-MV-KQED-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Audience members listen during Light Jacket Reading Series #8 in Golden Gate Park. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meeting up at the \u003ca href=\"https://maps.app.goo.gl/s5dA1FqSh7ZDx5qh6\">Ghirardelli Card Shelter\u003c/a> or in a field near the Rhododendron Dell, Light Jacket sheds any semblance of institutional formality. “It was just like the wackiest idea that I could think of,” Saenz says of holding the readings outdoors. “We’ve all been to readings where it’s kind of weird and stuffy and people are trying to be too quiet. It’s just awkward to me.”\u003c/p>\n\u003cp>On \u003ca href=\"https://www.instagram.com/p/C0LuZdSOHZU/\">Dec. 9\u003c/a>, poets Lindsey Boldt, Sophia Dahlin, Danielle Freiman and Christine Imperial raised their voices over the sounds of a helicopter, passing mountain bikers and the repetitive thud of a nearby handball court. The limits of projection necessitated a cozy circle of audience members; at one point, a squirrel perched on a branch seemed to pause and listen. Berkowitz announced the final reader with her 14-month-old perched apprehensively on her hip.\u003c/p>\n\u003cp>Most poetry readings aren’t as family or kid-friendly — nor do they have playgrounds located conveniently nearby. As Light Jacket leans into comfort and accessibility for its audiences, the series also becomes truly public in a way few readings are. At the first event back in March, Saenz says, “People were stopping and listening to a poem or two and then carrying on — it was really cool.”\u003c/p>\n\u003cfigure id=\"attachment_13939179\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939179\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231211-LIGHT-JACKET-READING-SERIES-13-MV-KQED.jpg\" alt=\"A person holds a thin book marked with pink tabs.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231211-LIGHT-JACKET-READING-SERIES-13-MV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231211-LIGHT-JACKET-READING-SERIES-13-MV-KQED-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231211-LIGHT-JACKET-READING-SERIES-13-MV-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231211-LIGHT-JACKET-READING-SERIES-13-MV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231211-LIGHT-JACKET-READING-SERIES-13-MV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231211-LIGHT-JACKET-READING-SERIES-13-MV-KQED-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231211-LIGHT-JACKET-READING-SERIES-13-MV-KQED-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Poet Danielle Freiman reads from her chapbook at Light Jacket Reading Series #8. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://scoutfaller.com/\">Scout Faller\u003c/a>, a San Francisco poet who might hold the record for attending the most Light Jackets, was hooked from the get-go. “I first messaged Light Jacket before I knew the names of the organizers or anything,” Faller says. “I just had this excessive enthusiasm about it.”\u003c/p>\n\u003cp>Faller says they mostly associate the poetry scene with Oakland and Berkeley (and told Berkowitz as much at some point). “I was like, ‘Excuse me!’” Berkowitz laughs. “So to spite them, when we invited them to read, I curated the other readers to all be people from San Francisco.”\u003c/p>\n\u003cp>Faller met stevie redwood, Tatiana Luboviski-Acosta and Felix Dina for the first time at that \u003ca href=\"https://www.instagram.com/p/Ct3CGwArF8v/\">July 8 reading\u003c/a>; the poets have stayed in close touch ever since. “I talk to stevie every single day,” Faller says. “It’s like my dream of what would happen at a poetry reading but never quite does.”\u003c/p>\n\u003cp>At December’s event, the poets’ styles and subjects varied — Dahlin read from a collection devoted to Bernadette Mayer, Boldt included a piece written on the N-Judah earlier that day — and yet the whole thing hung together effortlessly, with space for all the tones.\u003c/p>\n\u003cfigure id=\"attachment_13939267\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939267\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Light-Jacket-Reading-Series-15_2000.jpg\" alt=\"Person with shoulder-length black hair and glasses reads from paperback in wooded area\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Light-Jacket-Reading-Series-15_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Light-Jacket-Reading-Series-15_2000-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Light-Jacket-Reading-Series-15_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Light-Jacket-Reading-Series-15_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Light-Jacket-Reading-Series-15_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Light-Jacket-Reading-Series-15_2000-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Light-Jacket-Reading-Series-15_2000-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Christine Imperial reads a poem during Light Jacket Reading Series #8. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I can think of certain reading series in the Bay Area that have had the same dozen people read multiple times over the last dozen years — and that’s fine,” Berkowitz says. “But that’s not what I want to do. I want to put people in front of an audience who hasn’t seen them yet. I want to give people a chance to do their first-ever poetry reading.”\u003c/p>\n\u003cp>The next Light Jacket will be another kind of first — the first time readings will take place virtually instead of in-person. The Jan. 4 event is co-hosted by \u003ca href=\"https://www.instagram.com/exquisitesbk/?hl=en\">Exquisites\u003c/a>, a queer reading series in Brooklyn, and \u003ca href=\"https://www.hotpinkmag.com/\">Hot Pink Magazine\u003c/a>, poets yet to be announced. (The timing is right for a screen-bound gig: January is too chilly, even in San Francisco, for just a light jacket.)\u003c/p>\n\u003cp>But on Dec. 9, even when the last shafts of warm sunlight were long gone, the crowd remained rapt. After the applause for Christine Imperial faded away, about an hour after the whole thing began, Berkowitz stepped back into the circle to close the event: “As I always say, feel free to hang around, it’s public space!”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Follow \u003ca href=\"https://www.instagram.com/lightjacketreadingseries/?hl=en\">Light Jacket Reading Series on Instagram\u003c/a> to stay up to date on future events, including a Jan. 4 virtual reading at 5 p.m.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13939264/light-jacket-reading-series-poetry-golden-gate-park","authors":["61"],"programs":["arts_140"],"categories":["arts_1","arts_73"],"tags":["arts_10278","arts_1496","arts_585"],"featImg":"arts_13939183","label":"arts_140"},"arts_13937655":{"type":"posts","id":"arts_13937655","meta":{"index":"posts_1716263798","site":"arts","id":"13937655","score":null,"sort":[1699303261000]},"guestAuthors":[],"slug":"new-poetry-collection-jaswinder-bolina-sam-sax-sally-wen-mao","title":"3 New Poetry Collections Taking the Pulse of the Times","publishDate":1699303261,"format":"standard","headTitle":"3 New Poetry Collections Taking the Pulse of the Times | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Poetry takes the pulse of the times.\u003c/p>\n\u003cp>These times are dark: wars raging; a pandemic that, though it has ebbed, still has everyone confused and afraid; monstrous, hate-filled social media posts spreading like wildfire.\u003c/p>\n\u003cp>Poets have been writing about all of this in real time, posting and publishing their poems, and now they’re gathering them up into books. Here are three of the first poetry collections to register the still-unfolding social and physical fallout of the pandemic and Trump-era politics.\u003c/p>\n\u003ch3>\u003cem>English as a Second Language\u003c/em> by Jaswinder Bolina\u003c/h3>\n\u003cp>[aside postid='arts_13928174']With his third collection, Jaswinder Bolina hits his stride, melding fierce and heartbroken politics with a flair for the surreal, to portray America in the throes of the pandemic — and tarnished daily by bold expressions of racism and anti-immigrant sentiment in the years following Trump’s rise to power. It’s a country where one is accosted constantly by urgent, out-of-context messages in waiting rooms; “in hotel bars that used to be/ so well-regarded when white people wore their finest//laundry and ate snails there”; and splattered on consumer products: “IF YOU’RE NOT ANGRY YOU’RE NOT PAYING/ ATTENTION, hollered a passing tote bag.”\u003c/p>\n\u003cp>These poems are tightly packed, a whimsical fabric interwoven with snippets of soundbites and telling phrases gathered by a highly alert ear. I don’t mean at all that this is found poetry, but that Bolina’s poems are precisely attuned to the stupidness, bigotry, and willful ignorance encoded into American English. There’s always this “second language” beneath the one we hear — it’s what people aren’t saying, or aren’t quite saying but, of course, they’re actually saying it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bolina’s ironic humor feels like the inevitable vehicle for this insight, and these poems are often darkly laugh-out-loud funny. The book is set up to be read either from the front or the back, complete with a reversed table of contents at the end. Read from the front, it’s a book about American racism and immigrant experience. From the back, there’s a baby in the picture, and a pandemic happening: “I go on debating with myself whether it’d be better/ to die of the plague or to die of anything other than/ the plague during a plague.”\u003c/p>\n\u003cp>The cynicism of these poems can sometimes feel like too much. Of course, it’s not really cynicism, it’s reportage. Even “the Abominable News,” as Bolina calls it, is ascribed a sinister kind of sentience: “the Bad News hotwires the buzzer,/ invites itself up with its bouquet of wild/ aneurysms and drooping embolisms.” Bolina’s take on parenthood is equally startling and politicized, an occasion for social commentary. “Poor little guy, alighted/ into what he doesn’t know is America.”\u003c/p>\n\u003ch3>\u003cem>The Kingdom of Surfaces\u003c/em> by Sally Wen Mao\u003c/h3>\n\u003cp>In the meditative and sometimes essayistic poems and sequences of \u003cem>The Kingdom of Surfaces\u003c/em>, Sally Wen Mao visits real and imagined art galleries and other sites of cultural production and display, raging against stereotyped and reductive representations of Chinese women in the arenas of fine art, pop culture, and politics. She visits Wuhan, China, and describes its people with a kind of compassion that has been utterly lacking. The elegant surfaces of these poems belie their internal fury: “It’s a shame/ how people die like their animals.”\u003c/p>\n\u003cp>[aside postid='arts_13933527']In a series of concrete poems shaped like vases, Mao excavates the underbelly of the long history of, and fetishization for, porcelain. Elsewhere she recounts the tyranny of Karens (“A white woman feigns distress,/ calls the cops/ \u003ca href=\"https://www.kqed.org/arts/13900749/central-park-karen-amy-cooper-remains-unrepentant-about-central-park-karen-ing\">On a black man, a bird-/ watcher\u003c/a>“); exposes the dark facts of how silk is made and traded; and, most urgently, revisits her childhood memories of the City of Wuhan (“my birthplace”), and recalls the tides of racism directed at Chinese people during the pandemic years: “security camera footage showed a sixty-five-year-old woman shoved, punched, and kicking in front of 360 West 43rd Street.” A poem about a long-ago sexual assault joins a lamenting chorus that grieves millennia of pillaging: “my feelings were leaves/ that bypassed everyone and buried me.”\u003c/p>\n\u003cp>Mao’s sentences here are more straightforward than in her two previous books, which I loved for their careful eye and quiet roiling. In \u003cem>The Kingdom of Surfaces\u003c/em>, the anger bubbles over, is evident everywhere, and yet these poems have a kind of conversational intimacy that is new to Mao, as if recent events have led her to drop some of the pretense and protection of style. She distills all the ugliness of these years, and the many years before, down to its grim essence: “\u003cem>But beauty is political. But beauty is political. But beauty is political\u003c/em>.”\u003c/p>\n\u003ch3>\u003cem>Pig\u003c/em> by Sam Sax\u003c/h3>\n\u003cp>For Jews, pork is terefah, forbidden food — and, in this book, with a surprisingly light touch, Sam Sax makes of the pig a powerful, all purpose symbol. It becomes an injunction to search oneself, in rather informal and conversational terms, for hedging pathways forward: “do your work with care, as i have tried & failed here.”\u003c/p>\n\u003cp>Though every poem involves a pig somehow (as food, as a slur, as a colloquialism for a police officer, as an \u003cem>Animal Farm\u003c/em> fascist, as a quizzical farm animal, as Wilbur, the pig saved by language), this one-species menagerie doesn’t feel like a conceit. Sometimes the pig is the poem’s stated subject, but more often it waddles in from the side, a verbal tick, a reminder that a shared set of concerns is pulling on these poems. Each poem needs its pig, and each pig is different so each poem is different. In a way, Sax could write this book about anything and he even says as much: “what would i learn if i were to write/ this book on an entirely different subject:/ antique clock repair, the sex lives of astronomers, joy.”\u003c/p>\n\u003cp>[aside postid='arts_13932147']One might think Sax’s chattiness would somehow diminish the poems’ gravity, but Sax again and again says profound things very informally. I feel like I am conversing with a very articulate and clever friend who understands that there are some serious things best said with humor. And he’s got a way with a sentence, offhandedly delivered, tonally precise, able to say what it’s not saying. Sax deploys a kind of serious sarcasm that isn’t irony — it’s a tonal admission that things are too messed up to meet head on, but they also aren’t funny, and can’t be ignored: “Everything that happens on earth happens everywhere.”\u003c/p>\n\u003cp>Language is the salve for, or the weapon against, a disordered world: “the phrases either make love or/ set down a border,” Sax writes in “It’s a Little Anxious to Be a Very Small Animal,” a poem that rather remarkably weaves together Passover traditions, the biography of Karl Marx, genetics, fundraising, and the myth of Daphne to speak out of the uncertainty that so many feel in American for so many different reasons.\u003c/p>\n\u003cp>As a fellow Jew, this book hits hard at this particular moment, though it was of course written well before the current war between Israel and Hamas began. Sax registers the fact that, over the last several years, America has come to feel less safe for Jews, that language, which he sees as the true Jewish homeland, has become less hospitable:\u003c/p>\n\u003cblockquote>\u003cp>inside the skin but\u003c/p>\n\u003cp>just exists in language. let me explain. my people\u003c/p>\n\u003cp>kiss books as a form of prayer. if dropped we\u003c/p>\n\u003cp>lift them to our lips & mouth an honest &\u003c/p>\n\u003cp>uncomplicated apology—\u003c/p>\n\u003cp>\u003cem>nowhere on earth belongs to us\u003c/em>.\u003c/p>\u003c/blockquote>\n\u003cp>The stakes are high — this book is about nothing less than survival, and why to survive, what’s worth living for when so much is so obviously so wrong: “what will be left after we’ve left/ I dare not consider it/ instead dance with me a moment/ late in this late extinction/ that you are reading this/ must be enough.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Craig Morgan Teicher is the author of several books, including ‘The Trembling Answers,’ which won the 2018 Lenore Marshall Poetry Prize from the Academy of American Poets, and the essay collection ‘We Begin in Gladness: How Poets Progress.’\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=3+new+poetry+collections+taking+the+pulse+of+the+times&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"Three poetry books — including one by Stanford lecturer Sam Sax — register the still-unfolding fallout of the last three years.","status":"publish","parent":0,"modified":1726757587,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":25,"wordCount":1479},"headData":{"title":"3 New Poetry Collections Taking the Pulse of the Times | KQED","description":"Three poetry books — including one by Stanford lecturer Sam Sax — register the still-unfolding fallout of the last three years.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"3 New Poetry Collections Taking the Pulse of the Times","datePublished":"2023-11-06T12:41:01-08:00","dateModified":"2024-09-19T07:53:07-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprImageCredit":"Meghan Collins Sullivan","nprByline":"Craig Morgan Teicher","nprImageAgency":"NPR","nprStoryId":"1209701376","nprApiLink":"http://api.npr.org/query?id=1209701376&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2023/11/06/1209701376/poetry-the-kingdom-of-surfaces-pig-english-as-a-second-language?ft=nprml&f=1209701376","nprRetrievedStory":"1","nprPubDate":"Mon, 06 Nov 2023 11:53:00 -0500","nprStoryDate":"Mon, 06 Nov 2023 11:53:30 -0500","nprLastModifiedDate":"Mon, 06 Nov 2023 11:53:30 -0500","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13937655/new-poetry-collection-jaswinder-bolina-sam-sax-sally-wen-mao","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Poetry takes the pulse of the times.\u003c/p>\n\u003cp>These times are dark: wars raging; a pandemic that, though it has ebbed, still has everyone confused and afraid; monstrous, hate-filled social media posts spreading like wildfire.\u003c/p>\n\u003cp>Poets have been writing about all of this in real time, posting and publishing their poems, and now they’re gathering them up into books. Here are three of the first poetry collections to register the still-unfolding social and physical fallout of the pandemic and Trump-era politics.\u003c/p>\n\u003ch3>\u003cem>English as a Second Language\u003c/em> by Jaswinder Bolina\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13928174","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>With his third collection, Jaswinder Bolina hits his stride, melding fierce and heartbroken politics with a flair for the surreal, to portray America in the throes of the pandemic — and tarnished daily by bold expressions of racism and anti-immigrant sentiment in the years following Trump’s rise to power. It’s a country where one is accosted constantly by urgent, out-of-context messages in waiting rooms; “in hotel bars that used to be/ so well-regarded when white people wore their finest//laundry and ate snails there”; and splattered on consumer products: “IF YOU’RE NOT ANGRY YOU’RE NOT PAYING/ ATTENTION, hollered a passing tote bag.”\u003c/p>\n\u003cp>These poems are tightly packed, a whimsical fabric interwoven with snippets of soundbites and telling phrases gathered by a highly alert ear. I don’t mean at all that this is found poetry, but that Bolina’s poems are precisely attuned to the stupidness, bigotry, and willful ignorance encoded into American English. There’s always this “second language” beneath the one we hear — it’s what people aren’t saying, or aren’t quite saying but, of course, they’re actually saying it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bolina’s ironic humor feels like the inevitable vehicle for this insight, and these poems are often darkly laugh-out-loud funny. The book is set up to be read either from the front or the back, complete with a reversed table of contents at the end. Read from the front, it’s a book about American racism and immigrant experience. From the back, there’s a baby in the picture, and a pandemic happening: “I go on debating with myself whether it’d be better/ to die of the plague or to die of anything other than/ the plague during a plague.”\u003c/p>\n\u003cp>The cynicism of these poems can sometimes feel like too much. Of course, it’s not really cynicism, it’s reportage. Even “the Abominable News,” as Bolina calls it, is ascribed a sinister kind of sentience: “the Bad News hotwires the buzzer,/ invites itself up with its bouquet of wild/ aneurysms and drooping embolisms.” Bolina’s take on parenthood is equally startling and politicized, an occasion for social commentary. “Poor little guy, alighted/ into what he doesn’t know is America.”\u003c/p>\n\u003ch3>\u003cem>The Kingdom of Surfaces\u003c/em> by Sally Wen Mao\u003c/h3>\n\u003cp>In the meditative and sometimes essayistic poems and sequences of \u003cem>The Kingdom of Surfaces\u003c/em>, Sally Wen Mao visits real and imagined art galleries and other sites of cultural production and display, raging against stereotyped and reductive representations of Chinese women in the arenas of fine art, pop culture, and politics. She visits Wuhan, China, and describes its people with a kind of compassion that has been utterly lacking. The elegant surfaces of these poems belie their internal fury: “It’s a shame/ how people die like their animals.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13933527","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>In a series of concrete poems shaped like vases, Mao excavates the underbelly of the long history of, and fetishization for, porcelain. Elsewhere she recounts the tyranny of Karens (“A white woman feigns distress,/ calls the cops/ \u003ca href=\"https://www.kqed.org/arts/13900749/central-park-karen-amy-cooper-remains-unrepentant-about-central-park-karen-ing\">On a black man, a bird-/ watcher\u003c/a>“); exposes the dark facts of how silk is made and traded; and, most urgently, revisits her childhood memories of the City of Wuhan (“my birthplace”), and recalls the tides of racism directed at Chinese people during the pandemic years: “security camera footage showed a sixty-five-year-old woman shoved, punched, and kicking in front of 360 West 43rd Street.” A poem about a long-ago sexual assault joins a lamenting chorus that grieves millennia of pillaging: “my feelings were leaves/ that bypassed everyone and buried me.”\u003c/p>\n\u003cp>Mao’s sentences here are more straightforward than in her two previous books, which I loved for their careful eye and quiet roiling. In \u003cem>The Kingdom of Surfaces\u003c/em>, the anger bubbles over, is evident everywhere, and yet these poems have a kind of conversational intimacy that is new to Mao, as if recent events have led her to drop some of the pretense and protection of style. She distills all the ugliness of these years, and the many years before, down to its grim essence: “\u003cem>But beauty is political. But beauty is political. But beauty is political\u003c/em>.”\u003c/p>\n\u003ch3>\u003cem>Pig\u003c/em> by Sam Sax\u003c/h3>\n\u003cp>For Jews, pork is terefah, forbidden food — and, in this book, with a surprisingly light touch, Sam Sax makes of the pig a powerful, all purpose symbol. It becomes an injunction to search oneself, in rather informal and conversational terms, for hedging pathways forward: “do your work with care, as i have tried & failed here.”\u003c/p>\n\u003cp>Though every poem involves a pig somehow (as food, as a slur, as a colloquialism for a police officer, as an \u003cem>Animal Farm\u003c/em> fascist, as a quizzical farm animal, as Wilbur, the pig saved by language), this one-species menagerie doesn’t feel like a conceit. Sometimes the pig is the poem’s stated subject, but more often it waddles in from the side, a verbal tick, a reminder that a shared set of concerns is pulling on these poems. Each poem needs its pig, and each pig is different so each poem is different. In a way, Sax could write this book about anything and he even says as much: “what would i learn if i were to write/ this book on an entirely different subject:/ antique clock repair, the sex lives of astronomers, joy.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13932147","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>One might think Sax’s chattiness would somehow diminish the poems’ gravity, but Sax again and again says profound things very informally. I feel like I am conversing with a very articulate and clever friend who understands that there are some serious things best said with humor. And he’s got a way with a sentence, offhandedly delivered, tonally precise, able to say what it’s not saying. Sax deploys a kind of serious sarcasm that isn’t irony — it’s a tonal admission that things are too messed up to meet head on, but they also aren’t funny, and can’t be ignored: “Everything that happens on earth happens everywhere.”\u003c/p>\n\u003cp>Language is the salve for, or the weapon against, a disordered world: “the phrases either make love or/ set down a border,” Sax writes in “It’s a Little Anxious to Be a Very Small Animal,” a poem that rather remarkably weaves together Passover traditions, the biography of Karl Marx, genetics, fundraising, and the myth of Daphne to speak out of the uncertainty that so many feel in American for so many different reasons.\u003c/p>\n\u003cp>As a fellow Jew, this book hits hard at this particular moment, though it was of course written well before the current war between Israel and Hamas began. Sax registers the fact that, over the last several years, America has come to feel less safe for Jews, that language, which he sees as the true Jewish homeland, has become less hospitable:\u003c/p>\n\u003cblockquote>\u003cp>inside the skin but\u003c/p>\n\u003cp>just exists in language. let me explain. my people\u003c/p>\n\u003cp>kiss books as a form of prayer. if dropped we\u003c/p>\n\u003cp>lift them to our lips & mouth an honest &\u003c/p>\n\u003cp>uncomplicated apology—\u003c/p>\n\u003cp>\u003cem>nowhere on earth belongs to us\u003c/em>.\u003c/p>\u003c/blockquote>\n\u003cp>The stakes are high — this book is about nothing less than survival, and why to survive, what’s worth living for when so much is so obviously so wrong: “what will be left after we’ve left/ I dare not consider it/ instead dance with me a moment/ late in this late extinction/ that you are reading this/ must be enough.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Craig Morgan Teicher is the author of several books, including ‘The Trembling Answers,’ which won the 2018 Lenore Marshall Poetry Prize from the Academy of American Poets, and the essay collection ‘We Begin in Gladness: How Poets Progress.’\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=3+new+poetry+collections+taking+the+pulse+of+the+times&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13937655/new-poetry-collection-jaswinder-bolina-sam-sax-sally-wen-mao","authors":["byline_arts_13937655"],"programs":["arts_140"],"categories":["arts_1","arts_73"],"tags":["arts_1496","arts_585"],"affiliates":["arts_137"],"featImg":"arts_13937656","label":"arts_140"},"arts_13933527":{"type":"posts","id":"arts_13933527","meta":{"index":"posts_1716263798","site":"arts","id":"13933527","score":null,"sort":[1692643712000]},"guestAuthors":[],"slug":"sandra-guzman-poems-by-latin-american-women-multilingual-daughters","title":"These Poems by Latin American Women Reflect a Multilingual Region","publishDate":1692643712,"format":"aside","headTitle":"These Poems by Latin American Women Reflect a Multilingual Region | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cfigure id=\"attachment_13933529\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933529\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/cover_custom-55176823d72bd2bbb7e4d3f04fe93a5eef22f179-800x1209.jpg\" alt=\"A book cover featuring an illustration of two women with brown skin and Black wavy hair face to face. Above them floats another female figure almost acting as a sort of guardian.\" width=\"800\" height=\"1209\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/cover_custom-55176823d72bd2bbb7e4d3f04fe93a5eef22f179-800x1209.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/cover_custom-55176823d72bd2bbb7e4d3f04fe93a5eef22f179-1020x1542.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/cover_custom-55176823d72bd2bbb7e4d3f04fe93a5eef22f179-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/cover_custom-55176823d72bd2bbb7e4d3f04fe93a5eef22f179-768x1161.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/cover_custom-55176823d72bd2bbb7e4d3f04fe93a5eef22f179-1016x1536.jpg 1016w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/cover_custom-55176823d72bd2bbb7e4d3f04fe93a5eef22f179-1355x2048.jpg 1355w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/cover_custom-55176823d72bd2bbb7e4d3f04fe93a5eef22f179.jpg 1588w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Daughters of Latin America.’ \u003ccite>(Harper Collins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Award-winning writer, editor and filmmaker Sandra Guzmán once heard an alarming statistic: Every 14 days, an Indigenous language dies around the world.\u003c/p>\n\u003cp>That is, in part, what prompted her to seek out those voices for a new multilingual project centered on Latin American women. The result is the book, \u003cem>Daughters of Latin America: An International Anthology of Writing by Latine Women\u003c/em>, which compiles the work of 140 writers, activists and thought leaders from the region.\u003c/p>\n\u003cp>[aside postid='arts_13932147']“What clicked was this notion that whenever we think about writers, we don’t automatically think of a Latin American woman writer,” Guzmán told \u003cem>All Things Considered\u003c/em>. “We don’t think of an Esmeralda Santiago or a Sandra Cisneros … or Guadeloupe’s masterful writer Maryse Condé or Edwidge Danticat.”\u003c/p>\n\u003cp>“And these are women who have historically written and guided me, and so why not bring together the voices in one volume?”\u003c/p>\n\u003cp>Guzmán also took inspiration from an existing collection, called \u003cem>New Daughters of Africa: An International Anthology of Writing by Women of African Descent\u003c/em>. It features more than 200 women from that region.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Her anthology weaves poems, short stories, essays, speeches and more. The contributors live across the Americas and the Caribbean, in Europe and in other parts of the world; some are immigrants, others are members of Indigenous communities. And there are more than 20 languages in the book.\u003c/p>\n\u003cp>“We are one of the most multilingual, multiethnic, multiracial, multireligious regions in the world,” Guzmán said. “So for me, it was really important to convey that diversity.”\u003c/p>\n\u003cp>There is, for example, Rosa Chávez, a Maya K’iche’-Kaqchikel poet and artist from Guatemala. A few of her poems appear in the Kʼicheʼ language in the anthology as well as in English. The poem, \u003cem>Speak to me in the language of time, \u003c/em>was translated from Spanish by Gabriela Ramirez- Chávez:\u003c/p>\n\u003cblockquote>\u003cp>Speak to me in the language of time\u003c/p>\n\u003cp>shake me in the silence of the stars\u003c/p>\n\u003cp>wake merely before drifting back to sleep\u003c/p>\n\u003cp>so I can love you with my domesticated tongue\u003c/p>\n\u003cp>so your barefoot voice plays inside my body.\u003c/p>\n\u003cp>Speak to me with the sun’s tongue\u003c/p>\n\u003cp>tell me green words that ripen on my skin\u003c/p>\n\u003cp>join your name to mine\u003c/p>\n\u003cp>and love me with your two hearts.\u003c/p>\u003c/blockquote>\n\u003cp>There is also Sonia Guiñansaca, who was born in Ecuador and raised in Harlem, NY. They are a Kichwa-Kañari poet, culture strategist and activist. This is an excerpt of their poem, \u003cem>Runa in Translation\u003c/em>:\u003c/p>\n\u003cblockquote>\u003cp>There is a longing to write this poem in Kichwa / I speak broken\u003c/p>\n\u003cp>Spanish / English with a heavy New York City accent / I wonder if my\u003c/p>\n\u003cp>tongue will ever heal from the breaking /\u003c/p>\n\u003cp>A breaking like when I am around other Kichwas\u003c/p>\n\u003cp>and I cannot understand them /\u003c/p>\n\u003cp>I wonder sometimes (most times) if I’m real / At age five I am plucked\u003c/p>\n\u003cp>from Ecuador and flown to the U.S. / For a brief moment I am given a new\u003c/p>\n\u003cp>name and my hair is cut / and my burgundy luggage goes missing / So I\u003c/p>\n\u003cp>arrive with nothing / I think that I am nothing through middle school / And\u003c/p>\n\u003cp>in high school I stop existing / I nest in my mouth / Quietly /Kikinka\u003c/p>\n\u003cp>maymantatak kanki\u003c/p>\u003c/blockquote>\n\u003cp>Guzmán said she also wanted to put Afro-Latinas front and center in this collection: “It’s really important for me as an Afro-Indigenous woman to include women who have paved the way for us.”\u003c/p>\n\u003cp>One example is Mary Grueso Romero, a poet, children’s literature author and Spanish professor from Colombia. Here’s an excerpt of her poem, \u003cem>Si Dios hubiese nacido aquí (If God had been born here)\u003c/em>, translated into English by Guzmán herself:\u003c/p>\n\u003cblockquote>\u003cp>If God had been born here\u003c/p>\n\u003cp>he’d be a fisherman,\u003c/p>\n\u003cp>eat chontaduro\u003c/p>\n\u003cp>and drink borojó.\u003c/p>\n\u003cp>María would be Black\u003c/p>\n\u003cp>big boned like me\u003c/p>\n\u003cp>and on top of her head would carry a platter of fish\u003c/p>\n\u003cp>offering at the top of her lungs\u003c/p>\n\u003cp>through the town’s streets\u003c/p>\n\u003cp>to all the town folk:\u003c/p>\n\u003cp>“I have silky fish whole and intact;\u003c/p>\n\u003cp>snapper to eat fried,\u003c/p>\n\u003cp>ñato fo’ stewin,\u003c/p>\n\u003cp>tollo fo’ sweatin’\u003c/p>\n\u003cp>and canchimala for tapao.”\u003c/p>\n\u003cp>If God had been born here,\u003c/p>\n\u003cp>here on this coast,\u003c/p>\n\u003cp>he’d be a farmer\u003c/p>\n\u003cp>who’d harvest coconuts from the palm\u003c/p>\n\u003cp>grove with his muscled body\u003c/p>\n\u003cp>like a Black man from El Piñal,\u003c/p>\n\u003cp>with jet Black skin\u003c/p>\n\u003cp>and ivory teeth,\u003c/p>\n\u003cp>with tight coily hair\u003c/p>\n\u003cp>like he was a chacarrás.\u003c/p>\n\u003cp>On the Pacific plain\u003c/p>\n\u003cp>he’d harvest natos and mangroves\u003c/p>\n\u003cp>that he’d turn into rollers fo’ the rails to rest,\u003c/p>\n\u003cp>and he’d fish crabs\u003c/p>\n\u003cp>from the neighborhood caves.\u003c/p>\n\u003cp>If God had been born here,\u003c/p>\n\u003cp>here on this coast,\u003c/p>\n\u003cp>he’d feel his blood rise\u003c/p>\n\u003cp>at the sound of the drum.\u003c/p>\n\u003cp>He’d dance currulao with marimba and guasá,\u003c/p>\n\u003cp>he’d drink biche\u003c/p>\n\u003cp>in the patronal festival,\u003c/p>\n\u003cp>he’d feel on his own flesh\u003c/p>\n\u003cp>the inequality’s scorn for being Black,\u003c/p>\n\u003cp>for being poor,\u003c/p>\n\u003cp>and for being from this coast.\u003c/p>\u003c/blockquote>\n\u003cp>Guzmán also wanted to highlight the works of Puerto Rican writers, explaining that they are often left in the margins.\u003c/p>\n\u003cp>“When anthologies are curated in the United States, for instance, we are often forgotten,” she said. “And when anthologies are curated in Latin America … we’re also forgotten.”\u003c/p>\n\u003cp>One of those she included was Esmeralda Santiago, a Puerto Rican novelist and memoirist who contributed the poem \u003cem>Mi Sangre \u003c/em>(\u003cem>My Blood\u003c/em>). Here’s an excerpt:\u003c/p>\n\u003cblockquote>\u003cp>I’ve left my blood in 49 states, 27 countries on five continents.\u003c/p>\n\u003cp>These days, my blood fills test tubes and spreads across specimen slides.\u003c/p>\n\u003cp>I bleed to delay death a sanguine stream to insufferable regions while my defiant blood pulses in the strangest place of all my children’s veins.\u003c/p>\u003c/blockquote>\n\u003cp>[aside postid='arts_13928174']Guzmán said she hopes this anthology will prompt people to read more of these artists — and others from the region — who live in all corners of the world.\u003c/p>\n\u003cp>“To understand Latin America through the lens of its women is to fully understand the cultures and the people that inhabit this region in different parts of the world,” she said.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>The poems in this article were adapted from \u003c/strong>\u003cstrong>\u003cem>Daughters of Latin America \u003c/em>\u003c/strong>\u003cstrong>edited by Sandra Guzmán and reprinted with permission from Amistad, an imprint of HarperCollins Publishers. Copyright 2023.\u003c/strong>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR.\u003c/a>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=These+poems+by+Latin+American+women+reflect+a+multilingual+region&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"Sandra Guzmán has created a beautiful, multilingual collection centered on Latin American women.","status":"publish","parent":0,"modified":1726757873,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":83,"wordCount":1155},"headData":{"title":"Sandra Guzmán's ‘Anthology of Writing by Latine Women’ | KQED","description":"Sandra Guzmán has created a beautiful, multilingual collection centered on Latin American women.","ogTitle":"These Poems by Latin American Women Reflect a Multilingual Region","ogDescription":"","ogImgId":"","twTitle":"These Poems by Latin American Women Reflect a Multilingual Region","twDescription":"","twImgId":"","socialTitle":"Sandra Guzmán's ‘Anthology of Writing by Latine Women’ %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"These Poems by Latin American Women Reflect a Multilingual Region","datePublished":"2023-08-21T11:48:32-07:00","dateModified":"2024-09-19T07:57:53-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Ashley Brown","nprImageAgency":"Harper Collins","nprStoryId":"1194590734","nprApiLink":"http://api.npr.org/query?id=1194590734&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2023/08/19/1194590734/these-poems-by-latin-american-women-reflect-a-multilingual-region?ft=nprml&f=1194590734","nprRetrievedStory":"1","nprPubDate":"Sat, 19 Aug 2023 06:01:00 -0400","nprStoryDate":"Sat, 19 Aug 2023 06:01:03 -0400","nprLastModifiedDate":"Sat, 19 Aug 2023 06:01:03 -0400","nprAudio":"https://play.podtrac.com/npr-1058158920/edge1.pod.npr.org/anon.npr-mp3/npr/atc/2023/08/20230816_atc_book_-_daughters_of_latin_america.mp3?orgId=1&topicId=1008&d=353&story=1194590734&awCollectionId=1&awEpisodeId=1194590734&ft=nprml&f=1194590734","nprAudioM3u":"http://api.npr.org/m3u/11194591472-06934a.m3u?orgId=1&topicId=1008&d=353&story=1194590734&ft=nprml&f=1194590734","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13933527/sandra-guzman-poems-by-latin-american-women-multilingual-daughters","audioUrl":"https://play.podtrac.com/npr-1058158920/edge1.pod.npr.org/anon.npr-mp3/npr/atc/2023/08/20230816_atc_book_-_daughters_of_latin_america.mp3?orgId=1&topicId=1008&d=353&story=1194590734&awCollectionId=1&awEpisodeId=1194590734&ft=nprml&f=1194590734","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13933529\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933529\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/cover_custom-55176823d72bd2bbb7e4d3f04fe93a5eef22f179-800x1209.jpg\" alt=\"A book cover featuring an illustration of two women with brown skin and Black wavy hair face to face. Above them floats another female figure almost acting as a sort of guardian.\" width=\"800\" height=\"1209\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/cover_custom-55176823d72bd2bbb7e4d3f04fe93a5eef22f179-800x1209.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/cover_custom-55176823d72bd2bbb7e4d3f04fe93a5eef22f179-1020x1542.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/cover_custom-55176823d72bd2bbb7e4d3f04fe93a5eef22f179-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/cover_custom-55176823d72bd2bbb7e4d3f04fe93a5eef22f179-768x1161.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/cover_custom-55176823d72bd2bbb7e4d3f04fe93a5eef22f179-1016x1536.jpg 1016w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/cover_custom-55176823d72bd2bbb7e4d3f04fe93a5eef22f179-1355x2048.jpg 1355w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/cover_custom-55176823d72bd2bbb7e4d3f04fe93a5eef22f179.jpg 1588w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Daughters of Latin America.’ \u003ccite>(Harper Collins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Award-winning writer, editor and filmmaker Sandra Guzmán once heard an alarming statistic: Every 14 days, an Indigenous language dies around the world.\u003c/p>\n\u003cp>That is, in part, what prompted her to seek out those voices for a new multilingual project centered on Latin American women. The result is the book, \u003cem>Daughters of Latin America: An International Anthology of Writing by Latine Women\u003c/em>, which compiles the work of 140 writers, activists and thought leaders from the region.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13932147","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“What clicked was this notion that whenever we think about writers, we don’t automatically think of a Latin American woman writer,” Guzmán told \u003cem>All Things Considered\u003c/em>. “We don’t think of an Esmeralda Santiago or a Sandra Cisneros … or Guadeloupe’s masterful writer Maryse Condé or Edwidge Danticat.”\u003c/p>\n\u003cp>“And these are women who have historically written and guided me, and so why not bring together the voices in one volume?”\u003c/p>\n\u003cp>Guzmán also took inspiration from an existing collection, called \u003cem>New Daughters of Africa: An International Anthology of Writing by Women of African Descent\u003c/em>. It features more than 200 women from that region.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Her anthology weaves poems, short stories, essays, speeches and more. The contributors live across the Americas and the Caribbean, in Europe and in other parts of the world; some are immigrants, others are members of Indigenous communities. And there are more than 20 languages in the book.\u003c/p>\n\u003cp>“We are one of the most multilingual, multiethnic, multiracial, multireligious regions in the world,” Guzmán said. “So for me, it was really important to convey that diversity.”\u003c/p>\n\u003cp>There is, for example, Rosa Chávez, a Maya K’iche’-Kaqchikel poet and artist from Guatemala. A few of her poems appear in the Kʼicheʼ language in the anthology as well as in English. The poem, \u003cem>Speak to me in the language of time, \u003c/em>was translated from Spanish by Gabriela Ramirez- Chávez:\u003c/p>\n\u003cblockquote>\u003cp>Speak to me in the language of time\u003c/p>\n\u003cp>shake me in the silence of the stars\u003c/p>\n\u003cp>wake merely before drifting back to sleep\u003c/p>\n\u003cp>so I can love you with my domesticated tongue\u003c/p>\n\u003cp>so your barefoot voice plays inside my body.\u003c/p>\n\u003cp>Speak to me with the sun’s tongue\u003c/p>\n\u003cp>tell me green words that ripen on my skin\u003c/p>\n\u003cp>join your name to mine\u003c/p>\n\u003cp>and love me with your two hearts.\u003c/p>\u003c/blockquote>\n\u003cp>There is also Sonia Guiñansaca, who was born in Ecuador and raised in Harlem, NY. They are a Kichwa-Kañari poet, culture strategist and activist. This is an excerpt of their poem, \u003cem>Runa in Translation\u003c/em>:\u003c/p>\n\u003cblockquote>\u003cp>There is a longing to write this poem in Kichwa / I speak broken\u003c/p>\n\u003cp>Spanish / English with a heavy New York City accent / I wonder if my\u003c/p>\n\u003cp>tongue will ever heal from the breaking /\u003c/p>\n\u003cp>A breaking like when I am around other Kichwas\u003c/p>\n\u003cp>and I cannot understand them /\u003c/p>\n\u003cp>I wonder sometimes (most times) if I’m real / At age five I am plucked\u003c/p>\n\u003cp>from Ecuador and flown to the U.S. / For a brief moment I am given a new\u003c/p>\n\u003cp>name and my hair is cut / and my burgundy luggage goes missing / So I\u003c/p>\n\u003cp>arrive with nothing / I think that I am nothing through middle school / And\u003c/p>\n\u003cp>in high school I stop existing / I nest in my mouth / Quietly /Kikinka\u003c/p>\n\u003cp>maymantatak kanki\u003c/p>\u003c/blockquote>\n\u003cp>Guzmán said she also wanted to put Afro-Latinas front and center in this collection: “It’s really important for me as an Afro-Indigenous woman to include women who have paved the way for us.”\u003c/p>\n\u003cp>One example is Mary Grueso Romero, a poet, children’s literature author and Spanish professor from Colombia. Here’s an excerpt of her poem, \u003cem>Si Dios hubiese nacido aquí (If God had been born here)\u003c/em>, translated into English by Guzmán herself:\u003c/p>\n\u003cblockquote>\u003cp>If God had been born here\u003c/p>\n\u003cp>he’d be a fisherman,\u003c/p>\n\u003cp>eat chontaduro\u003c/p>\n\u003cp>and drink borojó.\u003c/p>\n\u003cp>María would be Black\u003c/p>\n\u003cp>big boned like me\u003c/p>\n\u003cp>and on top of her head would carry a platter of fish\u003c/p>\n\u003cp>offering at the top of her lungs\u003c/p>\n\u003cp>through the town’s streets\u003c/p>\n\u003cp>to all the town folk:\u003c/p>\n\u003cp>“I have silky fish whole and intact;\u003c/p>\n\u003cp>snapper to eat fried,\u003c/p>\n\u003cp>ñato fo’ stewin,\u003c/p>\n\u003cp>tollo fo’ sweatin’\u003c/p>\n\u003cp>and canchimala for tapao.”\u003c/p>\n\u003cp>If God had been born here,\u003c/p>\n\u003cp>here on this coast,\u003c/p>\n\u003cp>he’d be a farmer\u003c/p>\n\u003cp>who’d harvest coconuts from the palm\u003c/p>\n\u003cp>grove with his muscled body\u003c/p>\n\u003cp>like a Black man from El Piñal,\u003c/p>\n\u003cp>with jet Black skin\u003c/p>\n\u003cp>and ivory teeth,\u003c/p>\n\u003cp>with tight coily hair\u003c/p>\n\u003cp>like he was a chacarrás.\u003c/p>\n\u003cp>On the Pacific plain\u003c/p>\n\u003cp>he’d harvest natos and mangroves\u003c/p>\n\u003cp>that he’d turn into rollers fo’ the rails to rest,\u003c/p>\n\u003cp>and he’d fish crabs\u003c/p>\n\u003cp>from the neighborhood caves.\u003c/p>\n\u003cp>If God had been born here,\u003c/p>\n\u003cp>here on this coast,\u003c/p>\n\u003cp>he’d feel his blood rise\u003c/p>\n\u003cp>at the sound of the drum.\u003c/p>\n\u003cp>He’d dance currulao with marimba and guasá,\u003c/p>\n\u003cp>he’d drink biche\u003c/p>\n\u003cp>in the patronal festival,\u003c/p>\n\u003cp>he’d feel on his own flesh\u003c/p>\n\u003cp>the inequality’s scorn for being Black,\u003c/p>\n\u003cp>for being poor,\u003c/p>\n\u003cp>and for being from this coast.\u003c/p>\u003c/blockquote>\n\u003cp>Guzmán also wanted to highlight the works of Puerto Rican writers, explaining that they are often left in the margins.\u003c/p>\n\u003cp>“When anthologies are curated in the United States, for instance, we are often forgotten,” she said. “And when anthologies are curated in Latin America … we’re also forgotten.”\u003c/p>\n\u003cp>One of those she included was Esmeralda Santiago, a Puerto Rican novelist and memoirist who contributed the poem \u003cem>Mi Sangre \u003c/em>(\u003cem>My Blood\u003c/em>). Here’s an excerpt:\u003c/p>\n\u003cblockquote>\u003cp>I’ve left my blood in 49 states, 27 countries on five continents.\u003c/p>\n\u003cp>These days, my blood fills test tubes and spreads across specimen slides.\u003c/p>\n\u003cp>I bleed to delay death a sanguine stream to insufferable regions while my defiant blood pulses in the strangest place of all my children’s veins.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13928174","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Guzmán said she hopes this anthology will prompt people to read more of these artists — and others from the region — who live in all corners of the world.\u003c/p>\n\u003cp>“To understand Latin America through the lens of its women is to fully understand the cultures and the people that inhabit this region in different parts of the world,” she said.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>The poems in this article were adapted from \u003c/strong>\u003cstrong>\u003cem>Daughters of Latin America \u003c/em>\u003c/strong>\u003cstrong>edited by Sandra Guzmán and reprinted with permission from Amistad, an imprint of HarperCollins Publishers. Copyright 2023.\u003c/strong>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR.\u003c/a>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=These+poems+by+Latin+American+women+reflect+a+multilingual+region&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13933527/sandra-guzman-poems-by-latin-american-women-multilingual-daughters","authors":["byline_arts_13933527"],"programs":["arts_140"],"categories":["arts_1","arts_73"],"tags":["arts_7005","arts_14801","arts_1496","arts_4244","arts_585"],"affiliates":["arts_137"],"featImg":"arts_13933532","label":"arts_140"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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