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Wilde Readings Open Mic:

Why I’ll never wash my white T-shirt again

A micro-memoir in the style of Beth Ann Fennelly, written by Susan Thornton Hobby, Executive Producer of the Writing Life 

Beth Ann Fennelly showed up at the Blackbird Poetry Festival last week in a skirt printed with rows of books of many colors, lime-green and fuchsia shoes, a brown sweater dotted with green flowers and a vintage chartreuse Canada Dry T-shirt that I coveted. Fennelly, who was at the festival to give a workshop, and give two readings, is the author, most recently, of Heating and Cooling: 52 micro-memoirs.

Anyone looking at both of us together could tell immediately who the poet was – I was in a white T-shirt, black pants and gray jacket. I did put on my red shoes, but other than that, I was as neutral as Switzerland.

Danielle Maloney, television director extraordinaire of The Writing Life, explained that because we use a green screen with a computer-generated set when taping the show, Fennelly’s torso would disappear – literally melt into the electronic background.

Fennelly would be not the headless horseman but the torso-less poet. She and I locked eyes. Then we both looked at my chest. The white T-shirt.

As she later told the audience at the Nightbird reading, “my host gave me the shirt off her back.”

But in the television studio, Beth Ann moaned, “I need color,” gazing forlornly at my boring shirt.

HoCoPoLitSo’s managing director Pam Simonson, the ultimate problem-solver, donated her butter-yellow jacket, which matched a few books on the skirt, and Beth Ann had a new outfit. I wore a Dragon Digital Television polo that the director found in a box in her office.

After a deep and hilarious thirty-minute conversation on The Writing Life, lead by poet Teri Ellen Cross Davis, Fennelly and I rushed to the car so she could grab some dinner and change before the evening reading. I was carrying books, a few remaining cookies from the dozen I baked to fuel the student camera operators, my jacket, Pam’s jacket, and the white T-shirt.

After I had dropped Fennelly at her hotel, I wanted to change back into my white shirt for the reading. I searched  my car’s back seat, front seat, floorboards. It was gone.

I realized I must have dropped it. No time to find another shirt – I just threw my jacket on top of my black Dragon Digital polo and picked up the poet to reach the reading on time.

Just as we were turning into the parking garage, I told Beth Ann I needed to go search the hallways of Howard Community College for my T-shirt. And then then headlights hit it – a crumpled puddle of white on the parking garage floor.

“I’ll get it!” Beth Ann shrieked, and jumped out, the rhinestones on her vintage dress flashing in the headlights as she triumphantly held the shirt over her head. The shirt was criss-crossed with tire tracks. It smelled of damp cement, Michelin radials, and Beth Ann Fennelly.

I’ll never wash it.

Beth Ann Fennelly: It’s all about the mouth

blog post by Susan Thornton Hobby

An open and shut case at Blackbird Poetry workshop…

Only Beth Ann Fennelly could urge more than 150 people gathered for a writing workshop during the Blackbird Poetry Festival to stick their fingers in their mouths and repeat: “Bet, butt, bet, butt, bet, butt,” until they had figured out how their tongues were making the words.

It also could have been the threat of interpretive dance (their own, if they did not participate).
Either way, Fennelly clearly illustrated her point – the shape of our mouths influences the connotations certain sounds retain, in languages around the world. And therefore, the sounds bring meaning to poetry.

Here’s her quiz.

Carl Sandberg wrote: “The voice of the last cricket/ across the first frost/ is one kind of goodbye.”
The next line, Fennelly asked, is it “so thin a splinter, so meager a morsel or so small an atom?” “Thin a splinter,” someone called from the back of the room. “Yes,” Fennelly said. “That short ‘i’ sound – the sound of small, a vulnerable feeling. “

Poets use sound to make meaning with words that suggest meanings, through their brevity or length of sound (“pup” and “bark” are the same number of syllables, but they take longer to say), the pleasure or discomfort of the sounds in our mouths (“melodious” versus “sticky”), and by setting up and displacing a metrical scheme.

“I’m hedonistic about feeling the sound of words, there’s a pleasure of sound,” Fennelly told the group.
She lead them through poems by Robert Herrick (“melting, melodious words to lutes of amber,” and by Robert Frost, (“The Span of Life” – “the saddest poem in the English language,” Fennelly said.) She talked about how sounds of words can move the poem faster or slower, how a change in sound and rhyme and rhythm can surprise the reader in a good or unpleasant way.

By the end of the workshop, Fennelly gave dark chocolate bars to the students who scored the best on the quiz that tested their ear for poetry’s sounds. Because it was all about the mouth.

P.S. A week after her visit to Columbia, Fennelly was awarded The Excellence in Graduate Teaching & Mentoring Award by the University of Mississippi where she teaches.

Beth Ann Fennelly and Susan Thornton Hobby laugh together after the Nightbird reading on April 25, 2019 (photo credit: Laura Yoo)

 

Linda Dove Remembers Stanley Plumly

[a guest blog by poet Linda Dove written for HoCoPoLitSo]

Stanley Plumly died on April 11, 2019, in the most poetic month of the year. He was a poet’s poet and a teacher’s teacher. He authored ten volumes of poetry and four works of nonfiction, several of them award-winners, including a finalist for the National Book Award. He read for HoCoPoLitSo audiences twice – once in 1988 and once in 2010, and served as the Poet Laureate for the state of Maryland for most of the past decade. Since 1985, Plumly taught at the University of Maryland College Park, where he founded the MFA program and mentored students in poetics for more than 30 years.

Image result for stanley plumly

photo credit – Ohio University Libraries

In the fall of 1990, I took a poetry workshop with him at UMCP, where I was—at the time—pursuing a master’s degree in American literature. I was not a poet—instead, I was training to be a scholar of other people’s poetry. But I knew the chance to study with Stan Plumly was not something you passed up, and I, somewhat timidly, filed into the light-filled room every week. It would be years before I would produce a poem that I’d consider good enough to submit to a journal, but I soaked in the lessons nonetheless. For instance, when Stan praised a poem written by a classmate that was an ode to a woman’s areola, it reinforced for me that nothing was off-limits in poetry. Nightingales and Grecian urns might seem more the stuff of poetry, but they were only one means to one end—although, as odes go, those of John Keats were a pretty good bet for what Stan might consider great writing.

In fact, last week, a new poem by the young, celebrated poet Kaveh Akbar, “The Palace,” appeared in The New Yorker and made its lightning-fast rounds on Twitter. When I read the poem, I had the immediate thought, I wonder what Stan Plumly would say about this?, as Akbar imagines the voice of Keats into being (“Hello, this is Keats speaking”). Keats was Stan’s self-described poet-hero, a figure he wrote about extensively in prose, including in his much-praised book, Posthumous Keats:

Keats’s best-known doctrine, Negative Capability, implies an engagement in the actual through imaginative identification that is simultaneously a kind of transcendence. The artist loses the Selfhood that demands a single perspective or “meaning,” identifies with the experience of his/her object, and lets that experience speak itself through him/her. Both the conscious soul and the world are transformed by a dynamic openness to each other.

What’s striking about Stan’s interpretation of the famous Keatsian concept here is his focus on humility—“The artist loses the Selfhood”—that also happened to define Stan as a person. He was warm and generous and down-to-earth, even as he was revered. As one of my fellow graduate students, Renée Curry, recently remembered, “Stan was always ‘present.’ As a teacher, he made us look at the deepest meanings of words, at how they could create fire in a poem. As a reader of our poems, he was always kind, yet firm in what our creations needed in order to grow. . . I am so happy to have spent five years as his student.”

Yet, despite how very human he was, he also commanded the spaces he moved through. As another one of Stan’s students, Valerie Macys, commented, “the room shook just a bit whenever he walked inside.” In fact, she reminded those of us who gathered on Facebook to mourn his passing of how charismatic he was, how he had that special sort of aura about him, despite his modest mannerisms: “do you remember his cowboy boots and his jean jacket? He used to come into the building like he rode in on a stallion.” Or her memory of yet another graduate student, Tim Skeen, on his way to meet Stan in his office hours, who remarked, “‘It’s time to prostrate myself before the Oracle’.” Stan Plumly was larger than life, even as he was unassuming. To paraphrase his own poem, “Wight”—he embodied the verb “to be”:

Is is the verb of being, I the noun—

or pronoun for the purists of being.

I was, I am, I looked within and saw

nothing very clearly: purest being.

Of course, most of Stan’s oracular charm existed because of the poetry itself. The words “amazing,” “stunning,” full of “wonder,” “extraordinary,” and “genius” are all superlatives I’ve seen other poets apply to his work in the wake of his death. He made my own poems more responsive to that finer layer of the world, the one you notice only if you’re not taking it for granted. He shared that observant posture with the British Romantic poets he so loved, as well as an attention to a life lived through emotion. Writing about that all-too-common subject of heartbreak, Stan makes it sing:

Love, too, a leveler, a dying all its own,

the parts left behind not to be replaced,

a loss ongoing, and every day increased,

like rising in the night, at 3:00 am,

to watch the snow or the dead leaf fall,

the rings around the streetlight in the rain,

and then the rain, the red fist in the heart

opening and closing almost without me.

(from “Variation on a Line from Elizabeth Bishop’s ‘Five Flights Up’”)

Note the way that he makes the whole notion of lost love hinge on the word “almost.”

Poets are keenly aware that words outlive them. In Stan’s case, he left us with models of perfect pitch, imagery, and line. In “Ground Birds in Open Country,” he admits to letting the birds, the poems, go for us, anytime we might encounter his work in the future:

                       And in a hallway once,

a bird went mad, window by locked window,

the hollow echo length of a building.

I picked it up closed inside my hand.

I picked it up and tried to let it go.

They fly up so quickly in front of you,

without names, in the slurred shapes of wings.

Scatter as if shot from twelve-gauge guns.

Or they fly from room to room, from memory

past the future, having already gathered

in great numbers on the ground.

Another one of Stan’s students, Laura Dickinson, summed up his influence this way: “He made me a better poet. I can say nothing that is more significant about his impact on me than that,” to which Jeanne Griggs then added, “I think he also made me a better person, more conscious of things I’d overlooked before he insisted I look.” Truly, there can be no greater epitaph.

—————————————————————————

About the guest blogger:

Linda Dove grew up in Howard County and holds a Ph.D. in Renaissance literature from the University of Maryland. She teaches college writing and is an award-winning poet; her books include In Defense of Objects (2009), O Dear Deer, (2011), This Too (2017), Fearn (2019), and the scholarly collection of essays, Women, Writing, and the Reproduction of Culture in Tudor and Stuart Britain (2000). She lives with her human family, two Jack Russell terriers, and three backyard chickens in the foothills east of Los Angeles, where she serves as the faculty editor of MORIA Literary Magazine at Woodbury University.

https://www.pw.org/content/linda_dove

April Wilde Readings to Feature Poets Bruce Jacobs, Naomi Thiers, Open Mic

Howard County’s monthly free reading series continues on the second Tuesday of each month. In April, the reading will feature poets Bruce Jacobs, Naomi Thiers, and an open mic — that means you, bring your work.

Wilde Readings is sponsored by HoCoPoLitSo and coordinated by Laura Shovan, Ann Bracken, Linda Joy Burke, and Faye McCray.

 

All are welcome, and everyone is encouraged to participate in the open mic. Please prepare no more than five minutes of performance time/two poems. Sign up in advance by calling the Columbia Arts Center, or on the sign-in sheet when you arrive. The number for the Arts Center is 410-730-0075.

Light refreshments will be served. Books by both featured authors and open mic readers will be available for sale.

Poets Bruce Jacobs, Naomi Thiers and you.
Hosted by Linda Joy Burke.

April 9, 2019 • 7:00 p.m.
Columbia Association Arts Center

 

Bruce A. Jacobs is a poet, author, and musician. He has appeared on NPR, C-SPAN, and elsewhere. His two books of poems are Speaking Through My Skin (MSU Press), which won the Naomi Long Madgett Poetry Award, and Cathode Ray Blues (Tropos Press). His most recent nonfiction book is Race Manners for the 21st Century (Arcade/Skyhorse). His work has been published by dozens of literary journals and sites, including Beloit Poetry Journal, Gwarlingo, Truthout, and the 180 More anthology edited by U.S. Poet Laureate Billy Collins. He lives in Washington, DC.

Naomi Thiers grew up in California and Pittsburgh, but her chosen home is Washington-DC/ Northern Virginia. She is the author of three poetry collections: Only The Raw Hands Are Heaven(which won the Washington Writers Publishing House award), In Yolo County, and She Was a Cathedral(both from Finishing Line Press.) Her poems, fiction, and essays have been published in Virginia Quarterly Review, Poet Lore, Colorado Review, Grist, Sojourners, and other magazines and anthologies. Former poetry editor of Phoebe, she works as an editor for Educational Leadership magazine and lives in a condo on the banks of Four Mile Run in Arlington, Virginia.

Give that poet a laurel wreath -To go with her leather jacket

Poetry scares people.

Poets Laureate? That sounds like they should be wearing circles of laurel leaves on their heads and reciting from hilltops. Super scary.

Photo credit Tony Lewis

The new Maryland Poet Laureate is the opposite of that image, though I would highly condone granting her a laurel leaf crown. Grace Cavalieri is more poetry’s grandma, albeit one who wears a leather motorcycle jacket and writes collections of poetry about Anna Nicole Smith.

“She is not a gatekeeper, but one who opens the gate and says, ‘Come in, you are welcome here,’ ” said poet Teri Ellen Cross Davis, head of the Poet Laureate Selection Committee, who introduced Cavalieri on the last day of February at her induction party in Annapolis. (And will offer a workshop and read with Beth Ann Fennelly at this year’s Blackbird Poetry Festival.)

After Davis and other dignitaries finished praising her, Cavalieri beamed at the audience, including her four daughters sitting in the front row. She explained that at their family home, “Poetry has always sat at the table.”

For more than forty years, Cavalieri has hosted “The Poet and the Poem,” an interview show on public radio, now carried by the Library of Congress. She’s written more than 20 books and chapbooks of poetry, had 26 plays produced on the American stage, and won honors like the Pen-Fiction Award, the Allen Ginsberg Poetry Award, and the inaugural Columbia Merit Award from Folger Shakespeare Library.

Those awards sound off-putting, but Grace’s speech to the gathered crowd of past Maryland Poets Laureate, friends, former students at Columbia’s 1960s experimental Antioch College, fellow poets, and Italian cousins wasn’t.

“Here’s what poetry does. It slows us down,” Cavalieri said. “Poetry is a shelter, a haven, it’s dreaming on a page. Poetry keeps us from being lonely. It’s a bridge. It makes us more human.”

For young people, whom Cavalieri hopes most of all to reach with her message, poetry finds chinks in their armor, the defenses they’ve built up to navigate the world.

“Through writing, they find out who they are. Poetry is self-discovery. You find out where you’ve been and where you’re going,” she said. “I didn’t know who I was until I was 80, now I’m enjoying it very much.”

And after the laughter and applause died down, Cavalieri read one of her signature poems, about her grandparents’ Italian restaurant in Trenton, NJ. The poem’s topic? Something everyone loves – besides Grace – pizza.

Cavalieri came to HoCoPoLitSo’s very first event, on Nov. 19, 1974, with poets Carolyn Kizer and Lucille Clifton. And she started reading her work and teaching workshops with us in 1980, and was our poet-in-residence to the county schools in the 2002 to 2003 academic year. The students and teachers loved her for her energy and enthusiasm, which has not flagged a bit since then.

Cavalieri hasn’t stopped writing because she has this new laurel. Here’s her latest poem, about her latest job:

Terms of Office

for Lawrence J. Hogan, Jr.  January 16, 2019

May our Governor hear the language of the people

as terms of his office.

“Language” simply means many people

Have come together to make words.

There are nearly 100,000 words in the English language

I’ve chosen exactly 246, but I want to shine them up

To speak about a man serving in high office;

A man who will walk by the beautiful waters

Of our bays, rivers, rivulets;

One who continues with inner strength

Clearing new paths with elasticity for every kind among us—

Who knows love and hope are not holiday greetings

But governing principles—

A man aspirational for humanity.

Language always leads us to the soul of each matter,

And today it rinses words clean, renewing meaning:

Independence of thought

An honorable nature

Clear vision

Calm in the eye of national storms.

From the rich bottom lands of southern Maryland

To the forested hills of our western state—

From the dynamic energy of northern Maryland

To his own hometown—

May our Governor’s inner spirit seek compassion before action,

May his wisdom see that the heart’s choice dictates the mind’s decisions,

May he be rewarded with radiant pride for his integrity.

In speaking of success, Ralph Waldo Emerson said:

“Each one has an aptitude to do easily some feat impossible to any other

And to do otherwise undermines the talents of all others.”

May Governor Hogan be rewarded with radiant pride for his integrity.

 Grace Cavalieri

 Maryland Poet Laureate

 

Susan Thornton Hobby

HoCoPoLitSo recording secretary

 

“He has these great books that give me feelings,” a young reader raves about Jason Reynolds

When young adult bestselling author Jason Reynolds heard that HoCoPoLitSo’s archive of The Writing Life shows featured episodes with Amiri Baraka and Lucille Clifton, he shook his head in wonder. When he heard that HoCoPoLitSo’s web site had more than one hundred taped shows with literature’s rock stars, he said, “Oh, I’m going down that rabbit hole!”

And indeed, YouTube has offered scholars, readers, and writers an amazing opportunity – to learn about craft from contemporary literature’s greatest writers. Since 1985, HoCoPoLitSo has been preserving on video a series of half-hour conversations between diverse authors. Many of those writers have recently gone to afterlife rooms of one’s own: Baraka, Clifton, Richard Wilbur, Donald Hall, Gwendolyn Brooks, Frank McCourt.

No one has to set their DVR to catch the cable replays of these shows – just log onto YouTube.com/hocopolitso anytime. HoCoPoLitSo has spent more than ten years digitizing the brittle and fragile archival tapes to preserve those shows. The YouTube channel has garnered more than 1,100 subscribers and 400,000 views. And our latest upload, the show recorded with young adult author and poet Laura Shovan speaking with Reynolds, is already gathering raves.

One school administrator, after watching the show with Jason Reynolds, wrote, “This is a great conversation about author’s craft and decisions in a book (Long Way Down) that many of our students have read! Sharing with all my teachers.”

And a student reader wrote: “My language arts teacher met him a year ago and he signed two books for her and my teacher always pointed out the heart he put in the book and she always brags and says that this is going to be our favorite author and so far yes, he has these great books that give me feelings and before the Spider Man book came out, my teacher knew too.”

Reynolds is converting readers, just like HoCoPoLitSo wants to do.

 

Susan Thornton Hobby
Executive producer of The Writing Life

 

 

 

Poets Traveling Like Stars: Michael Collier, Elizabeth Spires, and David Yezzi

Tara Hart

 

 

 

Tara Hart is a Co-Chair of HoCoPoLitSo, and she is known for her beautiful introductions to the guest authors that we host. Below is her introduction to Michael Collier, Elizabeth Spirs, and David Yezzi. These authors read at the Lucille Clifton Reading Series on October 26, 2018 at Howard Community College’s Monteabaro Recital Hall. The introduction has been edited for the blog.


HoCoPoLitSo’s autumn reading series is named for Lucille Clifton, our late artistic advisor, distinguished master poet, and dear friend. We seek to craft a fall event each year that honors the caliber of her poetry and contributions to poetry, but also honors her spirit of connection, inquiry, and social justice, and her love for life and learning. She always let us know if HoCoPoLitSo was up to the mark and we know we would have had her fullest approval and blessing for the season opening event with three master poets Michael Collier, Elizabeth Spires, and David Yezzi.

These poets each have quite distinctive rhythms, tones, and subjects. But when I read their work in proximity to each other, fascinating connections emerge and start to tell a compelling story of the wonder of ordinary experience. When I say “wonder,” I do not mean it is all wonderful. But there is wonder in how many shades a life can hold, how many complexities and contradictions and paradoxes, and yes, how much darkness can be present yet still allow for light. In the work of these poets, you see free verse, but also elegantly structured quatrains, villanelles, and sonnets; there are some explicit references to other contemporary poets but also to King Lear, Keats, Emily Dickinson. These poets include a lot of snow in their poems, a lot of birds and flowers, dreams and ghosts, but also Instagram, humblebrags, and hashtags, anxiety medication, soap operas, game shows, videogames, even Patrick Swayze. There are terrifyingly timely poems about being a 21st century man with terrifying impulses. About guns, plagues, and tragedies in daylight. About those who abuse others’ trust and those who enable abusers. About inadequate rulers, about resistance, about the need to “stay human” amidst the news, the smartphones, and the loneliness.

These poets help us understand both the timeless and contemporary purposes of poetry, this singing and where it might come from. Using some of their own words now, we can see how poetry is “Like the weather that is never one thing.” It might be about making “bright things from shadows.” Poems might be stacks of perfectly balanced rocks or cairns, with words like roaring shells you hold up to your ear that say neither yes nor no, but to which we listen. Poets might be beggars with empty bowls peddling “poems that were never ours though we wrote them”; poets might write from bruised places or from the “place where a night/bird sings.”

All three poets’ work is full of wings (birds, ghosts, leaves, moths, bees, oars) “drumming and drumming.” They drum of ordinary regrets: our missed turns, going away for too long, getting lost, doing things that can’t be undone. Our desires, our clutter. Our “wingless feet.” Our ordinary worries: about children, about loss, about dying. “The terror of all that could befall me, you.”

These poets show us the nature of inquiry: “here in this place, there are no names on the map. There is no map.” They ask “What does it mean to be alive?” Why is “happiness so fleet”? “What is our hate made of?” “What will be left when each thing goes?” “Is it enough? To rest in this moment? To turn our faces to the sun?”

Finally, in Elizabeth Spires’ poem “Starry Night,” she gives us faith that the light of artists keeps travelling like stars, never darkening, never dying. As we stumble, they still shine, so we should keep looking up to them, working wonders.

A LONG WAY TO GO ON GUN VIOLENCE BY LAURA SHOVAN

This essay originally appeared on Nerdy Book Club and has been reposted here for HoCoPoLitSo readers with the permission of the author and Nerdy Book Club. The original posting can be found here: https://nerdybookclub.wordpress.com/2018/11/15/a-long-way-to-go-on-gun-violence-by-laura-shovan/


We woke up on Thursday morning to news of another mass shooting in America, this time at a California bar. It was college night. As the mom of two college students, I was shaken once again. It had only been eleven days since Jews were gunned down in their Pittsburgh synagogue. Twelve since a man killed two people at a grocery store after he was unable enter a predominantly black church nearby.

Writers and publishers are producing a growing number of books for children and teens about gun violence. In This Is Where It Ends, by Marieke Nijkamp, readers witness a mass school shooting through the eyes of several narrators. Marisa Reichardt’s Underwater offers a thoughtful study of a school shooting survivor who suffers from PTSD. The Hate You Give, by Angie Thomas — in which a girl witnesses the police shooting her best friend, a black teen — is now a movie.

These are important books. Kids need these stories as they struggle to understand what we are all struggling with: gun violence is impacting their generation. But what they also need are books that carefully examine our culture’s relationship to violence.

Photo credit: Yassine El Mansouri

Last weekend, a friend and I saw the John F. Kennedy Center for the Performing Arts’ production of Jason Reynold’s Long Way Down. The verse novel was adapted for the stage by Martine Kei Green-Rogers and directed by Timothy Douglas. The play follows the book’s plot: When his older brother Shawn is shot and killed, fifteen-year-old Will follows the rules handed down by the men in his family: “No crying. No snitching. Always seek revenge.” The story takes place as Will rides his building’s elevator – gun tucked into the back of his pants – down to the street, where he plans to shoot his brother’s killer. During that ride, the ghosts of past gun violence in Will’s life visit him, forcing him to look at how each loss has hardened him. He begins to question what he is about to do.

This production was, remarkably, a one-act, one-man show, with actor Justin Weaks playing not only Will, but also the people he has lost. That choice drives home an important point: Will carries each murdered friend and family member deep in his psyche. Each ghost’s visitation peels back a layer of Will’s armor, and we see him feeling emotions most boys are taught to hide: fear, grief, sadness. I won’t go into the wonders of the staging – how the coffin-like elevator was recreated, its mirrored walls reflecting the actor’s face as Will reflects on the people he’s lost.

Photo credit: Yassine El Mansouri

I am still trying to piece together my reactions to Long Way Down after reading the book, experiencing this production, and interviewing Jason Reynolds for a local television series called “The Writing Life.” What sets this book apart is that act of peeling back layers of grief. Readers connect with Will’s first-person voice straight away. We are already rooting for him to make a different choice, even as we understand his in-the-moment decision to punish the person who took his brother’s life. However, as Reynolds introduces us to the ghosts, the reader or audience member begins to understand intergenerational violence and how traumatizing it is for children, especially children of color.

I was grateful that after the standing ovation, a facilitator was on hand to help people process what we had just witnessed. As audience members shared their stories – best friends, siblings lost to gun violence – I was in denial. “Gun violence hasn’t touched me directly,” I thought. But of course, it has. My friend was at our local mall in Columbia, Maryland, during a shooting in 2014. She sheltered in place in a cramped store-room for hours before the all-clear was given. On New Year’s Day, 2017, my neighbor’s fifteen-year-old daughter – my daughter’s friend – was shot and killed by a classmate who had stolen a gun and broken into their house.

Another act of violence in our community was one of the inspirations for my recent middle grade novel, Takedown. On a winter evening in 2007, an ongoing argument between two groups of teens escalated. They went to an empty high school parking lot for a rumble. One boy, a highly-ranked wrestler in the county, brought a bat. He killed another teen that night. I remember sitting down with my son, who was ten years old at the time and part of the county’s tight-knit wrestling community. As a family, we talked about the idea that at any point that evening, the teens involved could have made another choice and walked away from the fight. In Long Way Down, Will’s elevator ride is his moment to decide whether he is going to walk away and step out of the cycle of violence.

Although I decided to tone down the violent moment in my story of a middle school girl who joins an all-boys wrestling team, writing about a traditionally male combat sport gave me an opportunity to look at this issue. And this week, I am reminded that our society is paying the price for celebrating violence among boys and men, whether we actively teach them to seek revenge, or we subtly look the other way under the guise of “boys will be boys.”

Books like Long Way Down are necessary, because they can help us talk with children and teens about the cost of violence, and what it means to walk away.

Laura Shovan’s debut middle grade novel, The Last Fifth Grade of Emerson Elementary, won several awards, including NCTE 2017 Notable Verse Novel, Arnold Adoff Poetry Award for New Voices honor book, and a Nerdy Book Club award for poetry. Laura’s second children’s novel, Takedown, is a Junior Library Guild and PJ Library selection.  Look for her next book, A Place at the Table, co-written with author/activist Saadia Faruqi, in 2020. Laura is a longtime poet-in-the-schools in her home state of Maryland.

Power of Poetry – a guest post by Hiram Larew

Poetry doesn’t vote.  It can’t rule.  It sits on no juries.  It signs nothing into law.  It neither runs companies or organizes houses of worship.  And, it never ever wins an Academy award or Olympic Gold Medal.  Or, war.  On all of these fronts that matter, poetry is powerless.  And for that very reason, of course, it is incredibly powerful.

Poetry is our grins, our anger, your life, my death.  It’s the birds that stitch air.  It’s the soul of night, the feast of day, and that ever present caution that’s careless.  Poetry doesn’t decide.  It doesn’t provide.  If it answers at all, it does so with questions.  And, to be honest, poetry doesn’t care; it cares as deeply as wells do, yes, but it never brings you water.  It wants nothing from you except wanting – this is probably its most gifting power.

And it soars, when allowed to, over just about anything else we can imagine.  It’s not the clouds above so much, but our need for them.   Said all at once, poetry is powerful for what it cannot be, and for the dreams it wants.

If you should ever encounter a poem that makes you jump, ask yourself why.  Most likely, the answer – if there is one – will be from so far-fully inside you that ancestors will wink.

Finally, poetry is really nowhere and so it’s just about everywhere around us.  It lives in the corner of your eye.  It watches everything from the side.  Poetry is the best glancer of all.   It also aches with whatever is gone.  And, it cheers – even raves – for what may never be.  All to say, thank goodness – and badness – for poetry, and for our never being completely sure how powerfully potent it really is.

 


image used with permission by Hiram Larew

Hiram Larew’s work has appeared most recently in Little Patuxent Review, FORTH, vox poetica, Poetry Super Highway, Poets & Artists, Every Day Poems, Lunaris Review (Nigeria), Amsterdam Quarterly, and The Wild Word.  Author of three collections, he’s been nominated for four national Pushcart prizes, is a member of the Shakespeare Folger Library’s poetry board, and organizes several events in Prince George’s County, Maryland and beyond including Poetry X Hunger and The Poetry Poster Project. He is a global hunger specialist, and lives in Upper Marlboro, Maryland.

This piece first appeared in Echo World, and subsequently in Poets & Artists, Tales from the Forest, Miriam’s Well (blog) and Huffington Post’s Thrive Global.

Joelle Biele brings poetry alive for HoCo students

a blog post by Anne Reis, HoCoPoLitSo Board Member

Poetry is alive and well at the Homewood Center, Howard County’s alternative school. I know this to be true because I am Homewood’s Media Specialist and for the past 10 years, with the support of HoCoPoLitSo, I have been able to host poetry workshops in my library.

Students who attend Homewood have not succeeded in the comprehensive school environment. Poetry gives these students a safe and therapeutic way to express themselves and exposes them to the power of the written word.  The transformative power of poetry was never more apparent than earlier this year when HoCoPoLitSo’s Writer-In-Residence, Joelle Biele came to our library for a visit.

From the moment that she greeted the students with her calm spirit and razor sharp intellect, she engaged them in a different way of thinking.  With so much emphasis in school curriculum on STEM related subjects, students are rarely given the space or the time to think creatively.

Ms. Biele began her presentation by literally opening the space in the room with a Youtube video of Sandhill cranes migrating.  The peaceful images of cranes in flight gave our students a moment of Zen and the background knowledge that they needed to understand her poem, Autumn.  Ms. Biele challenged our students to think about what it means to write and the types of writing that they do in their daily lives.  Is a text writing? Can a Facebook post be poetry? And from where does a writer find his or her voice?

Students were also asked to respond to the prompt called “I am.”  Such an important question for every young person, and perhaps even more important for the struggling learners at Homewood: Who Am I?  Who asks students such questions and who cares about their answers?  The answer is loud and clear: poets!

For many of the students at Homewood the time spent with Ms. Biele was their first encounter with a poet, but hopefully it won’t be the last.

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