This is the latest in what has been a wealth of great poetry news lately and it’s all coming in just in time as I have a few classes of poetry to teach and some talks to give in the very near future, and it would suck to be doing any of that important work without feeling 100% in love with poetry.  A statement I think I’m almost ready to say but instead I will say this:  Yes, I am 100% in love with the possibilities of poetry.

The 2000s have been good to me and it’s good to see this decade pass into some good memories.  Of course, not everything was flamenco guitars and endless tapas with some rocky spots I could have avoided with some foresight but you know how that goes.

The most notable event of my 30s (Yeah, I’m a decade baby so as 2010 comes in so do my 40s… Good times!) was my introduction to poetry.  This is a good thing to remember cuz ten years back I wouldn’t know a good poem if it came up and smacked me in the back of the head.  Today, I do have a good idea what a good poem is to me and it doesn’t have to hit me in the head to be good.  I also have some sense of what a bad poem is and I’m very ready to smack it upside the head. The trick is to keep myself writing more of the good poems and less of the bad poems while developing a personal rubric that balances the technical and evocative elements I enjoy in poetry.

I’m trying to stay positive as the ball drops tonight cuz my relationship to my own poems has been seriously rocky lately. This coincides with my lack of blogging since the internet has not been doing much to improve my writing lately.  All I seem to keep finding is negativity and finger pointing, nameless bashing and a general focus on what’s wrong with US Poetry over what’s good.  And, seriously, who wants to be a part of that?

Now I gotta look at the man in the mirror (C’mon, no end of the year post is complete without a Michael reference) and stick to a game plan that steps up my own game by comparing my new work to my old work, submit more, read more fiction and keep working towards my AA and do it with a smile, style and a fly fedora.

Palabra.

Yesterday’s Emerging Writers Panel at the SFPL was a great event-solid turnout, lots of information and a diverse group of opinions regarding the pros and cons of various writing programs.  It was an honor to be one of the panelists and share out some of my experiences.  For more info and links on some different writing programs, check out the PAWA Inc blog.

And here is the text of my presentation:

I came into poetry in my early thirties and jumped right into the thick of it by frequenting a local open mic in New York City with little preparation except reading a few passages of Neruda and Eliot, and listening to the poetry of my fellow open micers.  As you might imagine, my first attempts at poetry were horrific.  Well, maybe it wasn’t that bad, because I was lucky enough to receive the encouragement and direction from the resident poets of the A Lil Bit Louder reading series. The organizers kept encouraging me to read my poems aloud to develop a connection between the verse I was writing and how it was connecting with a live audience.  Over time, as I was beginning to get an ear for what I liked to write, I would be given suggestions on what authors I should be reading and getting to know and so I was introduced to the books of Willie Perdomo, Patricia Smith, Junot Díaz and the Aloud anthology of poets from the Nuyorican Café.  I didn’t know it but this was my first community workshop, after a good reading I would get direct feedback from audience members about the lines they felt resonated with them and if I had a poor reading, which still happened more times than I care to admit, a poet would take me to the side and point it out to me. When the opportunity to take a series of formal workshops with these poets, who were now collectively known as the louderARTS Project, came up, I jumped at the chance.

More than just learning the language and norms of a workshop setting, both in a formal classroom and informal live reading setting, I was also learning that the first lesson of community is to take your knowledge and pass it down to the next aspiring open micer.

Since those first workshops with louderARTS I’ve continue to seek out various community workshops, partially for the challenge of sharing a class with poets in various stages of development but mostly out of necessity.  While some poets debate the merits and drawbacks of an MFA in creative writing, I don’t really have a choice in the matter since I’ve yet to complete an AA much less think about a post-graduate degree.

With that said, I still feel that community workshops have afforded me a space to broaden my own poetic aspirations with the ability to take classes with writers who, and I know this is gonna sound corny, are my heroes.  Not only that but most of those classes have been fairly low-cost and in some cases even free.

This isn’t to say that the community workshop experience is a poetic paradise.  I find myself often having to grapple with instructors who view poetry as a therapeutic form of expression with no rubric set in place for what makes a poem successful other than it should have an ethereal quality of power, emotion and purpose.  Too often this kind of workshops seeks to open the world of poetry by validating anything that has been penned down with line breaks.  Thinking back to my first experiences, if I had been told everything I was writing/reciting was the new hotness I would still be cranking out ambiguous, florid, morality fables to tepid, polite applause instead of trying to reach a higher level of creative language for myself.

A call to higher figurative language is one of the hallmarks of the instructors who have pushed me the most in my poetic development—informally, the advice and example of Roger Bonair-Agard kept me moving to the next different poem while also delving and identifying what the emotional core(s) of the poem were in recitation; in a more formal setting, the guidance of Willie Perdomo and Truong Tran has made me look back over my work to refine points of syntax and word choice that can both broaden the language while condensing it at the same time.

And, in the most informal sense, I think of the poetic conversations I engage in daily with my wife, Barbara Jane Reyes, who also happens to be the first reader/listener of all my poems.  Whether we are discussing a literary event we attended, how I’m going to structure a new chapbook or just what exactly is the definition of poetry—we are constantly going over the points of craft and how it can be expanded for the sake of a better line, tighter stanza, finer poem, worthwhile manuscript.

All to say, whether your path is a community workshop or an MFA program, talking about your poems over drinks at a slam or analyzing the linebreaks of your favorite verse, the emphasis should always be on where your work is today, what you would like to see for it tomorrow and what is your game plan to get it there.  They say there is no such thing as a dumb question and I think in poetry there is no such thing as a dumb poetry conversation.  The only question is where will you be having that conversation and with which community.

Deep Oakland is excited to announce the publication of several new chapbooks and projects, along with a release party on November 19, organized by Charles Legere, in celebration of Deep Oakland editions.

On Thursday, November 19, please join us at 21 Grand in Oakland, at 7:00 for short readings by:
Adam Cornford
Samantha Giles
Dan Thomas Glass
Javier Huerta
Charles Legere
Barbara Jane Reyes

We’ll also be projecting photographs from Meg Escudé’s collaboration with Charlie Legere, Dan Thomas Glass’s 880 series, and Rebecca VanDeVoort’s series focused on gas stations in Oakland. There’ll be a DJ in the 21 Grand house, Alex Benson. And you know what that means: dancing!

I’m feelin monster tired but with not much to show for it. I say this knowin full well that I have helped out at a number of local literary events with everything from watching the front door, putting chairs away at the end, and just coming through to archive the events in my Flickr and YouTube accounts. Aside from that I am still attending my BCC poetry class and (I think) gettin good grades. My jay-oh-bee continues to get more interesting (read: more work, more hours, more stress, more fulfillment) and I feel like it’s just going to keep gettin more interesting.

On the flip side, I haven’t been getting any writing done and it feels like I’m also reading less.  This could be just a regular dip in energy level or it could be just a reaction to a lot of negativity I keep sensing in e-world around poetry.  Mind you, I’ve never been one to pay heed to all the calls of “Poetry is Dead” or “Poetry Never Does Anything.” I always view these random editorials much the same way I view a person on the corner yelling out, “The end is near… Repent!”  But this joyless tone is draining my desire to read up about anything poetry related on the net.  So my reaction has been to fold up a little aluminum hat and ignore all my RSS feeds and that includes my own blog which has had little content in the last six weeks or so.

Now that I’ve typed that out, maybe I can turn it around and get more positive about poetics cuz there sure is still a lot of great work out there to read and enjoy.  Emphasis on the joy part.

I only read four books in October but they were all damn good.

My Kill Adore Him
Paul Martínez Pompa’s debut collection is subversive in the finest tradition of the word–his cycle of examination unearths layer upon layer of the Latino poet experience and results in some wondrous & dangerous poems.

Batman: Whatever Happened to the Caped Crusader?
A mixed bag of goodies here from Neil Gaim and and company but still a fine effort and fun read in this newest addition to the Dark Knight mythos.

The Art of the Poetic Line
James Longenbach’s breakdown of the line feels like it has helped me identify what makes other poets so good.  I’m hoping to transfer those lessons to my own poems.

Angry Days
I love reading first books from established poets and this one delivers.  Sesshu Foster’s focus on humanity through a volatile and uncaring urban political landscape is high poetry with its focus on common language, shared experience, and defiance.  The book starts off a bit uneven but gathers steam as it goes and ends on a must-read essay about how real life affects poetic form.

Flickr pictures from We Are Already in the Future: Amiri Baraka at the San Francisco Public Library can be found here.

The poetry of Amalia Bueno, Rachelle Cruz, Guillermo Parra and Amir Rabiyah is featured this month’s issue of Back Room Live, guest edited by Oscar Bermeo.

From my editor’s notes:

The poets presented here believe in the value of community.  All the poems here happen in the wild open air with interactions as varied as Radiohead in Venezuela, a trip on the Bx1 in the Bronx, communion with the dead, and conversations with God.  These poems bristle against the unexpected, invite conversation and (in my idealized world) spread out to create connections with their poetry.

Many thanks again to Life Long Press editor-in-chief Valyntina Grenier for this chance to the work of some very exciting poets.

Back Room Live with Guest Editor Oscar Bermeo

Many thanks to Valyntina Grenier of Life Long Press for the opportunity to guest edit this month’s issue of Back Room Live.

Be on the lookout for some great poetry from Amalia Bueno, Rachelle Cruz, Guillermo Parra and Amir Rabiyah.

And for all of y’all on Facebook, please check out the events page.

WE ARE ALREADY IN THE FUTURE! BARACK OBAMA: YEAR ONE

POET, PLAYWRIGHT, ESSAYIST, AMIRI BARAKA WILL DELIVER A TALK ON THE PRESIDENCY OF BARACK OBAMA

SUNDAY, NOVEMBER 8, 1PM
SAN FRANCISCO PUBLIC LIBRARY
MAIN BRANCH IN THE KORET AUDITORIUM
100 LARKIN STREET (at GROVE)

In a rare West Coast appearance, poet, playwright, essayist and political activist Amiri Baraka delivers a historic speech on our first African-American President, Barack Obama. One of the true giants of international poetry, Amiri Baraka is a towering presence in the history of the United States and throughout the Americas. A transitional figure in both the Beat Generation and Civil Rights Era, Amiri Baraka is also know as the father of the Black Arts Movement. In 2008, during the primary and general election cycles, Amiri Baraka continued to surprise, delight and provoke his friends and enemies with a series of rigorous, inventive, and powerfully deciphering essays on then candidate Barack Obama. With this unique, once in a lifetime, event Amiri Baraka will revisit those essays, and bring his keen, always original, interpretation of the Obama Presidency in it’s first year. The talk will be immediately followed by a discussion with Justin Desmangles, and continue with a question and answer period with the audience.