Juan Felipe Herrera: Giving thanks to the open mic cafes

Having come up through open mics, local workshops, live readings, and a lot of self-study, it feels great to hear National Book Critics Circle Poetry Award winner Juan Felipe Herrera give praise to grassroots education. It’s also great to have such an elder share his thoughts on what happens after grassroots. Barb has some more detailed thoughts about his Poetry Foundation feature but I’d like to add that this balanced approach between what poets can gain from open mics and academic workshops has historically been the best way to attain prominence in US Poetry.

I’m directing this incredibly obvious statement not to the academic community but to the grassroots community because even though examples like Herrera abound the prevailing belief in open mic communities is that academic intervention doesn’t enhance your art but detracts from authenticity. This is the reason we have the subcategory of “spoken word,” a poetry that aspires to be more than talk on an open mic but doesn’t require the polish of a workshop. And who does this label serve? Does it help the open mic cafes where poems, styles, and themes become repetitive because of lack of rigor? No. Does it help academic institutions where issues of mechanics, relevance, and notoriety become all consuming because of lack of diversity? No.

I’m not saying that Herrera’s path is the one true path. I don’t think a singular path exists. But there are paths that have been laid out by poets of various backgrounds who seek relevance in various communities, to ignore those paths is foolish. To go on a long journey unprepared, without maps or provisions, is the quickest way to get nowhere. I’m glad that there are poets like Juan Felipe who not only know the path but are happy to share it with whoever will listen.


Video courtesy of Galley Cat

I Speak of the City: Garrett Hongo


under Highway 99
Originally uploaded by
According to O’Brien

[Most of my City memories involve roadtrippin’ with some homies and after hours of repetitive music (think back to the days of casette decks, y’all), bad radio (sometimes all you can pick up is the Gospel station), and getting on each other’s nerves (sometime Mom jaokes go just a little bit too far) finally seeing the highway marker that tells us we’re close. From there it’s a countdown of miles and minutes till the lights of the City come into focus and, at that point, every city is pure possibility.

This Garrett Hongo poem captures all that and more. It’s about bromance and Americana and claiming what you know is yours. And like the long stretch of road that just seems to get longer the closer you approach it, this poem extends the experience, turns arrival into ritual, and does it with such lyricism that you feel that you hit the best part of the mixtape, tuned into the good Soul station, and all you hear is the infectious laughter of jokes amongst boys.]

Cruising 99
for Lawson Fusao Inada and Alan Chong Lau

I.

A Porphyry of Elements

Starting in a long swale between the Sierras
    and the Coast Range,
Starting from ancient tidepools of a Pleistocene sea,
Starting from exposed granite bedrock,
From sandstone and shale, glaciated, river-worn,
    and scuffed by wind,
Tired of the extremes of temperature,
    the weather’s wantonness,
Starting from the survey of a condor’s eye
Cutting circles in the sky over Tehachapi and Tejon,
Starting from lava flow and snow on Shasta,
    a head of white hair,
    a garland of tongue-shaped obsidian,
Starting from the death of the last grizzly,
The final conversion of Tulare County
    to the internal-combustion engine,
Staring from California oak and acorn,
    scrubgrass, rivermist,
    and lupine in the foothills,
From days driving through the outfield clover
    of Modesto in a borrowed Buick,
From nights drinking pitchers of dark
    in the Neon Moon Bar & Grill,
From mornings grabbing a lunchpail, work gloves,
    and a pisspot hat,
From Digger pine and Douglas fir and aspen around Placerville,
From snowmelt streams slithering into the San Joaquin,
From the deltas and levees and floods of the Sacramento,
From fall runs of shad, steelhead, and salmon,
From a gathering of sand, rock, gypsum, clay,
    limestone, water, and tar,
From a need or desire to throw your money away
    in The Big City,
From a melting of history and space in the crucible
    of an oil-stained hand—
Starting from all these, this porphyry of elements,
    this aggregate of experiences
Fused like feldspar and quartz to the azure stone
    of memory and vision,
Starting from all of these and an affectionate eye
    for straight, unending lines,
We hit this old road of Highway Ninety-Nine!

II.

A Samba for Inada

Let’s go camping
Let’s go chanting
Let’s go cruising
Let’s go boozing

Let’s go smoke
Let’s go folk
Let’s go rock
Let’s go bop

Let’s go jazz
Let’s go fast
Let’s go slow
Let’s go blow

Let’s go Latin
Let’s go cattin
Let’s go jiving
Let’s go hiding

Let’s go disco
Let’s go Frisco
Let’s go blues
Let’s go cruise

Let’s go far
Let’s go near
Let’s go camping
Let’s go chanting

Let’s go lazy
Let’s go boozing
Let’s go crazy
Let’s go cruising

III.

Cruising in the Greater Vehicle/A Jam Session

“Well, goddamnit, Lawson! Whyn’t you play in key and keep to the
rhythm? First you say you wanna go back to Fresno, back to the fish store
and Kamaboko Gardens on the West Side, and then you say, forget it, I
take it back, let’s go to the Sacto Bon-Odori instead.”

“Yeah. And this ain’t even shoyu season yet, chump!”

“Awww, hell. What’s wrong with you two? Can’t you improvise? You
know, I’m just laying down a bass, man. Just a rhythm, a scale,
something to jam on, something to change, find our range, something to
get us going. Once we get started, we can work our way around to Weed,
put on some tire chains, or break down in Selma, refuse to buy grapes,
raisins, or Gallo, do a pit-stop at a Sacto sporting goods, pick up some air
mattresses shaped like pearl-diving women, and float all day downriver to
the deltas, sipping Cokes and saké in the summer heat.”

“Shit. Whyn’t you just solo and forget the rest of us? You start chanting
and pretty soon we’re hearing the entire Lotus Sutra.”

“You two Buddhaheads just a pair of one-eyed Japs with dishpan hands
and deadpan minds, man. This is the Champ Chonk talking, and we’re
playing Chinese anaconda. Eight-card, no-peek pak-kai, roll your own,
hi-lo, three for sweep, four for hot-sour soup stud, and neither of you’s
put down your ante yet. So shit or get off the shu-mai, fellas.”

“Calm down and watch the road, Alan.”

“Who’s driving this heap, anyway?”

“I thought you were.”

“I thought Lawson was.”

“Don’t worry. This is a dodo-driven, autopiloted, cruise-controlled, Triple-
A-mapped, Flying-A-gassed, dual-overhead-cam, Super-Sofistifunktified,
Frijole Guacamole, Gardena Guahuanco, Chonk Chalupa Cruiser with
Buddha Bandit Bumpers, Jack!”

“Where we going, Alan?”

“Where do you think? We’re going to Paradise.”

© Garrett Hongo
Complete poem can be found at the Poetry Foundation.

More Watchmen

My midnight show movie mates have their thoughts on Watchmen up. Sunny’s is at film, eyeballs, brain and Barb’s is at poeta y diwata.

• With a $56M opening weekend, Watchmen is #1 at the box office and the biggest opening release of 2009. Could better fan word of mouth helped it more?

• This New York Times review of Watchmen is just god-awful. Not cuz it doesn’t like the movie but because it feels like the person didn’t even watch it at all. If you have to ask why the movies takes place in the mid-80s then you aren’t being fair to the movie.

• Roger Ebert on how Watchmen plays out as a movie and then his thoughts about the story after a second viewing. Ebert remains one of my favorite movie critics of all time; he only gets smarter (and Web 2.0 savvier) as time goes on.

More on Dr Manhattan: It’s not that he is a person who has been converted to energy, he’s an energy form that has absorbed a human consciousness. As such, all the details of humanity are new and important to him but as hen continues through the breakdown of humanity, Dr Manhattan is slowly losing touch with the things that made Jon Osterman a person to being with. At first he thinks it’s having a human body, then it’s having a girlfriend, then it’s being a hero, then it’s breaking up horribly with his girlfriend, finally he goes for the full Jesus monty and decides being a person means saving the world. And why the super smurf schlong? Cuz Dr Manhattan (really, Alan Moore) doesn’t care what you think, he just cares about what he believes are the markers of humanity. Guessing from the fuss on the internet and the giggles at the movie theater, Moore and Doc ‘hattan are right.

Watching: Watchmen

Zack Snyder tackled one of comicdom’s most celebrated graphic novels and delivered a fun action movie packed with stunning visual, intense action, and gets the gist of Allan Moore’s story down but, unfortunately, does not do it without a plodding pace, sub-par acting, and a soundtrack that nearly killed the whole movie for me.

A little background: I’m a huge fan of Allan Moore and David Gibbons’ work in Watchmen. I’ve read it on and off for the last ten years or so just finished re-reading it cover-to-cover only a few months back. The story just gets better and better over time as the layers that Moore has worked into the stories offer a little bit of everything for the casual comic geek, hard core sci-fi head, and lover of literature. Gibbons’ art lends the right amount of deep noir, classic panel-to-panel action, and detailed facials that let the reader appreciate the nuances in Moore’s story.

When word came out that the long rumored film adaptation was turning into movie reality, I was skeptical but optimistic. While I love my comic books, I also love great cinema and how one artist can build off the work of another artist. Sometimes for the better and some times fro the worse–anybody want to compare Christopher Nolan’s Dark Knight to Joel Schumacher’s Caped Crusader?

In his adaptation, Snyder has trimmed a lot of storyline fat to get to the heart of the superhero story. On the good foot, his changes to the climax (Bye, bye Giant Squid of Telepathic Doom; we hardly knew ye) make some great logical sense and allows us fro an extra destruction scene that we don’t get from the comic and his condensing of the pure text postscripts to the comic chapters into one coherent opening montage was a bold move that I think paid off in terms of keeping the feel of the comic and laying out the back-stories.

I haven’t seen the “Tales of the Black Freighter,” the movie-within-a-movie, yet but I don’t think the movie lost anything from it’s absence. What does hurt the movie is the conversations that happen at the corner newsstand while the “Black Freighter” is being read, the reactions from the newsstand owner and his constituents is the Greek chorus Moore uses to let us know what the average citizen thinks of all this masked hero business. Without that chorus or the whole issue dedicated to how Rorschach’s madness/clarity affects his jailhouse psychiatrist, or the tragic demise of the original Nite Owl, we have a stripped down version of Watchmen that is sadly devoid of humanity. The bad cameo roles of historical figures like Richard Nixon, Lee Iaccoca, Ted Koppel and the like just adds to the lack of human perspective. Who watches the watchmen? In Snyder’s movie, it’s just capes and spandex regulating capes and spandex.

The bad acting doesn’t help either as most of our major characters are going through the lines like if they just read them for the first time or never really get the fact that they are all caricatures of superheroes and not the actual heroes themselves. I don’t know what to make of the fact that the best acting came from Jackie Earle Haley as Rorschach and Billy Crudup as Dr. Manhattan, two key figures that are equal parts amazing voice work, CGI effects and standout acting when in their civilian gear.

Any mention of Dr. Manhattan will probably lead to the fact that Snyder decided to go full frontal, a wise move if you think about all the negative reaction to last year’s Beowulf that fought for 10 minutes in the buff in a scene more Austin Powers than awesomely powerful. Snyder also didn’t hold back with the gratuitous “Hey, let’s give all the geek guys who show up their money’s worth!” sex and with the insane violence and fight sequences that were so good I was cringing in my seat.

Last point of contention, Snyder should revisit that part of film school called “Soundtrack 101” where you learn that popular music should aid and enhance a scene not explain it before hand with the subtlety of an anvil coming down on a toe. The before mentioned opening montage with Bob Dylan’s “The Times They Are A-Changin’” was cool but from there it goes downhill fast to the point where it’s not bad enough to have Tears for Fears’ “Everyone Wants to Rule the World” as the music for Ozymandias’ plotting but the elevator music version to boot. Whack.

Still, it is still Watchmen and Snyder does get the visuals right invoking the same response heard in Sin City and 300, “Wow, that’s straight out the comic,” with astounding sound effects, and some masterful CGI sequences that along with the shell of Moore’s narrative gives us a film that delivers the surface elements of Watchmen’s parable of superhuman power gone wrong with (for good and bad) all the punch of a Hollywood Blockbuster.

Acknowledgment: Pinecones | A Podcast of Young Poets

Many thanks to Michael Swellander for including me in the second podcast episode of Pinecones. I’m reading poems from Palimpsest and from my next (still in progress) chapbook Heaven Below.

The first episode was kick ass and the poets in this go around are tremendous. Don’t believe me? Go take a listen for yoself.

The second episode of Pinecones | A Podcast of Young Poets is complete, uploaded, and ready to swim down your ear canals via www.pineconespoetry.net.

Featured in this new hour of poetry are voices from across the United States, including: Bronx-bred poet Oscar Bermeo (Oakland, CA), Kundiman fellow and Houston PhD student Janine Joseph, Mathematics PhD candidate Andrew Cooper (Ann Arbor, MI), and long-time figure in the Texas literary scene Bryce Milligan (San Antonio, TX). Within the hour these poets share their poems, songs, and conversation on the topic of craft.

Pinecones is a show intended to showcase the work of young poets alongside that of older, more established poets. The show provides generous time for readings and conversation with all poets included as a way to 1) increase exposure for all featured artists and 2) increase contact and involvement between the two groups of artists.

Enjoy!