A Curatorial Rant

Back when I was single and just starting out on the poetry scene, I quickly learned one rule of thumb: no matter how attractive, never introduce yourself to a poet until AFTER you’ve heard them read. There’s nothing more awkward than the moment they finish their poem, you realize they’re absolutely terrible – or, even worse, some sad variation on mediocre – and you’ve lost all desire to continue the conversation!

Curating a reading series that includes a slam, I’m always on the lookout for new voices on the scene to invite to read at 13. Whether a potential feature or a new slammer, whenever I’m at a show, I’m careful about who I’m introduced to and, more importantly, WHEN. It’s no longer about attraction but the logic is the same. If anything, it’s even worse.

The absolute worst is people who have established something of a name for themselves – not terribly difficult in these days of DIY PR, the internet and the overall spoken word bandwagon. Recently, I was at a show where one such person was reading. I’d seen her name around and was curious. Thankfully, I waited to hear a couple of pieces before being introduced. She wasn’t terrible, but she wasn’t very good, either. Great performance and stage presence but not nearly enough attention to crafting the words. Most annoying was her identity piece – everyone’s got at least one! – that ranted about the stereotyping of her people while simultaneously indulging in the stereotypes of another. Lacking any sense of irony, it just came off as ignorant.

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Charging the choir for a sermon

Call me cynical – you wouldn’t be the first! – but I’ve got some issues with this Lincoln Center Anti-War reading next Monday. And no, it’s got nothing to do with it being ON a Monday. I’ve encouraged people to check it out and even sent it out to our mailing list. It was actually a response to that mailing from a friend in Seattle that got me thinking, though.

The CONCEPT is wonderful. A bunch of poets covering the spectrum from establishment to street coming together to speak out against the war is a good thing. A VERY good thing. But what’s with the $10-100 ticket charge? I’ve looked around the Not in Our Name and Lincoln Center web sites and read through the promotional emails I’ve been sent and there’s no mention of this being a fundraiser. Who’s this money going to?

My wife – former event planner that she is – says Lincoln Center is an expensive place to hold an event. I don’t doubt it and that’s what confuses me even more. It makes no sense to me that you’d hold an event like THIS somewhere that isn’t donating the space, much less an expensive one. Who are they trying to reach out to? Why isn’t this a free event held somewhere that could ensure maximum exposure? Even @ $10/ticket, it’s a POETRY show, and all you’re doing is preaching to the choir if that’s your audience.

Don’t accuse me of pulling a post-9/11 O’Reilly on a good cause, either. Seriously. If it’s a fundraiser, it should say that SOMEWHERE. If it’s not, then it’s nothing more than capitalistic opportunism. If the poets themselves are being paid for reading at this thing, shame on them. There’s several names on the lineup that I know personally, some of whom I respect greatly. There’s at least one whose politics have proven rather convenient over the years, aka if there’s cameras, he’ll be there.

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5 Past 13

The first six months in Virginia weren’t so bad but, when August came around and I missed my first Nationals since 1998, things began to shift. I came up to visit in the beginning of September, hosted the show that Monday and realized how much I missed it all. I’d not only walked away from my baby, which was hard enough, but I’d walked away from my friends. Mondays were my second home, my living room that welcomed all sorts of random people in every week, mixing with the people I held most dear.

When we decided to come back, I knew a big part of getting myself back to normal was getting myself back to Monday nights. When we left, I was extremely burnt out and desperately needed a break. I realized later that it was predominantly my increased involvement on the national scene, and the resulting frustration, that had finally pushed me over the edge. The whole PSI experience left me even more cynical and jaded than usual, but with the proper distance, I realized what a small part of my world it really was. It was the poetry that had gotten me in the beginning – seeing how it could change someone’s life, giving them a voice they never knew they had, or just never knew how to use. That’s what was important. The rest of it was either icing on the cake, or the crusty burnt shit stuck to the pan.

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