Writing Again, With a Vengeance (or at least some consistency)

 

Last year’s Pandemic fueled silence has given way to renewed motivation. I have brought the Ziegfeld poems to a sufficient level of completion such that I am actually paying someone to proofread them. I anticipate self-publishing in the next few months, and will be investigating various options along those lines soon.

But at the same time, I have been writing poems again beyond this deeply researched collection. I have observed how my voice has evolved over my writing life, and how my poetry muscles have loosened and allowed me to grab the unique phrases that I always strive to include. To be honest, I do sometimes fear such abstraction is merely the first sign of a mental deterioration I am not ready for. But let’s think positively—I have been writing poetry for over half a century now. If I wasn’t getting closer to my goals now, I would never be.

Live readings in person have returned sporadically. Some groups, having lost their physical home, have remained on Zoom. Others have found alternative digs, and hence breathed a bit of fresh air into the proceedings. In Albany, an old familiar place, the QE2, now known as the Fuze Box, has risen from the ashes of 2020 and begun hosting an open mic on the first Monday of each month, Tom Natell’s old time slot. Amusingly, the majority of readers now use their phones instead of paper. I’ve never been able to develop that habit, although if pressed I could dig up some work still lingering in my emails.

I have a friend who, instead of the “Cloud”, emails himself important manuscripts for safekeeping. I have done the same from time to time, and the Z. poems are safely suspended in two of my accounts. I began an inventory of clippings from my freelance writer days, and ultimately hope to scan in the crumbling pages and save them to a flash drive. However, I still maintain a physical file for first drafts, and sometimes final in typed form. Little ticks of paper are scattered across my desk with ideas for poems, most of which will never become poems. If I don’t rescue the thread of the thing in twenty-four hours, it’s gone. A poem might be written, but it won’t be anything like what I intended.

I have returned to working from home for the winter, my employer having discovered the joys of lower heating and electric bills during last year’s exodus. I embrace the experience this time around, at worst secure that I am employable elsewhere if need be, and using the time between tasks for the homiest of activities. I allow myself the luxury of pajamas many days, at least until lunchtime. I write best in the dawn hours, before the phone begins to ring. I watch the trees outside my skylight bare their branch souls. We have missed the slight flurries so far that have visited the Hudson Valley, but we know those days are numbered. A coat is a necessity again. Sunlight is in short supply. And I am recording my impressions of it all.

 

How I Learned to Love (and Loath) Open Mics

     
     Second to mailing (and now emailing) your poems out to an invisible editor or editors, the best way to share your work with others is to read at an open mic. I cannot remember the first one I went to. I have written poems since elementary school, but I was slow in assuming the persona of a "poet." In high school I was on the staff of our fine literary magazine, Pegasus, and wasn't shy about expressing my misgivings about submitted work. When it came time to present something of my own, though, I always had a friend read it aloud for me. Poetry was too sacred, too personal an exposure for me to offer up without fear.

    When I went away to college, I continued to write, and for a short time even joined the literary magazine staff there, which had a tendency to dissolve and reconfigure itself semester after semester. I  was becoming more comfortable, more confident about my poems, and began to value them as my chosen mode of artistic expression as well as cheap therapy. I wrote my way through a difficult marriage and divorce, all the way to independence and sanity of a kind.

    After college, I saw an ad in the Shadwrapper (the local newspaper) for a poetry group that met twice a month at the nearby Stone Ridge Library. The Stone Ridge Poetry Society, founded by Shirley Powell, was my first adventure in poetry outside of academia. I made friends that are still friends thirty years later. Meetings combined workshopping poems with one or two featured readers. It was probably here, in the cozy living room-like space where the group met, that I had my first feature.

    Woodstock, the REAL Woodstock, New York had always been a welcoming place for artists of all levels of accomplishment. The open mic at the Tinker Street Cafe', hosted by Dean Schambach, was a challenging atmosphere for a twenty-something female, let alone a poet. There was alcohol, there were sometime fisticuffs. Dean was and is a contentious character with both champions and enemies. I myself had nothing but the most genial interactions with "Gungha Dean," as he is sometimes known by the locals because of his stirring rendition of Kipling's classic poem. Hecklers at the bar were something else again, but I still consider it a personal accomplishment to have survived the readings at the Tinker Street Cafe' relatively unscathed.

    One of the highlights of living in Albany was the longtime open mic hosted by Tom Natell at the legendary QE2, now both departed. I sometimes think I should have spent more of my student loan there instead of on tuition, but what's done is done. Since then, I have spent a lot of time commuting back and forth between The Emerald City and the Hudson Valley for readings there. There is an attitude of respect that rarely wavers-- for the audience, for one's own work-- that I find to be rarely matched. Readers don't often take advantage of the mic, or apologize in advance for the work they're about to impose on you. Time limits are clear and rarely violated.

    When my Roommate and I connected, I was running from one open mic to another almost every night of the week, and hosting an annual event called The Sylvia Plath Bake-Off, which at its height attracted 50 or more attendees in a single evening. Since that time, I have become more particular about which readings I attend. If a reading is poorly managed, if egos are allowed to run amok and hog the mic, if the open mic list is either endless or absurdly restricted, I will probably not be back soon. And I may or may not be missed. I'm OK with that.

    Unlike other artists, poets can be reasonably certain that there is no "Big Time" level of achievement for them to aspire to. It's one of the things I like about being a poet. It's a sort of exclusive club that, to paraphrase Groucho Marx, few would want to be a member of. But when all have gathered to share work, philosophies, secret details they may never tell their partners or families, and when they are sincere, I feel privileged to be in their presence. The Internet can at times echo some of that intimacy, but it's not there yet. The Open Mic, at its best, has yet to be equaled in the age of chat rooms and e-zines.

**Open Mics of Yore**

    

     New dad and longtime Albany Poets leader, "El Presidente" Thom Job, recently asked a few of us old timers on the Hudson Valley poetry scene for our lists of five open mics from the past that are no longer with us, but that we miss. Here's what I came up with:



Number One has to be the QE2 [in Albany], and the late, great Tom Natell, darting back and forth between the mic and the list, cramming in announcements about other events between readers. He kept everything going at a breakneck pace, yet the readers were honored and supported. I dare say it's almost the perfect format for a reading. I caught it at the tail end of its long run, and often joke that the $7K I spent on grad school would have been better spent on Rolling Rocks at the Q on open mic nights...

Number Two would have to be the Tinker Street Cafe' in Woodstock, hosted for years by Dean Shambach. What a scene!! Poets on the makeshift stage pontificating before a "velvet Elvis" towel thumbtacked to the wall, non-poets yelling expletive-heavy reviews from the bar.... It was an amazing experience, and I always give myself credit for having read there despite my youth and shyness (at the time!)...

Number Three is Bob Wright's version of the Woodstock Poetry Society, a monthly open mic then held in the community center. Bob ruled with an iron fist, but the room was always packed, everyone got their five minutes of Woodstock fame, and no one commandeered the mic for their own selfish purposes!

Uneven but always an adventure, Philip Levine's Monday night series at the Colony Cafe' was for years a dependable place to hobnob with fellow Ulster County poets and other sordid types. Philip is indulgent to a fault, and anyone with $3 to hand his wonderful mother Betty at the door could get up and do their thing-- truly the spirit of Woodstock incarnate!

Unaccustomed as I am to blowing my own horn, I have to admit to sometimes missing my own annual open mic in Kingston, the Sylvia Plath Bake-Off. Held at various locations throughout the city, including the Unitarian church and the defunct Flying Saucer uptown, I liked it best when fifty-plus poets, singers, dancers and performers crammed into the AIR Studio in midtown. Jim Marzano was our gracious host. During the AIR years, the Bake-Off expanded to included an actual baked goods competition as well as an open mic! I will forever have raisin bread nooses and marzipan embryos dancing, dancing in my brain>



OK, so the bit about blowing my own horn is a lot of crap, but besides that.... Can any of you add to this list? Question my choices? Leave me a comment and let me know. I'd love to hear more...