Review of "Word Troubadours" by PJ Swift and Ellyn Maybe

PJ Swift and Ellyn Maybe, Word Troubadours (2024) 32 pages, poetry, $10.00 PDF; $15.00 Physical book. Order here.

Ellyn Maybe is a spoken word artist I first came across when she was in the Los Angeles area about 15 years ago working in a creative group centered more or less around Beyond Baroque that included the likes of Yvonne de la Vega, Ray Manzarek (formerly of the Doors), and Michael C. Ford who took Beat concepts, wrapped them in a confessional flare with a punk rock graffiti edge, and rapped them - sometimes whimsically, sometimes cooly, sometimes sing-songy - over jazzy soundtracks. This is the first of her works I have encountered as a purely on-the-page experience. This is also a collaboration with PJ Swift.

This creation is titled Word Troubadours and music is therefore an important theme throughout. Music, singing, performing, visual art - this collection is the space where poetry intersects with most other forms of artistic expression. PJ Swift presents the metaphor of poem as a Rave and Ellyn suggests that life is a Musical. I personally would argue against both concepts as being either misconceived or over-romanticised, but each to his/her own. Still, that gives you an idea of the highly unconventional, almost dreamscape of these poems. And I'm always excited by hyper-imagined, nonconventional mentalscapes in poetry.

Ellyn Maybe includes a kind of personal Odyssey with "Ellyn Maybe's Dream" where she travels to Prague - whether only in dream or also in waking life, I'm not sure - and has a transformative experience that involves a gargoyle. 

Some phrases I wrote down that stand out:

"We resist the temptation to crawl into the world/ and pull our psyches over our heads./... We need our exuberance more than our math." - "Cinema Dance" - Ellyn Maybe

"I know how men make women wear armor of all kinds" - "I Heard What Sounded Like A Song", Ellyn Maybe

"Perhaps life is like a multiple choice question my friend/ The answer's in a circle dance with no beginning or end." - "Somewhere in the Sky", Ellyn Maybe

"an era whose burdens/ have granted no choice" - "Creation of Myths" - PJ Swift

"avalanche in the bones of the land" - "Train", Ellyn Maybe

May these Word Troubadours keep on soothing our souls with their songs and stories of our time for the ages to come.

Watch Sabne Raznik at the Wadza International Festival (Digitally) on Facebook

 

Watch Sabne Raznik read her poem "Of a Refugee" from the book "Linger to Look" (2015) at the Wadza International Festival in Morocco (digitally) at this link on Facebook.  

www.sabneraznik.com

2023 Wadza International Festival (Morocco) Digitally

In December, I'll be participating in the 2023 Wadza International Festival in Taourirt, Morocco, digitally. I am honoured and excited to be invited to share a poem. Watch their Facebook page for more info as to exact date, time, and place to see the reading. 

Wednesday Night Virtual Poetry Feature - May 11, 2022

 

Book Review of "The Happy Mind"

LEGAL DISCLOSURE: I was given a review copy of this book. I was not paid for this review.

Kevin Horsley and Louis Fourie, The Happy Mind: A Simple Guide to Living a Happier Life Starting Today (TCK Publishing, 2017) 113 pages, self-help nonfiction, $17.19 US


Book available on Amazon, from TCK Publishing by Kevin Horsley (also on Twitter) and Louis Fourie. TCK Publishing is on Facebook.



"Simple" is the operative word in the title of this book. It is a handy little guidebook of reminders, cliches, and random quotes about how to train your thinking to a mindset of positivity. Many of the suggestions and principles are sound and beneficial. It's an easy, light read. You can breeze through it in an hour or two.

It is written to encourage interactivity. At several points, one is given a negative list and told to rewrite it as positive and then apply that positive list to one's life. Interactivity is a good idea. One is more likely to apply what one learns if one interacts with it on any level.

However, the sentences are usually written in the negative, not just the lists meant to be actively rewritten. The book seems more focussed on what happiness is not rather than what it is, what one should not do rather than what one should do. The negative perspective is subtle but it is pervasive. For a book meant to encourage positive thinking, that negative slant is directly counter to the message and the result is jarring.

Also, I understand that the authors wanted a light easy read, but the complete lack of references or even a bibliography at the end was a bad decision. If an author refers to a study in the text, that study should be referenced somewhere within the book. The total lack of anything to back up the statements within the text automatically discredits that text. It is possible to write a book with scholarly references to scientific and medical studies in a light simple way. This presentation leads me to believe the authors do not trust the readership's intelligence. Especially in the current climate of fake information, references are essential to back up any assertions.

In view of the shortcomings, I felt this book was written as a kind of children's handbook to happiness. (One could argue that the term "happiness" in this context is itself problematic and part of the culture that teaches us unhealthy thought patterns, but that's a whole other subject for a separate essay of its own.) It is helpful; the principles are sound and can be efficaciously applied. The attempt to include an element of interactivity is inspired if poorly executed. But it fails to implement many of its own suggestions in the way it is written and equally fails to back up its "facts" with appropriate references. In that way, perhaps, the authors erred toward writing too simply for this "simple guide".

Is(sue) 5 is Live (and Some Other Things)

Dear Kinfolk,

AvantAppal(achia) has been through a minor season of change between Is(sue) 4 and Is(sue) 5. We said goodbye to Founding Short Story Ed(itor), Kodi Mullins, as she went on to new endeavors, and welcomed our new Short Story Ed(itor), David Sykes. Dave has taken on the role with zeal! And a new ed(itor) means that the e-zine now has a slightly different format. We now accept two (2) short stories per is(sue). However, only one (1) will be chosen to represent that is(sue) in the Arch(ive). Dave has been added as an admin on AvantAppal(achia)'s Poetry Challenge Group on Facebook as well, so you can get to know him better there.The Kinfolk also lost regular contributor Michael Williams from Tennessee when he died suddenly in March. Is(sue) 5 has been dedicated to his memory. And we have added a Don(ations) page to the website. So if you like what we do and would like to keep us doing it, please consider checking that out. Depending on our need, AvantAppal(achia) may be running a fundraiser on Facebook in the Fall. We'll keep you updated on that.

Is(sue) 5 is now live! HERE. It features some familiar names and some new. There are exciting pieces from Charles A. Swanson, Volodymyr Bilyk, and Jeff Bagato and a humorous audio piece by Craig Kurtz. As always, Bill Wolak gives us some fascinating art and standout works by Corbin Fouts and Katherine Workman compliment in that category. In fiction, we have a mesmerizing sci-fi piece about Appalachia in the future from the mind of Jason Belcher and a character study regarding societal views of disabled or different persons by Cecile Dixon. Philip Kent Church rounds off the is(sue) in the Appal(Trad) section.

Be sure to check out the Arch(ive) to see whose work was chosen to represent Is(sue) 4 for posterity. We will be in touch regarding Is(sue) 6 in due time.

Have a beautiful summer, Kinfolk, and thank you for another rule-bending is(sue)! We couldn't do this without you!

Sincerely,

Sabne Raznik

Found(er), Web(master), Poetry/Art Ed(itor)

Truth On Trial - The Crucible

Come and see me as Goody Proctor in this production of "The Crucible".

At Artists Collaboritive Theatre, Inc. in Elkhorn City, KY. - Truth is on trial. Extremism and mob mentality rule the day - the timeless story of ordinary people choosing between reputation and integrity, life and death. Arthur Miller's classic yet challenging script brought to life with unique set design and tech, yet as historically true to the period as possible. Emotions run high in this drama. Boundary-breaking in that a disabled actor is cast in a leading role and the set is built to be completely accessible. Sabne Raznik as Goody (Elizabeth) Proctor. Runs February 15-March 4 and March 15-18, 2018.

Spoken Word Review: Ellyn and Robbie's "Skywriting With Glitter"

I first met Ellyn Maybe around 2012. She was formidable then; even more so now. Read my review of her "Rodeo For The Sheepish" album for more of those details. So it's been a while. The world has changed a lot since then. Maybe has moved on from Beyond Baroque into a new scene, poetics in general has continued to change, and Spoken Word has gained more respect as an art form that is both poetry and music - its own subset of art.

Accordingly Maybe has upped the ante since "Rodeo For The Sheepish". "Skywriting With Glitter"  features Robbie Fitzsimmons' ethereal music and vocals. In some ways, this album is much simpler and more emotional than "Rodeo". It's like a dream, a whimsical fairy tale a la "The Princess Bride" , The Little Prince", or "The Point".  This is immediately apparent with track titles like "Myth", "What Color is Your Parachute", "The Girl of the Wishing Well", "The Life of a Raindrop", and "Kingdoms in a City Lost to Time". This isn't merely Maybe reading her poetry over Fitzsimmons music, however. Sometimes Fitzsimmons sings haunting lullabies.

Like many lullabies we were sung as children, these whimsical fairy moments have dark underbellies. I can't decide if these are slightly masked emotional introspection or densely weaved commentaries on modern society. At times they could be either or both. The girl in the wishing well nightly "looks history in the eye" and "chews on life a bit". "The Life of a Raindrop" could be a tongue-in-cheek description of recurring depression or angst. "Onset" is clearly about a midlife crisis. "Kiko of Greenville" is an interesting comment about social media. "Anybody" is about the posturing we as humans do to be accepted by those who surround us. But even in its darkest moments, the album never becomes full blown negative. "Kingdoms in a City Lost to Time" proclaims "you are all that you need."

Fitzsimmons' piano and vocals are intrinsic to the overall other-worldly feel of the album. For me, the best track is "Up Is Down". This is lyric poetry at its best, except it is sung. "Dance in moonlight cloud/ forsake the human crowds/ swim into ancient gowns/ underground// there is a light above/stars in the sea of love /reflection in the scope of all you mention"... "Sink into a world of sand/ just like any other man". I could listen to this on repeat some nights.

"Skywriting With Glitter" trumps "Rodeo For The Sheepish" as well as complements it. It's hard to foresee how Ellyn Maybe can improve on her work from here, but I'm eager to find out. And I'm just as eager to become more acquainted with Robbie Fitzsimmons.

Get your copy of "Skywriting With Glitter" at CD Baby.

National Poetry Month 2016 Challenge Facebook Group Workshop

National Poetry Month is upon us. This year, to mark it, I am hosting a workshop in the form of a closed Facebook Group.

 The workshop is centered around a writing challenge. The challenge is to write one poem a day throughout April, so that when the month wraps up each participant has 30 poems. If, for any reason, a participant misses a day, then it can simply be made up on another day, so long as the end total is 30. Collaborations are also welcome, if any wish to do so. Length, form, or genre don't matter. The only criteria is that each poem must be a "found" poem with a nonpoetic text as its source. Sharing results is optional.

Although the Group is closed, if any like to join they can message me as the administrator at my Facebook Page "Sabne Raznik".

Join the National Poetry Month 2016 Challenge Facebook Group at https://www.facebook.com/groups/1028734460530372/.

Happy National Poetry Month!

National Poetry Month 2015 with Sabne Raznik: Three Giveaways

So we're well into National Poetry Month 2015 and it's an exciting one! I hope you'll spend some part of it with me. I have arranged for three contests this month as follows (pay attention to contest end dates and details, since they are not the same):

Goodreads Giveaway

The Goodreads Giveaway can be entered at the link above. There are two (2) copies of "Linger To Look" up for grabs, both signed and dated. The contest is run by Goodreads and the winners chosen randomly. Runs until April 30, 2015.

Amazon Giveaway

Same story here. Two (2) copies available, this time unsigned, since they will be shipped direct from Amazon. Runs until April 16, 2015.

#LTLSelfie Giveaway on Facebook

Post selfies of yourself with any or all of my books on my Facebook Page and use hashtag #LTLSelfie. I will collect these photos and upload them to their own photo album on my Facebook Page. The most creative shots will win hand-proofed and signed galley prints of "Linger To Look". The contest ends on April 30, 2015, but the selfies don't have to!

Happy National Poetry Month and have fun, everyone!

The Salome Series by Sabne Raznik

Talking with Lia Parisyan

Lia Parisyan wears many artistic hats as a Google search will confirm. She is lovely and highly talented. Today, we talk to her about her poetry.

S.R. You seem to be various in your approach to writing and other arts. What is it that draws you to poetry in particular?

L.P. I have always been drawn to sound and imagery. I like painting a picture for readers and listeners. Poetry has been an outlet for me to express my joy, grief, doubts- it’s very therapeutic, and it appeals to me because the page is more a witness than a judge.

S.R. How would you describe your writing style and what influences you?

 L.P. Eclectic. I consider myself a Symbolist. I am influenced by color, the spirit world, and my day-to-day surroundings.
 

S.R. Do you recall the first poem you read? Please, share the experience.
 

L.P. The first poem I ever read was in Armenian. It was set to music, and it was about a famous battle. The imagery was so vivid, and made a lasting impression on me because I felt like I was in midst of it.
 

S.R. In your blog, you hint at being well-traveled. Where are all the places you've travelled to?

L.P. I have lived in Santa Catarina, Brazil, and Yerevan, Armenia. I have travelled to Mexico, Turkey, Turks & Caicos, most of the United States’ East coast, Canada, NKR, and Holland. I hope to travel more. My next destination will be Thailand.

S.R. How have these impacted your writing?
 

L.P. Brazil and Armenia had a profound impact on my writing as I was introduced to new words, ideologies, colors, and traditions. The sea, the moon, jewels, and remnants of the Old World often appear in my poems and prose.
 

S.R. Armenia seems to have a special something for you due to being part of your ancestry. What is your relationship to it and how did visiting there help you to grow as a poet?
 

L.P. I have always wanted to experience Armenia. I am part Armenian, part Syrian, and part mélange. My family on my mother’s side is from Syria, and are part Armenian and part Arab, and my father’s side is from Turkey. I am a child of the diaspora, and the culture I experienced was a mix of French colonialism, Arab Modernism fused with American suburbianism. It was difficult growing up because there was never a sense of belonging; I had a fragmented identity, and going to Armenia helped me realize how unique the culture is in Yerevan and other cities, and how the “Armenian” culture I experienced was so different from what I experienced abroad. It helped me reassess my values, helped me explore new themes, and helped me realize that I didn’t have to belong, and could create my own space and identity. Many of these ideas are making their way into my newer poems, and it’s an infant theme that I would like to develop further.
 

S.R. What projects are you working toward?

L.P. I am working on an Art Collaborative in the Bronx, and I hope to link writers, artists, poets, photographers, etc.,  to have them explore themes together, create new discourses, and give them the opportunity to have physical spaces for expression and exhibitions. 

S.R. Who would you like to work with in the future and why?
 

L.P. Honestly... Eminem. He was the person who made me think about words and really want to write. I watched an interview with Eminem and Anderson Cooper a while back, and saw that he too had a box of scribbles, and writes on everything from matchbooks to receipts to hotel stationary. It was nice to know there was another compulsive writer out there. I also have a love of euphony, and he’s a genius when it comes to playing with sounds and extended metaphors.
 

S.R. Where do you see yourself in 10 years poetically?
 

L.P. I would like to publish a book of photographs and poems. I see myself traveling, and creating Photo-Poem/Prose books that aim to capture an image and the essence of a moment.
 

S.R. What advice would you give to an aspiring poet?
 

L.P. Write every day. Don’t judge yourself too harshly. Sit and observe a place and person, write down your observations. Look at recurring themes and images, see how you can develop those further.
 

Learn more about Lia Parisyan on Facebook

"Emerald Hills" by Artemis Blithe

(Originally published on Yahoo! Voices on October 23, 2013)

Artemis Blithe is a poet currently living in Eastern Kentucky, U.S.A., but he is far from the stereotypical Appalachian poet. Blithe's work falls squarely into the realm of performance poetry. His book "Emerald Hills" is available through lulu.com.

Blithe's poems are written in a flow-of-thought prose style, so it is difficult to sense the rhythms that one hears when he reads. His grammar is at times intentionally askew. The odd misspelled word is thrown in. He writes with an almost overbearing megalomania that clearly draws from Walt Whitman. In fact, he could be a modern version of Whitman. Blithe rages all over the pages, declares general superiority, and champions a return to living in harmony with the earth. His statements are just as absolute, his declarations just as forceful, as Whitman's ever were.

But the power of the words and lines is greatly diminished in the medium of print. His is a poetry not meant to read. It is meant to be heard, to be delivered in a bombastic whirlwind of dramatic rapping, to be punctuated by audience participation in the form of applause and spontaneous shouts of agreement as if it were a sermon delivered by a hiccupping old regular Baptist or Pentecostal preacher. Maybe that is what Blithe is: a preacher of his own unique faith. But if he is a leader, the path he intends to lead us on is not well-defined. It is the path of an angry soul who is still searching himself. Was that perhaps true of Whitman in the day?

As a book of poetry in print, "Emerald Hills" does not work. But should you have a chance to hear Blithe read, then the mess of the print will make sense and ignite with hard-hitting gunpowder. Artemis Blithe proves himself a solid descendant of the Beat generation and of that universally acknowledged father of American poetry Walt Whitman.

Artemis Blithe's Facebook page.

Buy "Emerald Hills" on lulu.com.

Legal Disclosure: The author of the message that directed you to this page has no material connection to any person, company, product, or service mentioned in that message. http://cmp.ly/0

Spoken Word Review: Michael C. Ford's "Look Each Other in the Ears"

(Originally published on Yahoo! Voices on June 29, 2014)

"Look Each Other In The Ears" is the latest Spoken Word offering by Grammy-nominated poet Michael C. Ford. At 74 years old, Ford has had a long, thrilling career as a poet and all that experience comes to bear on this album.

Ford often reminisces about the by-gone days of Los Angeles and that makes his poetry very location-specific. Not having ever been to L.A. made it difficult to conjure the images he clearly means to draw upon. But the spirit of the poems is clear. These are dark meditations on the negative aspects of "progress" and suburban squalor. Ford certainly has the deep-seated anger and discontent common to contemporary poets. We are taken along through the L.A. of his youth and its deterioration through time in a way that is both very straight-forward and layered with multiple meanings. He rails against the loss of orange groves and the building of cookie-cutter housing developments, the growing disrespect for the arts and poetry in particular, and against his own profession as a Spoken Word artist. In one poem, he goes on a trip to Mars to escape modern American life only to find Mars has its own version which causes him to de-evolve - an interesting commentary on how Ford sees the world. My favorite line on the album is in the fourth track, "I Don't Wanna Go (Said The Suicide)":

"We stand on the bridge with John Berryman; but we relinquish our inclination to jump and it has nothing to do with religion; it is simply, as we grow older we discover there's not that much left to kill!"

The second half continues with the themes of environmental destruction and general decay but takes on a decidedly more political element. The eighth track, "(Autobiography of) An American Bomb", is unsettling but not as jarring as the Christmas jingle turned into "Halliburton's cashing in" in the next track, "Wartime Carol (Bringing The War Back Home)". The final track, "Float Of Drive (Triple Bypass)" seems to attempt to transcend the grimy negativity of the rest of the album by introducing rain. Rain makes music wherever it falls, no matter how miserable the surroundings. This is an effective metaphor for poets. As the track progresses, however, we feel that transcendence ultimately fails until we come to the final word: "over". This is pronounced in such a way as to suggest that, finally, Ford is over it all.

All this darkness is well counter-balanced by the music on the album. This music was mainly made by the surviving members of The Doors - John Densmore, Robby Krieger, and Ray Manzarek. In fact, it is one of the last recordings made by Ray Manzarek prior to his death on May 20, 2013. To support Ford's clear, enunciated performance, these men went back to their jazz roots. They were accompanied on various tracks by a full list of musicians and vocalists. Most notable of these were those who wrote the choruses and bridges: Tommy Jordan of the band Geggy Tah with Harlan Steinberger. There is even a moment of delicious scatting. The result is a light, airy, funky vibe that carries the heaviness of the lyrics perfectly.

All in all, this is a highly relevant, if slightly harrowing, album that will age very well, I think - like fine wine. There is unlikely to be a more accurate expression of the times we are currently living in. It has been an honor to listen to and review this CD (which is also available as an mp3 download).

Learn more about Michael C. Ford.

Buy "Look Each Other In The Ears" on Amazon.

Legal Disclosure: the author received a review copy or a preview of a product, service, or topic mentioned in that message. http://cmp.ly/1

Why Oriental Dans is Healthy and Great for Weight Loss

(Originally published on Yahoo! Voices on June 27, 2011)

Oriental Dans is more commonly known as Bellydance. It's origins are obscure and may reach back almost to Eve herself. It is believed, however, that it began as a way for the women of a harem to entertain each other and as a natural way to prepare for childbirth. The latter is the reason why it was traditional to perform while pregnant. It is known that the dance has always been performed at weddings. In "Thousand and One Nights", these wedding performances were usually done by the bride herself upon being presented to the groom and showcased in 6 or 7 different gowns and this constituted the ceremony. In the Middle East today, Oriental Dans is the common dance on the street (except in those areas which are strongholds of religious extremists) - as common as any dancing we might see as we go about our business.

And it has numerous health benefits. For about 15 years or so there has been an increase all over the world of bellydance as a form of exercise for weight loss and well-being. Why is that?

Oriental Dans works with a person's muscles, not against them. Especially is this true for the feminine body, but there are many male dancers out there who benefit as well. This is an exercise regimen that is low impact and less likely to result in injury. Also, there are forms that match almost any ability and learning level. It keeps the joints fluid and flexible (arthritis patients, here's your routine!). It promotes better balance and can include strength training without the person feeling like they are strength training. Most importantly, it focuses on a positive self-image.

What do I mean by that? While most exercise programs focus on the end result - the perfectly fit and skinny body that every woman and man is "supposed" to have - Oriental Dans is about enjoying the journey. A person forgets that fitness and weight loss are the goals. Instead, these becomes happy side-effects of regularly doing something the person enjoys. In other words, this is truly fun! The fact that there are professional bellydancers of literally all shapes and sizes re-shifts the perspective: it's not what you look like, it's about how you feel. Do you feel thin? You are. Do you feel beautiful? You are. Do you feel graceful, energetic, sensual, alive? You are. Do you feel funny, glamourous, and joyful? You are. Because all of those qualities shine through in the dance and suddenly no one cares that you've got 20, 40, or 100 pounds to lose.

And before you know it, it's gone. I know. Over a period of a year, Oriental Dans has helped me go from 200 pounds to 169 pounds- and dropping.

But besides weight loss and overall fitness, the dance is especially ideal for moms-to-be. If a person is pregnant, some moves must be avoided or modified for the baby's safety, i.e. no deep, sharp hip drops and careful with the 90 degree angle backbends favored in the Tribal Fusion form of the dance. It is, therefore, probably a good idea to practice it within a class and after consulting a doctor under those circumstances. However, it has been noted that Oriental Dans helps to strengthen the mother's abdominals for childbirth and promote the overall well-being of the womb, etc. Also, the gentle rocking of hip circles and shimmies helps the baby to be positioned properly for the big day. In view of this, there are many classes that cater primarily to pregnant women.

So the next time you are wowed by a bellydancer, remember all of the health benefits associated with practising this most ancient art form.

(Sketch is part of a series of sketches by Sabne Raznik called "the Salome Series" and is currently available at Raging Rapid Art Gallery.)

Raging Rapid Art Gallery and the Arts House: Appalachia Rising

(Originally published on Yahoo! Voices on May 25, 2014)

**For full disclosure, I am affiliated with Raging Rapid Art Gallery in particular, but support all venues for art in Eastern Kentucky.**

Appalachia has a long, rich, and unique tradition in all of the arts. But until recently the culture was a survivalist culture where art took a back seat to manual labor and the need to eat and exist. Historically a very poor region of America where the abundant local resources are mined and stripped to benefit others and the land and its people are exploited, Appalachia is beginning to shake off the oppression of King Coal to an extent and rise out of the dust of the coal pile.

As always, the recent recession hit Central Appalachia harder than the rest of the U.S. The rest of the nation has begun a slow and precarious recovery, but not so in Central Appalachia. More and more coal jobs are becoming mechanized and that means more layoffs and even fewer jobs than in 2008. Therefore, the region is looking to diversify its economy at last just to survive. Many towns have more empty buildings than occupied ones. This has made property values drop but has opened up opportunities for the ingenuity of local entrepreneurs and others to shift the economic and cultural ground for the first time in over 150 years. The focus to rebuild and reinvigorate Central Appalachia is mostly concentrated on capitalizing on its abundant potential as a tourism designation. One of the major directions this new initiative is taking is to provide venues for local artists of all stripes to step out of their living rooms and local family circles and actually practice their arts in viable ways.

Toward that end, local artist Trent Hylton renovated his grandparents' old Western Auto shop that had been completely empty of any business since the 1990s into Raging Rapid Art Gallery.

Elkhorn City, KY. has been a fairly major tourist attraction for years since it is the gateway to "the Grand Canyon of the South" a.k.a. the Breaks Interstate Park, is part of the Trail of the Lonesome Pine, and hosts annual events such as the Apple Blossom Festival in May and whitewater rafting on the world-famous rapids of the Russell Fork River in October. It is also home to the Artists Collaborative Theater. But it was missing something vital, something Trent supplied when he opened "The Gallery", as it is affectionately called, in May 2013 at 155 West Russell Street. On its Facebook Page, it is described as an art gallery/artist hangout/idea factory and that is an apt description.

What Trent has created is a rustic homespun space and a relaxed inclusive atmosphere where just about anything can happen at any time. More than just a traditional art gallery, it is also a place for poetry readings, musical performances, hooping, and tricks with fire. Things there generally happen rather spontaneously, but there are also planned events throughout the year. The biggest of these is the annual "Keep Elkhorn Weird" event held on Memorial Day weekend. This is often a three day event at which its participants and attendees come in costume and features all that the Gallery has to offer: poetry, music, and local art. In 2014, the Gallery hosted world-renowned mixed media artist Abdala Faye who donated two of his paintings to be auctioned off for the benefit of Elkhorn City's further development. The Gallery is a place to be yourself, to brainstorm ideas, collaborate, and be creative in any and all ways possible. Artists are encouraged to sign the floor. Most of those associated with it are volunteers; it is truly a labor of love and not at all your usual art gallery experience.

In the nearby county seat of Pikeville, KY., similar initiatives are being taken with a different slant. Pikeville is also a long-standing tourist destination due to its historic downtown area, its connection to the Hatfield & McCoy Feud and President James A. Garfield, its annual Hillbilly Days festival, and its Cut-Through Project, but it is also looking to capitalize on that. Recently, the city unveiled plans to turn Second Street (which is currently mostly lawyers offices and empty buildings) into an Arts and Culture District.

Among one of the first attractions to open in this new district: The Arts House. The Arts House is home to the Pikeville Artists Cooperative and is directed by the Pikeville Main Street Program. Located at 123 Second Street, it is a combination studio/gallery/shop space where paying members of the Cooperative create, show, and sell their art. At this time, most of its practicing artists are not Appalachian natives; many of these artists recently moved into the Pikeville area. Its stated mission is to "foster and feature the work of Central Appalachia's finest artists in every medium", meaning every medium of visual art. Both the Cooperative's contract and the space within the building itself is meant to inspire the reputation of elitism (keep in mind that I use that term with its local connotations; Central Appalachia has its own idea of what elitism constitutes) . Obviously a more polished and professional space than Raging Rapid Art Gallery, it is also more exclusive.

The art that can be found there is impressive. Jill Valenzuela and her husband (whose day job is plastic surgeon at the local hospital) have the most art in the space at this time. She works with looming, fabrics, and metal. But the work that I was most drawn to was New Jersey native/recent Pikeville resident Tatsiana Harbacheuskaya and her cityscapes from around the world drizzled in bright colors that delighted the Van Gogh lover in me.

The Arts House held an Open House/Business After Hours event in conjunction with the ribbon cutting ceremony on May 15, 2014. It was a stunning night where the charm of the old stately house that was renovated to hold the studio/gallery/shop space was in full evidence. Refreshments were served in a little kitchen in the back. The turn out was fantastic as the space quickly became crowded by locals eager to celebrate the new opportunities that venues like this represent. It was all very typical of what one would expect at a gallery opening and a wonderful evening for the city and Central Appalachia.

If you come to Eastern Kentucky, I recommend a visit to both these venues since they offer completely different experiences and together represent the whole of the state of art in Appalachia at this crucial point in its history. Come celebrate the best of local talent and ingenuity as Appalachia rises out of the coal pile and learns to value its unique culture at last!

Learn more about Raging Rapid Art Gallery.

Learn more about The Arts House.

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Book Review: Milo Martin's "Poems for the Utopian Nihilist"

 

(Originally published on Yahoo! Voices on October 28, 2008)

Milo Martin, Poems for the Utopian Nihilist, (Echo Park Press, 2008) 132 pages, poetry, $13.95 U.S.

This is one of those books one cannot help but wish one wrote. Milo Martin writes poems for what is being touted as the first new movement in poetry in the 21st century: the Utopian Nihilists, (for an idea of what that is Martin has kindly included a Manifesto in the back).

These poems follow a flow-of-thought pattern, not always coming full circle, and are always surprising. The rhythms, use of repetition and long rambling lines point to a body of work clearly meant to be performed. Precursors to Martin would include the Beats and the Slam culture. Yet Martin's almost jazz-like compositions are very much products of this time. It may be that no other poet writing today has yet captured the uniqueness of 21st century living and viewpoints as has Martin.

Each piece in Poems for the Utopian Nihilist feels like a wild, rollicking and spontaneous journey. It is clear, without reading the author's bio, that these works spring from the beautifully varied and energizing culture of California. Martin has composed a book that a reader will revel in again and again and always sense something new. Intoxicating, delightful yet unflinching, Martin sings like a tarnished bell proclaiming the imminent death of our time while enjoying every moment of madness as if each were the consummate joy of all joys.

Visit Martin's Facebook.

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Review of "Tomorrow, Yvonne: Poetry & Prose for Suicidal Egotists"

 

(Originally published on Yahoo! Voices on January 30, 2013)

In literary mythology and legend, poets were beings of a lofty kind. They were prophets, messengers of the gods or at least of the times. They were eccentric, crazy, lonely, fools, and wisdom personified. They were terrifying and compassionate, cold and warm, dazzling and puzzling. They went through the worst life had to deal out so as to sing of the most beautiful. But after 1914, two World Wars, Modernism, the bloodiest century in history (the 20th), followed quickly by what is stacking up to be an even more harrowing one (the 21st), we're all grown up now. We don't believe the stories. Our poets today are not heros with hearts closer to divinity. They are as dirty and ordinary as we are. And we treat them accordingly.

Yvonne De La Vega both embraces this notion and challenges it in one breath. Her debut collection (which is also her Collected Poems) titled "Tomorrow, Yvonne: Poetry & Prose for Suicidal Egotists" is a thick volume full of surprises. The language is ordinary, sometimes in the gutter. The rhythms are those of Spoken Word poetry - lending itself more to audio than to text. And indeed, up to now, that is how De La Vega's poetry has been presented and enjoyed. She is a lady of the street and of the moment, of seedy hangout joints and alleys where nothing much has changed but the drug in vogue. She can tell the stories of folk we tend to overlook: the homeless, the down-and-out, the never-had-glory-days, the castaway veteran, the bewildered immigrant, etc. But she also carries the lofty calling: declaring that poetry without a purpose isn't poetry at all, that the war between good and evil is real, implying again and again that somehow she is meant by some higher power to write, and even reporting from the front lines of the Occupy Los Angeles Movement.

This book is larger than life, like the city she writes from. De La Vega has a stated passion for jazz and her poetry reads like jazz, particularly when read as a whole as this book allows. Free-form like water and hard to take in all at once - that's Yvonne De La Vega. Eccentric, crazy, lonely, terrifying and compassionate, cold and warm, dazzling and puzzling, a witness to our times, and as ordinary as your neighbor. Somehow, she's all those contradictions. "Tomorrow, Yvonne: Poetry & Prose for Suicidal Egotists" is a contemporary answer to the literary legend.

Learn more about De La Vega at Facebook.

Buy "Tomorrow, Yvonne: Poetry and Prose for Suicidal Egotists" at Amazon.

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An Interview with Poet Ellyn Maybe

(Originally published on Yahoo! Voices on May 24, 2012)

Ellyn Maybe is a formidable figure in contemporary American poetry today. Her work in fusing the so-called separate arts of music and poetry into one art form has been groundbreaking. Her most recent work, a CD of her poems set to music called "Rodeo For The Sheepish", continues to garner praise and notoriety wherever it is heard or performed. This interview was conducted via email on May 11 and 12, 2012:

S.R.: What was it that drew you to poetry in the beginning?

E.M.: When I was living in Manhattan, I was walking by a bookstore and a poem came to me inspired by something that I saw through the window. Something tends to spark a poem and then the poem comes quickly.

S.R.: What is it that you hope to achieve with your work?

E.M.: Resonance.

S.R.: What is it that most inspires you in your daily life?

E.M.: The arts. Watching a YouTube clip of Leonard Bernstein talking about Beethoven or seeing Ray Charles doing Ring of Fire or hearing Lou Reed singing Perfect Day are inspiring, stimulating things for me which I thrive on. Plus, I work at a literary center so I see a lot of poetry readings and other various events, including film screenings, talks, etc. I also attend events around Los Angeles. I've been doing that for many years.

S.R.: What would you say is the most exciting or fulfilling thing your work in poetry has given you opportunity to do, and why?

E.M.: My poetry has been nourished and appreciated which has led to some really amazing things. It's an ongoing process.

S.R.: Is there a specific opportunity or event that stands out to you? Why was it particularly special for you?

E.M.: When Greil Marcus, the amazing music writer, got in touch to write about Rodeo for the Sheepish, it was a very touching experience. He had heard half of City Streets on KALX in Berkeley. When your work impacts people whose work you admire, that is incredible. Many years ago, I gave my chapbook to Howard Zinn and Michael Parenti and they both wrote back lovely things immediately. That was amazing.

S.R.: Why are you so drawn to music, and what further projects do you have in mind to bring your passions for poetry and music together?

E.M.: I've always found music a kindred language. I'm planning to do another album with my band and continue writing and performing with them.

S.R.: What were your objectives for "Rodeo For The Sheepish" in particular? What do you think could have been done better? Do you feel that it has lived up to those objectives?

E.M.: I didn't have particular objectives for Rodeo for the Sheepish. It happened somewhat spontaneously and we were very happy how it turned out. The fact that The Ellyn Maybe Band now exists is awesome. We're writing songs together and have performed in Ireland and at the Glastonbury Festival in the UK as well as Shakespeare and Company in Paris.

S.R.: What are your other hobbies/passions? How would you like to bring them all together some day?

E.M.: Film, theater, art. I would like to collaborate in these various art forms. Expand my horizons. Some of this is already taking place. I wrote a book of poems inspired by my cousins' nature photographs. I would love for Rodeo for the Sheepish to turn into a musical someday, but don't really know when that will happen. Five videos have been made for the songs on Rodeo and there are ten tracks so, hopefully, they will all have a video someday.

S.R.: In a lot of ways poetry is as much about humor, play, and having fun as it is about serious issues and art. Which of these would you most like readers/listeners to take from your art? Or do you prefer a balance between them and why?

E.M.: I hope the mixture is something that people find compelling. Humor and sadness dwell in there and hopefully add to the emotional landscape.

S.R.: What do you think is most important for a poet in this digital age? Do you think it helps or hinders the art?

E.M.: I think connecting with others is very important and also finding community. It's crucial and I have found it to be helpful. Being computer savvy helps with social media, that sort of thing, but you don't have to be too technical to do it.

S.R.: What would you like to see change for poets?

E.M.: It would be truly awesome if the financial situation would get a bit brighter!

Ellyn Maybe's FaceBook

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Buy "Rodeo For The Sheepish" on Amazon

Spoken Word Review: Ellyn Maybe's "Rodeo for the Sheepish"

(Originally published on Yahoo! Voices on April 16, 2012)

A friend of mine said I was brave. But we all know there's a thin line between brave and stupid, and sometimes it's hard to know the difference. When Ellyn Maybe 'liked' my Facebook page, without thinking, I offered to review her latest work "Rodeo For The Sheepish." Never mind that she is a giant in the world of poetry. And never mind that she has worked with the likes of Viggo Mortenson, performed at the Glastonbury Festival (the same year as U2), has her own band, The Ellyn Maybe Band, and eats little known poets like me for breakfast (in terms of accomplishments). Brave or stupid?

One thing I came armed with to this endeavor was a similar love of poetry and music. While much of the world sees them as the same (often using the same word for both in language), the U.S. seems singular in its need to debate the point. Are they the same? If not, which is the superior art form and why? Does it somehow degrade one or the other to suggest they are the same? There is a growing legion of poets and musicians who are answering by putting music and poetry together. Musicians provide the score of either original music or cover tunes to which poets read their work. The results can vary considerably.

Ellyn Maybe teamed up with Harlan Steinberger for musical composition and Tommy Jordan of Geggy Tah for vocals for her latest answer to that debate. The end result: "Rodeo For The Sheepish." I'll cut to the chase by saying straight out this is the best of the attempts to marry poetry and music I have heard thus far.

At first, the music strikes one as 1980s pop updated for a new generation. Listen more and it grows. All true art has the ability to grow and never stop. I soon found myself choreographing for it in my mind. What better compliment is there than that? And Maybe's poetry is a deceptively light tripping through 20th Century pop culture and bent social order. She describes with painful accuracy what it is like to be a woman in today's world and what it is like to be an artist.

For me, it really gets going in the second half of the album. Tracks like "Silvia Plath," "Room Part Two," and "People" make me come back again and again. There is a magic in those tracks - a witty turn of phrase and a compelling sense of rhythm in both the poetry and the music that reverberates through the soul. By far my favorite track, however, is "Being An Artist." It is humorous, both self-deprecating and self-glorifying at once, and an overwhelming chronicle of truth. The music is contagious, joyous, begs to be danced to. Who can resist drums like those?

When I first listened to the album, I felt a sense of disappointment. But like all truly good and challenging work, it grew on me into something fabulously unique and wonderful. The world is just a tiny little bit more joyous because this album was made.

Are music and poetry the same, or at least equal? I think Ellyn Maybe's "Rodeo For The Sheepish" answers a resounding yes! As for brave or stupid, maybe the not knowing is part of what makes life a work of art in and of itself.

Buy the CD/mp3 on Amazon.
Find Ellyn Maybe on FaceBook.

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