Saint Jack
Jack Powers saved my life.
When I met Jack, I was homeless
about two weeks before, I ran into an old friend of mine
who told me he had just seen a poetry show by a mutual friend of ours, Lee Litif.
He said Lee’s show was wild and Lee was doing somersaults during his reading.
My friend told me that they have these readings every week at TT the Bears.
and I thought no more about it till I moved into a shelter in Central Square.
The following week I asked if I could go to this reading since the shelter had a curfew.
I was granted permission as long as I didn’t drink while there.
Stone Soup Poetry was an incredible experience.
When my spot on the sign-up sheet came up, I read a piece I wrote many years ago.
I got a favorable response from the crowd and I was hooked.
The next day a flood of poetry came from me and I filled notebooks with it.
I was a poet.
Each week I would read at Stone Soup and each week I would write better pieces
Jack gave me my first professional feature
which most of the crowd walked out and some even told me I sucked.
Jack encouraged me to continue.
It was at Stone Soup that I met up with D.A. Boucher
and eventually became a member of The Collective.
It was with The Collective that I would gain a new name, Rat.
Jack called me “The Rat man”
and the way he said it, you could tell he just loved to hear me read.
This man, liked my work.
Jack who had poets like Ginsburg, Corso, Ferlinghetti, and Weiners as friends,
liked my work and encouraged me to continue.
With The Collective we added theatrics to our work
we often would be the opening act for Lee Litif
even going so far as to duct taping Lee to a cardboard cross, essentially crucifying him
and flogging him with a rubber chicken the day after Easter.
Jack took it all in stride, all this from a tortured catholic.
Many members of The Collective experimented with different forms of poetry
like haiku, A-Z poems, and the exquisite corpse.
It was after one of our performances that Jack gave me my true purpose in poetry
We performed a piece we called the haiku hippy road trip
which consisted of Alan Wilbar, D.A., and myself
sitting on stage pretending to ride in a car
we had these 3x5 cards we passed to each other that had haiku written on them
each haiku line had to have the word “man” in it
and at least one line had to have the word “fuck” in it.
We did our bit and left the stage to raucous laughter
and when Jack took the stage the first thing he said was;
“You said fuck so much, it didn’t become the word anymore”
and that’s when it hit me,
that’s when I became a word warrior.
My niche in poetry would be to take words and to try to make them something else.
I was transformed.
Through the years I toured with The Collective
and even did a split tour with Jack Power’s Word Warriors as a member
of the Barnum and Buddah Circus
and over the years a lot has happened.
Just to name a few:
I’ve had cops in riot gear show up just after I finished reading,
was asked to “go outside” by 5 guys wearing Black Panther symbols after a reading
(total misunderstanding), nearly set AS220 on fire during a reading (not my fault at all),
and was kicked off stage by long distance telephone in Kentucky
all with the power of words.
Without Jack Powers I wouldn’t know where I’d be right now.
He opened his reading to anyone and let people express themselves in so many ways.
Jack was a champion for the word and he has kept his open mic alive for over 30 years.
Stone Soup has always been exactly like its name,
a place where new readers and veterans can go to share their work.
More than any other form of expression, poetry is the most personal
and in the open mic, you lay yourself bare before your peers
for often your audience is just that, other poets.
I’ve never found a more accepting reading than Stone Soup
and that is due greatly to Jack in the values that he tried to instill in its alumni.
Luckily for the future of poetry we have someone willing to continue Jack’s legacy
but for those of us who knew Jack, who experienced Jack,
know that there’s a place in Heaven for someone who dedicated his life
to the language and beauty of poetry.
And if I may end this tribute in any way,
it would be the phrase Jack used to close each evening at Stone Soup;
“If the good Lord’s willing and the creeks don’t rise, we’ll see you by and by.”
God bless you Jack Powers.
--Ryan “Rat” Travis
10/19/10
10/18/10
Always There
Easy goes it each time you wrote, read a poem. Easy goes it each time you gestured with your gentle eyes, smiled, shook a friend’s hand, gave a hug, nodded approval of an aspiring poet’s spoken words. You were always there: caring, thoughtful, kind. A gentleman. A friend. A poet. We love you, Jack. You’re so missed already.
--Pam Rosenblatt
Easy goes it each time you wrote, read a poem. Easy goes it each time you gestured with your gentle eyes, smiled, shook a friend’s hand, gave a hug, nodded approval of an aspiring poet’s spoken words. You were always there: caring, thoughtful, kind. A gentleman. A friend. A poet. We love you, Jack. You’re so missed already.
--Pam Rosenblatt
Now
Jack Powers had a vision and he realized it. He passed on a civic spirit. Jack gave us all a greater reality, bringing the poetry out of the person, and the person out of the poetry. He also gave us the sense that we contain multitudes. Our voices are reservoirs of power and opinion, and nothing political is off limits to us. In his final years he could not talk. But he could write. As we finalized the details of the Savor Poetry prize, his last words to me were, “Now the revolution.”
--Gordon Marshall
Jack Powers had a vision and he realized it. He passed on a civic spirit. Jack gave us all a greater reality, bringing the poetry out of the person, and the person out of the poetry. He also gave us the sense that we contain multitudes. Our voices are reservoirs of power and opinion, and nothing political is off limits to us. In his final years he could not talk. But he could write. As we finalized the details of the Savor Poetry prize, his last words to me were, “Now the revolution.”
--Gordon Marshall
10/17/10
So Passes a Giant
Jack leaves a great literary legacy. He was a living legend and now he joins those who made their mark over generations. He was a literary great in his own right and supported many in the early stages of their literary careers. If it weren't for Jack, many of us wouldn't be where we are today in the poetry world. He leaves a hole that will be hard to fill. He did not seek greatness but it found him!!!! He was a one-of- a -kind spirit! He will be missed!!
--Harris Gardner
Jack leaves a great literary legacy. He was a living legend and now he joins those who made their mark over generations. He was a literary great in his own right and supported many in the early stages of their literary careers. If it weren't for Jack, many of us wouldn't be where we are today in the poetry world. He leaves a hole that will be hard to fill. He did not seek greatness but it found him!!!! He was a one-of- a -kind spirit! He will be missed!!
--Harris Gardner
10/16/10
Jack Powers, Stone Soup, and Me
The ferry chugged across Sydney Harbour; I looked at the Opera House like I do every day. This time all I saw was the big glassy sheen of the John Hancock Tower in Copley Square; all I heard was a million conversations with someone a million years ago; welling up behind it were the sights and sounds of Green Street Grill, TT the Bears, a small dark cramped cluttered paradisaical apartment on Joy Street, on Beacon Hill, in Boston Massachusetts. A few hours before, I'd learned that Jack Powers, maybe the most selfless promoter of poetry ever, my mentor, biggest advocate and encourager, my friend – a friend with whom I hadn't spoken since 1999 – had died. And eleven years' worth of unsent letters, unmade phone calls I'd spent almost weekly imagining and composing to him explaining and begging his forgiveness, trying to get back in touch, would never get sent.
Why'd I drop away? Short answer: cowardice, avoidance. Long(er) answer: our last go-round in Boston, neither of us were in good places at the time. I'd just returned from San Francisco, still shattered by losing my partner Todd to AIDS four years previously, and a wreck from the resultant self-destructive bender I'd spiralled into the last year or so in SF, abetted by a few chemically-equipped characters in the implosion as only self-indulgent denizens of that town can abet. I was emotional shrapnel, crawling back Boston-ward to the one place I felt safe, the one place where I thought I could pull myself together and maybe write and create again. Unfortunately Jack too was having a rough time. So as we conspired to kick-start Stone Soup back to its best, I felt more like a potentially bad influence as he also strove to get his life together. And, cravenly, a few sights of him in near-meltdown, being particularly verbally cruel to some people near and dear to him, had me with my ever-constant fear of confrontation stymied. Unable to tell him how badly I felt, unable to stick around and try to help him pull out of his shadows, I just vanished. A wimpy, cowardly end to a friendship I should have … well, shoulda, coulda, woulda. It's probably self-deception just to make myself feel slightly better, but I swear on the bus ferry-ward, as I kept trying to avoid a crying jag, as I thought how I wished I would have had the balls to get in touch and apologise, I heard Jack's voice in my head saying in that sad calm tone he could get, “well, y'know, we all do what we do. Just woulda been nice to have had those years we didn't get, y'know?” Of course, I also heard, as I vacillated back and forth as to whether I should get off the bus, transfer to another, and go across the ANZAC Bridge, or on a sad day like this stay calm, go slow, take a ferry ride and clear my head a bit, his voice take on that bemused frustrated tint I heard so often and sigh “geez, will ya just take the ferry? Gyawwd, poets.” So, there might be argument for some actual contact from beyond. And maybe somewhere Jack was absolving me. But still, I can't ever forgive myself for the shitty way I disappeared from his life after all he'd done for me.
I first met Jack in 1984 (mayyybe 85?). I'd moved to Boston the year before, not yet Yuri, just a bucolic escapee baby Riq the poet who spelled his name funny and met friend-of-friends (who'd become a friend in his own right by then) Ryk McIntyre. Once we got over meeting another same-first-named poet who spelled his name funny (“you bastard! Oh … all right”), we got along swell, and he showed me the ropes of Boston's (non-university-centered) poetry scene. He dragged me all the way from my South End (in the last days before the South End became totally gentrified) apartment to Cambridge, down some side street off the rather dicey Central Square, and into a restaurant/pub called Green Street Grill (or Charlie's Tap, as the bar area was called … both were used). Up a step or two past the bar, in a separate room, a varied crowd sat waiting for the show to begin. It was Stone Soup Poetry, open mike plus two featured readers. I forget if I read that first night, but I forever recall the emcee/organizer standing bushy-haired, bearded, bardic and encouraging anyone to sign up: “It's Stone Soup – inclusive, not exclusive” - little knowing it was a phrase I was to hear a lot over the next 5-6 years.
Slowly over the weeks I started to participate as well as listen, becoming a regular attendee, eventually leading to Jack offering a Ryk/Riq dual feature which we of course (as only 20something cocksures convinced we were on the verge of conquering the entire world could do) turned into a music/poetry review as “The Anti-Matter Boys”. One wonderful side-effect of not
Self-absorbed as I was, I remember very little of that first wave of Stone Soup in my life. I knew Jack as the organizer, but wasn't close to him. Then, in early 1987, between a huge case of writer's block and involvement singing with a real live rock and roll band, I drifted out of Stone Soup's orbit for a year or so. When you're in your early 20s, a year feels like it encompasses a decade – so, a decade (year) later, in mid-1988, with the band boredly splitting up, and a job in the Boston Public Library fueling a steady diet of whatever I was looking to read that was encouraging me to think in poemy terms again, I started creeping back to Green Street and Charlie's Tap, and its every-Monday-night Stone Soup. Heck, my brain was even starting to tickle with bits of new poems – if I could work them up to the more ambitious standards I was setting for myself, maybe I'd risk reading them. After a whole year, I was a little unsure – and, in that year, it seemed the calibre of poets swarming to Stone Soup had made a quantum leap too. The change in the energy from 1986 to that point in 1988 was noticeable to me. Faces in the crowd, names (as I slowly learned them) would excite me as I anticipated hearing what they'd read that night. As much as all the poets' bios and writings through history I was absorbing in my library job, these new faces in a Cambridge side street restaurant too were challenging me to step up a notch. And I could see it in Jack Powers' face, too – an enjoyment, a confidence, a pride in what poetry Boston could create. He was happily conducting this interesting scene, letting each instrument in its anarchic symphony shine.
So if this memoir of Jack segues into a memoir of Stone Soup in its greatest moments, that's a tribute to Jack. He was the conductor of song. Of electricity. Of all that energy. So, to merge the two is the best of tributes, no? And as a self-absorbed egotistical little poet, if the lens comes through my eyes, well, it is my fault, and more tribute to Jack that he smiled and let it slide.
My decades-(and chemicals)-shattered memory fogs; what I recall is, slowly sharing the first efforts of my new stuff early on, and a wonderful taxi cab driver (and not by-the-way really great poet) Joe Gleason, who read there often and entranced me, walking up to me and saying something to the extent of “hey, good poetry; I can really hear the Frank O'Hara influence in a good way”. To which I of course nodded (“O'Hara, yes yes yes” … then scurried to the shelves of my workplace next day to discover the works of Frank O'Hara and immediately shove him into my pantheon). But more than my desperate poetic dodge was the (beer-inspired) moment that I looked at him and said: “you know, I feel sort of bad reading here. I'd read here a lot about a year ago and acted like a total schmuck. I feel like I ought to apologize to a lot of people.” To which Joe smirked (he always smirked a lot) and said something benedictive like “hey, it's a poetry series, probably the least of sins committed here.” Still – I felt like I wanted to make up for my post-adolescent egomania of a year (decade!) before. While I hadn't had much interaction with Jack aside from asking for open-mike slots or the golden feature spots (!!), for once my fear and awkward social skills abandoned me. I approached Jack as he huddled with a clump of artistes in some odd artistic dealing, a byzantine juggling of egos and neuroses no doubt, waited my turn and said, “hey, Jack, sorry for being a creep,” (stealing a favourite term of abuse/affection from Jack himself) “ … look, you need help with anything here? I'd love to help out if I could.”
To the first bit of my tepid rant, he looked bewildered. To the second, his eyes lit up, and a blur of words came out. “Heythanksy'knowalwaysneedhelp,heymaybemonitorthesignupsheetnextweek” etc etc. Though the mighty mighty Julie Stone – one of the great saints of Stone Soup and Jack's life – had always been by Jack's side helping with filming, running things, spiritual support, there was always more to be done. Slowly, week by week, I found myself coasting into a supporting role – keeping an eye on the sign-up sheet, or watching the time (poets being both mad egotists and completely right-brain, few understood the concept of “please keep your open-mike spot to three-to-five minutes”).
And what poets there were! Usually, an open mike section at a poetry reading is a cause for alarm, terror, and flight to the farthest end of the bar. But for a brief shining moment, it seemed the factionalism that usually splinters poetry asunder melted away, and from 1988 through about 1990, poetry of all schools, all types, all levels of quality and style were bouncing off the walls and into poets' ears. Suddenly, somehow, every Monday night I found myself looking forward to a large portion of what I'd probably hear.
Sure, there were plenty of moments for have-I-shocked-you/look-I've-read-Bukowski adolescence, bad forced-rhyme political clichés, and “this next poem is called 'Clouds and Flowers'”, and such. But pound for pound, those 2 or 3 years would match any tightly pre-organised reading series I've ever seen in action. And it all boiled down to Jack's “inclusive, not exclusive” credo. Even personalities with whom he had long-standing mutual dislikes were guaranteed a spot, even a feature, if they asked. The arrogant, the experienced, the longtime friends had to wait their turn as the novice, the timid, and the fragmented-beaten-up-by-life stood on absolute equal footing.
And his faith in poetry itself paid off so well. So many people (speaking especially of myself) started off more miss than hit, or frightened and inaudible, or plain really, really bad, and with Jack nodding and thanking them after with utter sincerity went on to experiment and learn and grow as he made room for so many styles and influences. The number of poets I managed to sit with between sections of the evening, me furiously scribbling down books and writers to rush out and discover the next day, was a priceless benefit to me – as was Jack inviting me into his home, as a rotating circle of friends and poets began gathering at his Joy Street apartment after work every Monday to eat (usually his trademark tuna/pasta/tomato sauce feed-the-masses specialty), drink (poets!), and rush off in a caravan to Charlie's Tap.
Those few years with Jack and Stone Soup were, and will always be, the most wonderful stretch of creativity I ever experienced, socially and personally. At a distance now of twenty years, and with the pummelling I've given my short-term memory capacity over the intervening years, it's all a wild swirl, diverging episodic threads and fantastic little episodes all jumbled up. Where to start – what to write – no faith in its chronology; so much happened so quickly. History! Gossip! Poetic superstars! The forgotten and unsung!
Having spent his youth among the best of the Beat generation and caught the ear and friendship of Lawrence Ferlinghetti, Jack with his indefatigable service to the poetic cause was well-known as the go-to person in Boston. Ginsberg swoops into town? The phone would ring and it was Jack organising housing, reading space, support (it was through Jack that I met Ginsberg in 1986, who liked the poems I slipped him enough to get me in print for the first time – I suspect my really cute date was the main entry point of conversation, as he also spent the evening asking repeatedly “well, take me home and fuck me!” … we didn't, but Ginsy's own devotion to poetry allowed him to overlook this and judge my work on its own). And Ginsberg would send others Jack's way too.
Dmitri Prigov, then head of the Moscow Poetry Society, arrived that way. Jack put him up, organised some readings, and even got him to Charlie's Tap. By this time I'd met my partner Todd Hawley, who had been a Russian Studies major and was thus indispensable for Jack, as Prigov's English wasn't very good. He had a son about my age, and bonded with me in a homesick sort of way as Todd translated us into a joking duel of impersonating what each other's language sounded like to the other who couldn't understand a word, as Jack laughed harder than I'd ever seen him laugh before (me to Prigov: “doshhhhhbrrrrrooovdo gikkabukka harkhhhhhhhbrooosha!” Prigov – pinching his nose to sound more nasal – to me: “Thhhhhhehhhhh thhhehhh thhhuhh theeehh!”).
Jack, in his role as Poet Protector of the Boston Realm, had also taken it upon himself to look after one very special charge. A few doors up Joy Street lived John Weiners, chemical-and-shock-treatment-shattered recluse remnant of the Beat generation, in a small apartment from which he almost never ventured. Jack would keep an eye on him, run errands for him, check in if no one had heard from him for a while. He told of several precarious climbs up the outside of the building after Weiners wouldn't answer his phone for days, wedging open a window and climbing in only to find John sitting there, turning to calmly say “oh, Jack … hi, how are you?”.
On a non-Monday, less-crowded evening, Jack might try to lure Weiners out into the world, or at least down Joy Street for dinner. My experience of this usually consisted of watching Jack dial the phone, wait and wait and sigh and wait, then suddenly speak swiftly into the receiver “John! Hey, Jack here. Was wondering if you wanted to swing by for JohnJohndon'thangupwaitaminnitJo …. aw, jeez.” This would repeat several times before Jack would sigh, “well, I tried.” Occasionally Weiners would shuffle down and upstairs to Jack's place, where he'd sit in the corner chair at the kitchen table, jabbering in a whisper, or saying nothing, eyes down or staring into the distance. Once I ran into Weiners at the Boston Library, where he'd spend his days looking for all the world like another sad homeless guy unless you knew he was one of the greatest poets of the mid/late 20th century, and I quietly re-introduced myself to him.
“Oh … yes, we met at Jack's, didn't we?” he said almost happily. “How is Jack?”
When I told Jack this, he was almost in tears. “John remembered you! And having dinner with us! This is great! He's starting to snap out of it!”
And indeed, over the years, Jack slowly encouraged John Weiners to come out more and more, and even organized several rare readings for him. Again, the at-all-cost devotion of Jack Powers to poets and not just poetry was limitless (and why wasn't I there for Jack at all cost? I ask myself accusingly. No excuse).
As Boston poetry came alive again in Jack's kitchen, a vague set of semi-regulars started to take shape at the pre-reading dinners. We started giving each other poetry challenges – basically just a topic or title – to bring a poem to the dinner table the next week. My favorite moment was when Joanna Nealon, at her turn to choose, said something that I missed and misheard.
“Joanna!” I gasped. “Did you just say 'Egyptian foreplay'? What a great title!”
She howled with laughter. “I did actually conquering the entire world is, the video of this event, which does exist somewhere, is not now an embarrassing internet viral video phenomenon. It's a testament to Jack's forbearance that he endured us (or perhaps had become so immune to poets-who-act-like-they're-rockstars that we were just par for the course).not say 'Egyptian foreplay', but I like that better. Yes! We all have to write a poem about Egyptian foreplay!”
And we did.
With a regular(-ish) cast of characters helping out now, Jack was able to start thinking about re-vitalising Stone Soup's other endeavours again. With his energies going to the readings, to other poets, and the social causes he unrepentantly supported and worked hard for (especially issues of the homeless around Boston), other old projects had fallen by the wayside. The kickstart to this was Todd, who as a college entrepreneurial prodigy (he'd started his own institution at this point, the International Space University, which now sits on its own campus in Strasbourg, France) was more than encouraging as Jack spoke about finishing the non-profit incorporation process for Stone Soup to become the Stone Soup Arts Trust. This was right up Todd's alley, and gave sage advice to Cyndi Mitchell who – as one of the more real-world competents among us – organised and nursed the paperwork through the system. Soup kitchens, expanded readings, even dreams of re-opening Jack's old bookstore loomed in Jack's plans. But the first step was a more basic dream that had gotten put aside when Jack was running the whole show alone.
“Let's start the press back up,” he said. “Too much good stuff is happening right now. Gotta get the word out.”
So, in 1989, Stone Soup Quarterly vol.1, no.1 came out in print. A year later, we decided to start up individual poets' chapbooks/small press books. We all naturally wanted Jack to have the honours of being the first, especially as he'd spent years “just not getting around” to sending City Lights Press a manuscript of poems as Ferlinghetti had been requesting/cajoling/demanding for at least a decade. As always, Jack would have none of that and wanted to give others the spotlight. The first volume of the Stone Soup Poets' Series, he told the editorial board one meeting amid red wine, beer, and his tuna pasta, ought to be … and he pointed to me. And so the only time my name appeared on a flat little spine (well, back when I was Riq Hospodar and not Yuri Hospodar, not that the latter has appeared on any spines) is all thanks to Jack Powers. I think it took three more individual volumes before we managed to bully him into being the publishee, and his Light From Stone saw the light of day.
And amid all this, the every-Monday readings went on. The aside-from-aforementioned tip of the iceberg to some of the wonderfulness going on near-weekly (and a tip of the hat to the many friends & poets I might not mention as I'm writing fast and shell-shocked), many of whom coasted into Jack's kitchen and lingered for longer or shorter durations: Deb Oestreicher; Ellen Stone (whose poetry made me absolutely swoon) (who unfortunately shared an exact name with a better-known fellow New England poet and so was cause/victim of occasional reading confusion); Brother Blue and his moving, mad improvisations; Billy Barnum; Charlie Shively; Raphael DeGruttola and his haiku-ing friends (sorry for the sarcastic haiku snarks, Raphael – I was young and stupid); the New Hampshire triumverate of Peter Kidd (with his short poems like ancient Chinese aphorisms), Bill Kemmett, and W.E. (Wally) Butts (who I now hear is the Poet Laureate of New Hampshire – go Wally!) (the trio of them were wonderful, if with a tendency to be a tripartite Statler & Waldorf and sit as far from the stage as possible, chuckling at the more clownish or just plain bad poets); Glenn Stout and Sean Heaney, two compatriots from the Boston Public Library who I hadn't known were poets til they showed up at Stone Soup, and bonded better with; others others others whose names I may come back and fill in if I don't get wound up in the rest of all this.
A few of the many odd and (mostly) treasured moments:
The ethereal, majestic-voiced Carol Weston doing a feature slot, then opening up a box and telling us that day was also the birthday of a poet she'd studied under in England “and I want us all to have a piece of cake in honour of … oh … ohhh … oh oh oh dear, I'd forgotten it was an ice cream cake, it's all melted! I'm so sorry, everyone , I ...I ...” … and everyone loved Carol and to console her went to the bar & gathered spoons and we all had goopy spoonfuls of melted ice cream cake with her by the stage.
Jack somehow getting Kerouac's first wife (I believe) to come speak, perhaps hawking a recently-published memoir, and the pleading “look, I know, but just this once don't cause a scene” look he cast me as she said from stage “ask me! Ask me anything … I knew them all …. Allen Ginsberg before all that 'gay' shit ...”, those being the peak days of ACT UP, Queer Nation, and my fire-breathing little queer radical self.
A little coterie of wanna-be two-fisted hard guy poets (i.e. kids who were in their first year at college away from home and had had their first beer) who once said loudly at the table next to me how much better Bukowski was than “any of the crap going on here”, leading me to call Bukowski a cartoon version of the far-better Henry Miller. Later as I went to the bar they were there and began muttering darkly about how they were going to kick my ass and a few choice homophobic slurs. The big, burly, working class old-school Boston bartender they'd been trying to chum up to glowered at them and told them to get out, making sure that before they left they heard him telling me “not to worry about those stupid assholes.”
A reading we did in Provincetown, hearing Norman Mailer was in the audience, and the glee in Jack's face as he thought he'd get to read a fantastic poem Jack had written after the Jack Henry Abbott fiasco, lambasting the ever-macho Mailer. Alas, Mailer had shuffled out just before the reading was to start (also thwarting my plan to say “Mr Mailer, I loved your big book, From Here to Eternity”).
By this point (well, whatever point we're at in my decidedly twisting narrative) I had moved in with Todd, just around the corner from Charlie's Tap – although Stone Soup had relocated to TT the Bears, a music club a bit farther down the street (but still very convenient for me walking home). Charlie's Tap wanted the room for its restaurant seven nights a week, and we had to migrate. Still, TT's felt like a step up – more room, and unlike most reading series, Stone Soup had swelled to capacity crowds of over 100 regularly at this time. Jack was leading Stone Soup into barnstorming swoops all over New England and points south, tapes of the Monday evenings were on local cable, the press was going well. Things were looking great. But …
All great waves break ashore eventually. For me at least, my participation was dented by Todd's testing positive for HIV, and his health deteriorating. A visit to his mother in rural California had him wanting to move, to be closer to his family. For me it was obvious: to try to save Todd, I'd have to abandon Stone Soup and Boston (granted, central California is one of the most beautiful places I've ever seen, so the trade-off wasn't a complete disaster).
And for Jack and Stone Soup, trouble arrived in the form of slam poetry. When its proponents landed in Boston, Jack gave them a spot at the end of the Monday series, even if he was bewildered – his “inclusive, not exclusive” and social activism couldn't quite understand. “what, they … compete? People get knocked out? Poetry isn't a competition! It's communion.” But slam was fast, furious, popular, and if you shouted loudly enough, acted well, or crept around the room and hid under tables whilst you recited, you didn't have to worry so much about poetic skills. It was a hit.
As the Stone Soup team began fragmenting, Jack's personal life demanded more time and caused more stress too. Trying to spend as much time as he could with his two sons, atop arts and activism, was straining him. He never talked too much about his private life, and I was never one to try to get someone to talk if they seemed reticent. There was a lot going on behind the scenes that I could guess at, or got hints of, but I never sat down with Jack and asked questions, asked what I could do if anything. And now events in my own life were spiralling me far away.
My last two weeks in Boston/Cambridge we offered our empty apartment to Stone Soup for its Monday readings. Trouble was brewing with TT's, Jack desperately didn't want to miss a Monday night (Stone Soup had run somewhere every week, come hell or high water, for years and years). The last week, I was huddle in the still-bedded bedroom with food poisoning as the reading went on in the large, packed-full living room.
The next week, I was in Paso Robles, CA, far from Jack and Stone Soup, turning into a country boy. I remember Jack calling to check in one morning, asking – as any East Coaster would with tinges of envy when calling California in late Boston winter – how the weather was. As he asked, I was watching the morning mist do its sudden rise and disappearance over the hills behind our house. As I waxed lyrical, Jack said in his familiar mock-gritting-of-teeth, “aw, jeez; never ask a poet how the goddamned weather is!” In those days of no email, and with my hatred of the telephone, that was pretty much the last time I heard his voice until two years later.
At that point (1993), Todd's health was seriously declining, and with the nearest hospital a 40-minute drive down twisting hilly roads, we sold up and moved into San Francisco, the legendary Castro 'hood, with his doctor right around the corner. By blind luck, the week we moved in, Jack was visiting SF with Julie Stone and staying with Lawrence Ferlinghetti. “No dodges this time, Jack,” Ferlinghetti had told him. “This time, you're doing a reading at City Lights. An hour and a half, all yours.”
Ferlinghetti almost got his wish. True to form, Jack wouldn't do the whole show himself, and sliced off slots of time and told Neeli Cherkovski and myself (and enough others that we couldn't back out and force Jack to take the honours himself) that we were reading too. Jack was beaming, he and Julie were glowing and happy. Todd and I drove them up a mountain to take in the view, then down to Fisherman's Wharf for dinner. It was the last time Jack and Todd saw each other; two years later and intermittent contact between, I was calling Jack to tell him Todd had died (“be strong, brother,” Jack said, unconsciously echoing Todd's own deathbed exhortation to me to “be tough”).
Once more in San Francisco I saw Jack and Julie. I'd been to Prague and back, in a thwarted attempt to start life over after losing Todd and the interim rebranded myself Yuri (Todd had been born while Yuri Gagarin was orbiting the world, so in tribute I'd changed it for him in the last months of his life). Jack, alas, seemed to have been to Hell and back. All I could get was that he'd been hospitalised against his will for a short time, and was directing a lot of his rage and frustration at Julie. Ferlinghetti looked worried much as Jack had looked worried for John Weiners, and I felt helpless.
Shortly after, I started my own bad stretch, encountering two pretty messes who'd come to SF from New York with a medicine cabinet full of pills and powders and plenty of acquaintances who'd provide more. I was feeling trapped, alone, couldn't write, and was reeling. By 1999 I decided to return to Boston where (as the much-mentioned Weiners explained his own choice to settle there after much nomadry) it was a good place to be quiet and get work done. And I wanted desperately to pick up where I left off with Jack Powers and help him with Stone Soup.
Which brings us back to the second paragraph – why I buzzed back in to Jack's life and buzzed back out so suddenly. At that point, I just didn't have the strength to give Jack the help he needed, and like a craven little coward I vanished to lick my own wounds, but never reached back out once I could finally stand without wobbling again (which took til about 2002 or so, anyway). Then in 2003 I found myself finally having another burst of good writing, but financially crumbling and falling further and rent-controlessly further out of Boston down the Red Line into deepest Dorchester, wallowing in the always-unpleasant bitter Bostonian winters and suddenly deciding ping-ponglike to flee back to San Francisco, after a brief trip to make my peace with the place had deceptively nice weather and lured me back. And I never once tried to contact Jack. As time went on, my avoidance became shame at that avoidance, and every year my embarrassment increased. So of course I just buried it all down in my gut and moved along, rather than reach out to someone whose friendship had done so much for me.
So maybe it's for my sins that I'm now winterless forever here in Australia, with a wonderful second partner (the native-born reason I've wound up here) but no Muse – I think I left her bewildered in a back street in Boston muttering “you're back! Here's some po- hey, wait, where'd you go? Dammit, I'm tired of trying to follow you around! I'll just sit here ...” Or perhaps she has withheld her touch for the way I abandoned my poetic mentor and friend, and cast me adrift in a city that, for all its surrounding natural beauty, is the singlemost poetry-unimbued place I've ever lived (with the exception of my town of birth).
Last night, after starting this, and realising finally I hadn't eaten and really should, while making my own dinner, I put on Mahler's 9th symphony (Jack was always a Mahler man) and had to pause - what loomed in front of me was one of my favourite, most treasured memories of Jack Powers the poet, the educator, the art evangelist.
On those Monday evenings, when we'd gather at Joy Street and he'd tower over his small white stove, stirring the vat of boiling pasta and bubbling sauce, he'd always have the radio on low, a tiny transistor thingy, its antenna poking into the window on whose sill it sat, aimed out over the houses and buildings of Beacon Hill. This night was early on in the glory days – I forget who else was around the table that evening; just a few and not the later larger pack. It must have been autumn or winter – it was already dark outside. As we chatted, Jack paused to rush into the front room and emerge with handfuls of old Stone Soup chapbooks to emphasise a point or relate some hidden history of poetic Boston. He stopped, dropped the books on the table, and reached to the radio.
“Have you ever heard this?” he gently turned up the volume. From the tinny speakers a majestic orchestra soared. “It's Mahler's 9th.”
I confessed I knew next to nothing of classical music, being a 20something rock and roll snot.
“Well, listen to this ...” and he slowly, lovingly pointed out bits and pieces, what parts to listen to, what Mahler was doing here or there. I don't know how far we were into the symphony, but for a long, long work, it and time passed instantaneously. The light was low and the dark brr of Boston halted at the steamed-up window, blocked by the stove's gurgling warmth. I remember the lamp's glow behind Jack, the lamplight a halo illuminating his big fuzzy head as, eyes closed, he nodded, hands moving slowly, unpretentiously, like he was caressing the music.
“He's coming to terms with his mortality, here.” The music hushed to a slow, high, quiet drone, strings lingering, lingering. “Death is here, for us all eventually, he's realising there's no use to fight it, no need. And it's all right.” Jack's gentle voice, strings seeping from drone to serenity and acceptance. “He's done what he can do, and it's time to go.” I swear the stove even stopped bubbling to listen. “And he lets go.” The strings sigh a last long breathe and fade gently away. No one in the kitchen says a word, the radio is silent, Jack nods his head slowly, eyes still closed. For a few moments, the whole world is in that silence, all eternity in that kitchen.
All I can hope is, in Jack's last moments, that the serenity he brought to his kitchen that night long ago returned to him; he knew he'd done all he could do, death closed gently and peacefully upon him, and whatever there is of a calm eternity opened and welcomed him in.
Vale, Jack Powers.
Thank you,
I'm sorry,
peace.
--Yuri Hospodar
The ferry chugged across Sydney Harbour; I looked at the Opera House like I do every day. This time all I saw was the big glassy sheen of the John Hancock Tower in Copley Square; all I heard was a million conversations with someone a million years ago; welling up behind it were the sights and sounds of Green Street Grill, TT the Bears, a small dark cramped cluttered paradisaical apartment on Joy Street, on Beacon Hill, in Boston Massachusetts. A few hours before, I'd learned that Jack Powers, maybe the most selfless promoter of poetry ever, my mentor, biggest advocate and encourager, my friend – a friend with whom I hadn't spoken since 1999 – had died. And eleven years' worth of unsent letters, unmade phone calls I'd spent almost weekly imagining and composing to him explaining and begging his forgiveness, trying to get back in touch, would never get sent.
Why'd I drop away? Short answer: cowardice, avoidance. Long(er) answer: our last go-round in Boston, neither of us were in good places at the time. I'd just returned from San Francisco, still shattered by losing my partner Todd to AIDS four years previously, and a wreck from the resultant self-destructive bender I'd spiralled into the last year or so in SF, abetted by a few chemically-equipped characters in the implosion as only self-indulgent denizens of that town can abet. I was emotional shrapnel, crawling back Boston-ward to the one place I felt safe, the one place where I thought I could pull myself together and maybe write and create again. Unfortunately Jack too was having a rough time. So as we conspired to kick-start Stone Soup back to its best, I felt more like a potentially bad influence as he also strove to get his life together. And, cravenly, a few sights of him in near-meltdown, being particularly verbally cruel to some people near and dear to him, had me with my ever-constant fear of confrontation stymied. Unable to tell him how badly I felt, unable to stick around and try to help him pull out of his shadows, I just vanished. A wimpy, cowardly end to a friendship I should have … well, shoulda, coulda, woulda. It's probably self-deception just to make myself feel slightly better, but I swear on the bus ferry-ward, as I kept trying to avoid a crying jag, as I thought how I wished I would have had the balls to get in touch and apologise, I heard Jack's voice in my head saying in that sad calm tone he could get, “well, y'know, we all do what we do. Just woulda been nice to have had those years we didn't get, y'know?” Of course, I also heard, as I vacillated back and forth as to whether I should get off the bus, transfer to another, and go across the ANZAC Bridge, or on a sad day like this stay calm, go slow, take a ferry ride and clear my head a bit, his voice take on that bemused frustrated tint I heard so often and sigh “geez, will ya just take the ferry? Gyawwd, poets.” So, there might be argument for some actual contact from beyond. And maybe somewhere Jack was absolving me. But still, I can't ever forgive myself for the shitty way I disappeared from his life after all he'd done for me.
I first met Jack in 1984 (mayyybe 85?). I'd moved to Boston the year before, not yet Yuri, just a bucolic escapee baby Riq the poet who spelled his name funny and met friend-of-friends (who'd become a friend in his own right by then) Ryk McIntyre. Once we got over meeting another same-first-named poet who spelled his name funny (“you bastard! Oh … all right”), we got along swell, and he showed me the ropes of Boston's (non-university-centered) poetry scene. He dragged me all the way from my South End (in the last days before the South End became totally gentrified) apartment to Cambridge, down some side street off the rather dicey Central Square, and into a restaurant/pub called Green Street Grill (or Charlie's Tap, as the bar area was called … both were used). Up a step or two past the bar, in a separate room, a varied crowd sat waiting for the show to begin. It was Stone Soup Poetry, open mike plus two featured readers. I forget if I read that first night, but I forever recall the emcee/organizer standing bushy-haired, bearded, bardic and encouraging anyone to sign up: “It's Stone Soup – inclusive, not exclusive” - little knowing it was a phrase I was to hear a lot over the next 5-6 years.
Slowly over the weeks I started to participate as well as listen, becoming a regular attendee, eventually leading to Jack offering a Ryk/Riq dual feature which we of course (as only 20something cocksures convinced we were on the verge of conquering the entire world could do) turned into a music/poetry review as “The Anti-Matter Boys”. One wonderful side-effect of not
Self-absorbed as I was, I remember very little of that first wave of Stone Soup in my life. I knew Jack as the organizer, but wasn't close to him. Then, in early 1987, between a huge case of writer's block and involvement singing with a real live rock and roll band, I drifted out of Stone Soup's orbit for a year or so. When you're in your early 20s, a year feels like it encompasses a decade – so, a decade (year) later, in mid-1988, with the band boredly splitting up, and a job in the Boston Public Library fueling a steady diet of whatever I was looking to read that was encouraging me to think in poemy terms again, I started creeping back to Green Street and Charlie's Tap, and its every-Monday-night Stone Soup. Heck, my brain was even starting to tickle with bits of new poems – if I could work them up to the more ambitious standards I was setting for myself, maybe I'd risk reading them. After a whole year, I was a little unsure – and, in that year, it seemed the calibre of poets swarming to Stone Soup had made a quantum leap too. The change in the energy from 1986 to that point in 1988 was noticeable to me. Faces in the crowd, names (as I slowly learned them) would excite me as I anticipated hearing what they'd read that night. As much as all the poets' bios and writings through history I was absorbing in my library job, these new faces in a Cambridge side street restaurant too were challenging me to step up a notch. And I could see it in Jack Powers' face, too – an enjoyment, a confidence, a pride in what poetry Boston could create. He was happily conducting this interesting scene, letting each instrument in its anarchic symphony shine.
So if this memoir of Jack segues into a memoir of Stone Soup in its greatest moments, that's a tribute to Jack. He was the conductor of song. Of electricity. Of all that energy. So, to merge the two is the best of tributes, no? And as a self-absorbed egotistical little poet, if the lens comes through my eyes, well, it is my fault, and more tribute to Jack that he smiled and let it slide.
My decades-(and chemicals)-shattered memory fogs; what I recall is, slowly sharing the first efforts of my new stuff early on, and a wonderful taxi cab driver (and not by-the-way really great poet) Joe Gleason, who read there often and entranced me, walking up to me and saying something to the extent of “hey, good poetry; I can really hear the Frank O'Hara influence in a good way”. To which I of course nodded (“O'Hara, yes yes yes” … then scurried to the shelves of my workplace next day to discover the works of Frank O'Hara and immediately shove him into my pantheon). But more than my desperate poetic dodge was the (beer-inspired) moment that I looked at him and said: “you know, I feel sort of bad reading here. I'd read here a lot about a year ago and acted like a total schmuck. I feel like I ought to apologize to a lot of people.” To which Joe smirked (he always smirked a lot) and said something benedictive like “hey, it's a poetry series, probably the least of sins committed here.” Still – I felt like I wanted to make up for my post-adolescent egomania of a year (decade!) before. While I hadn't had much interaction with Jack aside from asking for open-mike slots or the golden feature spots (!!), for once my fear and awkward social skills abandoned me. I approached Jack as he huddled with a clump of artistes in some odd artistic dealing, a byzantine juggling of egos and neuroses no doubt, waited my turn and said, “hey, Jack, sorry for being a creep,” (stealing a favourite term of abuse/affection from Jack himself) “ … look, you need help with anything here? I'd love to help out if I could.”
To the first bit of my tepid rant, he looked bewildered. To the second, his eyes lit up, and a blur of words came out. “Heythanksy'knowalwaysneedhelp,heymaybemonitorthesignupsheetnextweek” etc etc. Though the mighty mighty Julie Stone – one of the great saints of Stone Soup and Jack's life – had always been by Jack's side helping with filming, running things, spiritual support, there was always more to be done. Slowly, week by week, I found myself coasting into a supporting role – keeping an eye on the sign-up sheet, or watching the time (poets being both mad egotists and completely right-brain, few understood the concept of “please keep your open-mike spot to three-to-five minutes”).
And what poets there were! Usually, an open mike section at a poetry reading is a cause for alarm, terror, and flight to the farthest end of the bar. But for a brief shining moment, it seemed the factionalism that usually splinters poetry asunder melted away, and from 1988 through about 1990, poetry of all schools, all types, all levels of quality and style were bouncing off the walls and into poets' ears. Suddenly, somehow, every Monday night I found myself looking forward to a large portion of what I'd probably hear.
Sure, there were plenty of moments for have-I-shocked-you/look-I've-read-Bukowski adolescence, bad forced-rhyme political clichés, and “this next poem is called 'Clouds and Flowers'”, and such. But pound for pound, those 2 or 3 years would match any tightly pre-organised reading series I've ever seen in action. And it all boiled down to Jack's “inclusive, not exclusive” credo. Even personalities with whom he had long-standing mutual dislikes were guaranteed a spot, even a feature, if they asked. The arrogant, the experienced, the longtime friends had to wait their turn as the novice, the timid, and the fragmented-beaten-up-by-life stood on absolute equal footing.
And his faith in poetry itself paid off so well. So many people (speaking especially of myself) started off more miss than hit, or frightened and inaudible, or plain really, really bad, and with Jack nodding and thanking them after with utter sincerity went on to experiment and learn and grow as he made room for so many styles and influences. The number of poets I managed to sit with between sections of the evening, me furiously scribbling down books and writers to rush out and discover the next day, was a priceless benefit to me – as was Jack inviting me into his home, as a rotating circle of friends and poets began gathering at his Joy Street apartment after work every Monday to eat (usually his trademark tuna/pasta/tomato sauce feed-the-masses specialty), drink (poets!), and rush off in a caravan to Charlie's Tap.
Those few years with Jack and Stone Soup were, and will always be, the most wonderful stretch of creativity I ever experienced, socially and personally. At a distance now of twenty years, and with the pummelling I've given my short-term memory capacity over the intervening years, it's all a wild swirl, diverging episodic threads and fantastic little episodes all jumbled up. Where to start – what to write – no faith in its chronology; so much happened so quickly. History! Gossip! Poetic superstars! The forgotten and unsung!
Having spent his youth among the best of the Beat generation and caught the ear and friendship of Lawrence Ferlinghetti, Jack with his indefatigable service to the poetic cause was well-known as the go-to person in Boston. Ginsberg swoops into town? The phone would ring and it was Jack organising housing, reading space, support (it was through Jack that I met Ginsberg in 1986, who liked the poems I slipped him enough to get me in print for the first time – I suspect my really cute date was the main entry point of conversation, as he also spent the evening asking repeatedly “well, take me home and fuck me!” … we didn't, but Ginsy's own devotion to poetry allowed him to overlook this and judge my work on its own). And Ginsberg would send others Jack's way too.
Dmitri Prigov, then head of the Moscow Poetry Society, arrived that way. Jack put him up, organised some readings, and even got him to Charlie's Tap. By this time I'd met my partner Todd Hawley, who had been a Russian Studies major and was thus indispensable for Jack, as Prigov's English wasn't very good. He had a son about my age, and bonded with me in a homesick sort of way as Todd translated us into a joking duel of impersonating what each other's language sounded like to the other who couldn't understand a word, as Jack laughed harder than I'd ever seen him laugh before (me to Prigov: “doshhhhhbrrrrrooovdo gikkabukka harkhhhhhhhbrooosha!” Prigov – pinching his nose to sound more nasal – to me: “Thhhhhhehhhhh thhhehhh thhhuhh theeehh!”).
Jack, in his role as Poet Protector of the Boston Realm, had also taken it upon himself to look after one very special charge. A few doors up Joy Street lived John Weiners, chemical-and-shock-treatment-shattered recluse remnant of the Beat generation, in a small apartment from which he almost never ventured. Jack would keep an eye on him, run errands for him, check in if no one had heard from him for a while. He told of several precarious climbs up the outside of the building after Weiners wouldn't answer his phone for days, wedging open a window and climbing in only to find John sitting there, turning to calmly say “oh, Jack … hi, how are you?”.
On a non-Monday, less-crowded evening, Jack might try to lure Weiners out into the world, or at least down Joy Street for dinner. My experience of this usually consisted of watching Jack dial the phone, wait and wait and sigh and wait, then suddenly speak swiftly into the receiver “John! Hey, Jack here. Was wondering if you wanted to swing by for JohnJohndon'thangupwaitaminnitJo …. aw, jeez.” This would repeat several times before Jack would sigh, “well, I tried.” Occasionally Weiners would shuffle down and upstairs to Jack's place, where he'd sit in the corner chair at the kitchen table, jabbering in a whisper, or saying nothing, eyes down or staring into the distance. Once I ran into Weiners at the Boston Library, where he'd spend his days looking for all the world like another sad homeless guy unless you knew he was one of the greatest poets of the mid/late 20th century, and I quietly re-introduced myself to him.
“Oh … yes, we met at Jack's, didn't we?” he said almost happily. “How is Jack?”
When I told Jack this, he was almost in tears. “John remembered you! And having dinner with us! This is great! He's starting to snap out of it!”
And indeed, over the years, Jack slowly encouraged John Weiners to come out more and more, and even organized several rare readings for him. Again, the at-all-cost devotion of Jack Powers to poets and not just poetry was limitless (and why wasn't I there for Jack at all cost? I ask myself accusingly. No excuse).
As Boston poetry came alive again in Jack's kitchen, a vague set of semi-regulars started to take shape at the pre-reading dinners. We started giving each other poetry challenges – basically just a topic or title – to bring a poem to the dinner table the next week. My favorite moment was when Joanna Nealon, at her turn to choose, said something that I missed and misheard.
“Joanna!” I gasped. “Did you just say 'Egyptian foreplay'? What a great title!”
She howled with laughter. “I did actually conquering the entire world is, the video of this event, which does exist somewhere, is not now an embarrassing internet viral video phenomenon. It's a testament to Jack's forbearance that he endured us (or perhaps had become so immune to poets-who-act-like-they're-rockstars that we were just par for the course).not say 'Egyptian foreplay', but I like that better. Yes! We all have to write a poem about Egyptian foreplay!”
And we did.
With a regular(-ish) cast of characters helping out now, Jack was able to start thinking about re-vitalising Stone Soup's other endeavours again. With his energies going to the readings, to other poets, and the social causes he unrepentantly supported and worked hard for (especially issues of the homeless around Boston), other old projects had fallen by the wayside. The kickstart to this was Todd, who as a college entrepreneurial prodigy (he'd started his own institution at this point, the International Space University, which now sits on its own campus in Strasbourg, France) was more than encouraging as Jack spoke about finishing the non-profit incorporation process for Stone Soup to become the Stone Soup Arts Trust. This was right up Todd's alley, and gave sage advice to Cyndi Mitchell who – as one of the more real-world competents among us – organised and nursed the paperwork through the system. Soup kitchens, expanded readings, even dreams of re-opening Jack's old bookstore loomed in Jack's plans. But the first step was a more basic dream that had gotten put aside when Jack was running the whole show alone.
“Let's start the press back up,” he said. “Too much good stuff is happening right now. Gotta get the word out.”
So, in 1989, Stone Soup Quarterly vol.1, no.1 came out in print. A year later, we decided to start up individual poets' chapbooks/small press books. We all naturally wanted Jack to have the honours of being the first, especially as he'd spent years “just not getting around” to sending City Lights Press a manuscript of poems as Ferlinghetti had been requesting/cajoling/demanding for at least a decade. As always, Jack would have none of that and wanted to give others the spotlight. The first volume of the Stone Soup Poets' Series, he told the editorial board one meeting amid red wine, beer, and his tuna pasta, ought to be … and he pointed to me. And so the only time my name appeared on a flat little spine (well, back when I was Riq Hospodar and not Yuri Hospodar, not that the latter has appeared on any spines) is all thanks to Jack Powers. I think it took three more individual volumes before we managed to bully him into being the publishee, and his Light From Stone saw the light of day.
And amid all this, the every-Monday readings went on. The aside-from-aforementioned tip of the iceberg to some of the wonderfulness going on near-weekly (and a tip of the hat to the many friends & poets I might not mention as I'm writing fast and shell-shocked), many of whom coasted into Jack's kitchen and lingered for longer or shorter durations: Deb Oestreicher; Ellen Stone (whose poetry made me absolutely swoon) (who unfortunately shared an exact name with a better-known fellow New England poet and so was cause/victim of occasional reading confusion); Brother Blue and his moving, mad improvisations; Billy Barnum; Charlie Shively; Raphael DeGruttola and his haiku-ing friends (sorry for the sarcastic haiku snarks, Raphael – I was young and stupid); the New Hampshire triumverate of Peter Kidd (with his short poems like ancient Chinese aphorisms), Bill Kemmett, and W.E. (Wally) Butts (who I now hear is the Poet Laureate of New Hampshire – go Wally!) (the trio of them were wonderful, if with a tendency to be a tripartite Statler & Waldorf and sit as far from the stage as possible, chuckling at the more clownish or just plain bad poets); Glenn Stout and Sean Heaney, two compatriots from the Boston Public Library who I hadn't known were poets til they showed up at Stone Soup, and bonded better with; others others others whose names I may come back and fill in if I don't get wound up in the rest of all this.
A few of the many odd and (mostly) treasured moments:
The ethereal, majestic-voiced Carol Weston doing a feature slot, then opening up a box and telling us that day was also the birthday of a poet she'd studied under in England “and I want us all to have a piece of cake in honour of … oh … ohhh … oh oh oh dear, I'd forgotten it was an ice cream cake, it's all melted! I'm so sorry, everyone , I ...I ...” … and everyone loved Carol and to console her went to the bar & gathered spoons and we all had goopy spoonfuls of melted ice cream cake with her by the stage.
Jack somehow getting Kerouac's first wife (I believe) to come speak, perhaps hawking a recently-published memoir, and the pleading “look, I know, but just this once don't cause a scene” look he cast me as she said from stage “ask me! Ask me anything … I knew them all …. Allen Ginsberg before all that 'gay' shit ...”, those being the peak days of ACT UP, Queer Nation, and my fire-breathing little queer radical self.
A little coterie of wanna-be two-fisted hard guy poets (i.e. kids who were in their first year at college away from home and had had their first beer) who once said loudly at the table next to me how much better Bukowski was than “any of the crap going on here”, leading me to call Bukowski a cartoon version of the far-better Henry Miller. Later as I went to the bar they were there and began muttering darkly about how they were going to kick my ass and a few choice homophobic slurs. The big, burly, working class old-school Boston bartender they'd been trying to chum up to glowered at them and told them to get out, making sure that before they left they heard him telling me “not to worry about those stupid assholes.”
A reading we did in Provincetown, hearing Norman Mailer was in the audience, and the glee in Jack's face as he thought he'd get to read a fantastic poem Jack had written after the Jack Henry Abbott fiasco, lambasting the ever-macho Mailer. Alas, Mailer had shuffled out just before the reading was to start (also thwarting my plan to say “Mr Mailer, I loved your big book, From Here to Eternity”).
By this point (well, whatever point we're at in my decidedly twisting narrative) I had moved in with Todd, just around the corner from Charlie's Tap – although Stone Soup had relocated to TT the Bears, a music club a bit farther down the street (but still very convenient for me walking home). Charlie's Tap wanted the room for its restaurant seven nights a week, and we had to migrate. Still, TT's felt like a step up – more room, and unlike most reading series, Stone Soup had swelled to capacity crowds of over 100 regularly at this time. Jack was leading Stone Soup into barnstorming swoops all over New England and points south, tapes of the Monday evenings were on local cable, the press was going well. Things were looking great. But …
All great waves break ashore eventually. For me at least, my participation was dented by Todd's testing positive for HIV, and his health deteriorating. A visit to his mother in rural California had him wanting to move, to be closer to his family. For me it was obvious: to try to save Todd, I'd have to abandon Stone Soup and Boston (granted, central California is one of the most beautiful places I've ever seen, so the trade-off wasn't a complete disaster).
And for Jack and Stone Soup, trouble arrived in the form of slam poetry. When its proponents landed in Boston, Jack gave them a spot at the end of the Monday series, even if he was bewildered – his “inclusive, not exclusive” and social activism couldn't quite understand. “what, they … compete? People get knocked out? Poetry isn't a competition! It's communion.” But slam was fast, furious, popular, and if you shouted loudly enough, acted well, or crept around the room and hid under tables whilst you recited, you didn't have to worry so much about poetic skills. It was a hit.
As the Stone Soup team began fragmenting, Jack's personal life demanded more time and caused more stress too. Trying to spend as much time as he could with his two sons, atop arts and activism, was straining him. He never talked too much about his private life, and I was never one to try to get someone to talk if they seemed reticent. There was a lot going on behind the scenes that I could guess at, or got hints of, but I never sat down with Jack and asked questions, asked what I could do if anything. And now events in my own life were spiralling me far away.
My last two weeks in Boston/Cambridge we offered our empty apartment to Stone Soup for its Monday readings. Trouble was brewing with TT's, Jack desperately didn't want to miss a Monday night (Stone Soup had run somewhere every week, come hell or high water, for years and years). The last week, I was huddle in the still-bedded bedroom with food poisoning as the reading went on in the large, packed-full living room.
The next week, I was in Paso Robles, CA, far from Jack and Stone Soup, turning into a country boy. I remember Jack calling to check in one morning, asking – as any East Coaster would with tinges of envy when calling California in late Boston winter – how the weather was. As he asked, I was watching the morning mist do its sudden rise and disappearance over the hills behind our house. As I waxed lyrical, Jack said in his familiar mock-gritting-of-teeth, “aw, jeez; never ask a poet how the goddamned weather is!” In those days of no email, and with my hatred of the telephone, that was pretty much the last time I heard his voice until two years later.
At that point (1993), Todd's health was seriously declining, and with the nearest hospital a 40-minute drive down twisting hilly roads, we sold up and moved into San Francisco, the legendary Castro 'hood, with his doctor right around the corner. By blind luck, the week we moved in, Jack was visiting SF with Julie Stone and staying with Lawrence Ferlinghetti. “No dodges this time, Jack,” Ferlinghetti had told him. “This time, you're doing a reading at City Lights. An hour and a half, all yours.”
Ferlinghetti almost got his wish. True to form, Jack wouldn't do the whole show himself, and sliced off slots of time and told Neeli Cherkovski and myself (and enough others that we couldn't back out and force Jack to take the honours himself) that we were reading too. Jack was beaming, he and Julie were glowing and happy. Todd and I drove them up a mountain to take in the view, then down to Fisherman's Wharf for dinner. It was the last time Jack and Todd saw each other; two years later and intermittent contact between, I was calling Jack to tell him Todd had died (“be strong, brother,” Jack said, unconsciously echoing Todd's own deathbed exhortation to me to “be tough”).
Once more in San Francisco I saw Jack and Julie. I'd been to Prague and back, in a thwarted attempt to start life over after losing Todd and the interim rebranded myself Yuri (Todd had been born while Yuri Gagarin was orbiting the world, so in tribute I'd changed it for him in the last months of his life). Jack, alas, seemed to have been to Hell and back. All I could get was that he'd been hospitalised against his will for a short time, and was directing a lot of his rage and frustration at Julie. Ferlinghetti looked worried much as Jack had looked worried for John Weiners, and I felt helpless.
Shortly after, I started my own bad stretch, encountering two pretty messes who'd come to SF from New York with a medicine cabinet full of pills and powders and plenty of acquaintances who'd provide more. I was feeling trapped, alone, couldn't write, and was reeling. By 1999 I decided to return to Boston where (as the much-mentioned Weiners explained his own choice to settle there after much nomadry) it was a good place to be quiet and get work done. And I wanted desperately to pick up where I left off with Jack Powers and help him with Stone Soup.
Which brings us back to the second paragraph – why I buzzed back in to Jack's life and buzzed back out so suddenly. At that point, I just didn't have the strength to give Jack the help he needed, and like a craven little coward I vanished to lick my own wounds, but never reached back out once I could finally stand without wobbling again (which took til about 2002 or so, anyway). Then in 2003 I found myself finally having another burst of good writing, but financially crumbling and falling further and rent-controlessly further out of Boston down the Red Line into deepest Dorchester, wallowing in the always-unpleasant bitter Bostonian winters and suddenly deciding ping-ponglike to flee back to San Francisco, after a brief trip to make my peace with the place had deceptively nice weather and lured me back. And I never once tried to contact Jack. As time went on, my avoidance became shame at that avoidance, and every year my embarrassment increased. So of course I just buried it all down in my gut and moved along, rather than reach out to someone whose friendship had done so much for me.
So maybe it's for my sins that I'm now winterless forever here in Australia, with a wonderful second partner (the native-born reason I've wound up here) but no Muse – I think I left her bewildered in a back street in Boston muttering “you're back! Here's some po- hey, wait, where'd you go? Dammit, I'm tired of trying to follow you around! I'll just sit here ...” Or perhaps she has withheld her touch for the way I abandoned my poetic mentor and friend, and cast me adrift in a city that, for all its surrounding natural beauty, is the singlemost poetry-unimbued place I've ever lived (with the exception of my town of birth).
Last night, after starting this, and realising finally I hadn't eaten and really should, while making my own dinner, I put on Mahler's 9th symphony (Jack was always a Mahler man) and had to pause - what loomed in front of me was one of my favourite, most treasured memories of Jack Powers the poet, the educator, the art evangelist.
On those Monday evenings, when we'd gather at Joy Street and he'd tower over his small white stove, stirring the vat of boiling pasta and bubbling sauce, he'd always have the radio on low, a tiny transistor thingy, its antenna poking into the window on whose sill it sat, aimed out over the houses and buildings of Beacon Hill. This night was early on in the glory days – I forget who else was around the table that evening; just a few and not the later larger pack. It must have been autumn or winter – it was already dark outside. As we chatted, Jack paused to rush into the front room and emerge with handfuls of old Stone Soup chapbooks to emphasise a point or relate some hidden history of poetic Boston. He stopped, dropped the books on the table, and reached to the radio.
“Have you ever heard this?” he gently turned up the volume. From the tinny speakers a majestic orchestra soared. “It's Mahler's 9th.”
I confessed I knew next to nothing of classical music, being a 20something rock and roll snot.
“Well, listen to this ...” and he slowly, lovingly pointed out bits and pieces, what parts to listen to, what Mahler was doing here or there. I don't know how far we were into the symphony, but for a long, long work, it and time passed instantaneously. The light was low and the dark brr of Boston halted at the steamed-up window, blocked by the stove's gurgling warmth. I remember the lamp's glow behind Jack, the lamplight a halo illuminating his big fuzzy head as, eyes closed, he nodded, hands moving slowly, unpretentiously, like he was caressing the music.
“He's coming to terms with his mortality, here.” The music hushed to a slow, high, quiet drone, strings lingering, lingering. “Death is here, for us all eventually, he's realising there's no use to fight it, no need. And it's all right.” Jack's gentle voice, strings seeping from drone to serenity and acceptance. “He's done what he can do, and it's time to go.” I swear the stove even stopped bubbling to listen. “And he lets go.” The strings sigh a last long breathe and fade gently away. No one in the kitchen says a word, the radio is silent, Jack nods his head slowly, eyes still closed. For a few moments, the whole world is in that silence, all eternity in that kitchen.
All I can hope is, in Jack's last moments, that the serenity he brought to his kitchen that night long ago returned to him; he knew he'd done all he could do, death closed gently and peacefully upon him, and whatever there is of a calm eternity opened and welcomed him in.
Vale, Jack Powers.
Thank you,
I'm sorry,
peace.
--Yuri Hospodar
10/15/10
Tribute to Jack Powers: A Part of Something
It was a bad weekend for me. My ex had just told me that it was definitely over between us, and then I heard that Ginsberg had died. I didn't know which news made me feel the worse.
I needed something to keep my nights occupied so I wouldn't be sitting around the house thinking. I looked through the activities section of The Phoenix to see what the city had to offer, with it in mind to find something to do, somewhere to go, every night of the week.
The weekend was easy. Then I found something for Tuesday. Brother Blue's Storytelling in Porter Square sounded fun for Wednesday. Squawk open mike sounded promising. Johnny D's had live jazz on Fridays with a five dollar cover.
Then I came across Stone Soup Poets at TT & the Bear's Place (the events and venues were listed in alphabetical order). They had a phone number listed so I gave them a call. Jack answered, deep clear voice like a radio dj. He told me what Stone Soup was all about with such warmth and compassion and energy. He talked about poetry with such enthusiasm.
He told me where TT & the Bear's place was in Central Square and made me promise to be there that night, he wouldn't hang up the phone until I promised. He asked me to bring along some poems to read to the group. I told him I'd be more comfortable just listening. But he said bring the poems anyway, and we'd see.
I found the place easilly enough, paid the cover and walked in. At the opposite end of the bar was a tall skinny man with bushy greying hair clasping hands with everyone at the bar in turn and when he saw me, he came hurrying over and threw his arms around me in a bear hug. I knew who he was by the sound of his voice, and he called me by name before I ever spoke. And I hadn't described myself when we'd talked on the phone, he just knew.
He asked me if I'd brought any poems with me, and I said that I had, showed him my notebook. He said that he'd put me down to read, then, and he went to writing my name on the list he had on the clipboard he was carrying, before I had time to object.
"Oh. Well. No, I think I'll just listen tonight," I said shyly,but not wanting to hurt his feelings, I added, "I'll get a feel of how things are here, and maybe I'll read next week..."
He wasn't going for it though. "I'll put your name on the list, toward the end of the first set," he said, like he hadn't heard me at all, and unclasped my hands and walked off. I took a seat near the back, where it was dark and I could blend in.
I'd forgotten what Jack said about putting my name down, so it took a moment to register when I heard it called.
"We are honored to have with us... first time reading at Stone Soup..."
I could listen to Jack's voice all night. I was mezmerized by it.
"Let's give a warm welcome for..." hands clasped in reverence, "mister Erik Tate."
The silence brought me around, and then I noticed that Jack was extending his arm in my direction, faces were turning to see. I didn't even think about it, I got up and headed for the mike.
There have been many decisions that have been made for me in my life, instances where events carried me forward while I let them happen like a spectator and waited for the outcome. This was one of those times, as I measured my steps, climbed onto the stage, and stiffly adjusted the mike at the podium.
A good many of the people in the audience seemed to be fans of the Beat poets, and versed in their literature and lore, so I was feeling easier anyway. I chose three poems that I had done about Ginsberg's death over the weekend. One poem. Then the next poem. I was feeling my momentum like a boulder down a hill and by the end of the third poem I didn't want to stop, but I figured I'd better not press my luck on the first outing.
As I stepped down from the stage to return to my seat, Jack motioned me over, cleared off a seat next to him in the front row and had me sit there. He put his arm around me. Cathy Salmons sat in the chair on the other side of him. He leaned towards her and spoke so that I could hear.
"You see? You see?" he looked at me, and turned back to Cathy, "I told you we were in the presence of greatness!" Jack had that way of making one feel their importance, while letting them know that they were a part of something bigger. A part of something. I saw it time and again in the years that followed as he welcomed the new faces with declarations of "poetry without prejudice".
Weekends had always been difficult, even before the split with my ex, what with the break in the daily routine, differing sleeping patterns and the abscence of a definite purpose with a clear goal to work toward. I didn't know how to handle my freedom, and the depression set in.
With the discovery of Stone Soup, I had something to look forward to on Mondays, and it gave me something to do on the weekends, coming up with more material with which to impress Jack.
And Stone Soup was videotaped, and broadcast on local cable access. I could write poems about my ex and read them every week, air our dirty laundry and hope that she got wind of it. Healing would be sweet.
--Erik Tate
It was a bad weekend for me. My ex had just told me that it was definitely over between us, and then I heard that Ginsberg had died. I didn't know which news made me feel the worse.
I needed something to keep my nights occupied so I wouldn't be sitting around the house thinking. I looked through the activities section of The Phoenix to see what the city had to offer, with it in mind to find something to do, somewhere to go, every night of the week.
The weekend was easy. Then I found something for Tuesday. Brother Blue's Storytelling in Porter Square sounded fun for Wednesday. Squawk open mike sounded promising. Johnny D's had live jazz on Fridays with a five dollar cover.
Then I came across Stone Soup Poets at TT & the Bear's Place (the events and venues were listed in alphabetical order). They had a phone number listed so I gave them a call. Jack answered, deep clear voice like a radio dj. He told me what Stone Soup was all about with such warmth and compassion and energy. He talked about poetry with such enthusiasm.
He told me where TT & the Bear's place was in Central Square and made me promise to be there that night, he wouldn't hang up the phone until I promised. He asked me to bring along some poems to read to the group. I told him I'd be more comfortable just listening. But he said bring the poems anyway, and we'd see.
I found the place easilly enough, paid the cover and walked in. At the opposite end of the bar was a tall skinny man with bushy greying hair clasping hands with everyone at the bar in turn and when he saw me, he came hurrying over and threw his arms around me in a bear hug. I knew who he was by the sound of his voice, and he called me by name before I ever spoke. And I hadn't described myself when we'd talked on the phone, he just knew.
He asked me if I'd brought any poems with me, and I said that I had, showed him my notebook. He said that he'd put me down to read, then, and he went to writing my name on the list he had on the clipboard he was carrying, before I had time to object.
"Oh. Well. No, I think I'll just listen tonight," I said shyly,but not wanting to hurt his feelings, I added, "I'll get a feel of how things are here, and maybe I'll read next week..."
He wasn't going for it though. "I'll put your name on the list, toward the end of the first set," he said, like he hadn't heard me at all, and unclasped my hands and walked off. I took a seat near the back, where it was dark and I could blend in.
I'd forgotten what Jack said about putting my name down, so it took a moment to register when I heard it called.
"We are honored to have with us... first time reading at Stone Soup..."
I could listen to Jack's voice all night. I was mezmerized by it.
"Let's give a warm welcome for..." hands clasped in reverence, "mister Erik Tate."
The silence brought me around, and then I noticed that Jack was extending his arm in my direction, faces were turning to see. I didn't even think about it, I got up and headed for the mike.
There have been many decisions that have been made for me in my life, instances where events carried me forward while I let them happen like a spectator and waited for the outcome. This was one of those times, as I measured my steps, climbed onto the stage, and stiffly adjusted the mike at the podium.
A good many of the people in the audience seemed to be fans of the Beat poets, and versed in their literature and lore, so I was feeling easier anyway. I chose three poems that I had done about Ginsberg's death over the weekend. One poem. Then the next poem. I was feeling my momentum like a boulder down a hill and by the end of the third poem I didn't want to stop, but I figured I'd better not press my luck on the first outing.
As I stepped down from the stage to return to my seat, Jack motioned me over, cleared off a seat next to him in the front row and had me sit there. He put his arm around me. Cathy Salmons sat in the chair on the other side of him. He leaned towards her and spoke so that I could hear.
"You see? You see?" he looked at me, and turned back to Cathy, "I told you we were in the presence of greatness!" Jack had that way of making one feel their importance, while letting them know that they were a part of something bigger. A part of something. I saw it time and again in the years that followed as he welcomed the new faces with declarations of "poetry without prejudice".
Weekends had always been difficult, even before the split with my ex, what with the break in the daily routine, differing sleeping patterns and the abscence of a definite purpose with a clear goal to work toward. I didn't know how to handle my freedom, and the depression set in.
With the discovery of Stone Soup, I had something to look forward to on Mondays, and it gave me something to do on the weekends, coming up with more material with which to impress Jack.
And Stone Soup was videotaped, and broadcast on local cable access. I could write poems about my ex and read them every week, air our dirty laundry and hope that she got wind of it. Healing would be sweet.
--Erik Tate
Jack Powers
--Tim Gager
Yesterday Jack Powers died. Jack was the host of the first open mic series I'd ever attended in the late eighties at I time that I hadn't written anything. My girlfriend at the time was a poet and Jack was the leader of the scene. He was an original beat poet, knew or met Ginsberg, Bukowski, Lyn Lifshin and Ferlinghetti to name a few. Basically I was in awe at the command he had at his events but also his acceptance of all poetry. He was the ring leader amongst a large group of Cambridge poets. Nothing ever "sucked", he found value in everything, encouraged the novice (especially if they were women---boy did he have a long list). He'd have his famous friends feature at Stone Soup back when it was held at a few different bars and also feature the local regulars. It was pretty intimidating.
Jack started recognizing me and he read some of my work, quoting some of it back by memory. We became friends the way colleagues or co-workers became friends. I felt validated as a poet to have won his acceptance. We shared beers at reading or should I say, I gave him some of mine.
Jack at home in 1987 ("randomness creates neurosis")There are a lot of Jack Talking videos from the eighties.
Jack reading
Jack basically drank himself to death starting in the 70's. He worked at a church in the North End and brought poetry to people at Nursing Homes in that area. His behavior later became erratic. He went to AA at times and had a strong relationship with God. He had to move to a one room studio. People would avoid him if he drank, embrace him sober. He had two personalities. His brain slowed down in the nineties and he perhaps had Korsakoff's syndrome. At his seventieth birthday party I saw him and he was losing his ability to speak--he could only sqawk out words that were scrambled, difficult to understand in timbre or meaning . He continued to slow , his brain damage more pronounced...not the vibrant man I first met.
A few years ago he lost his ability to speak. He'd show up occasionally to readings flipping through books and asking people to read poems for him.
At this point he stopped recognizing me, maybe he did recognize me but he didn't know me anymore. His last few years he lived in the same Nursing Home he brought his poems and poetry to. Everyone on staff knew him, even though he may have forgotten himself who he was. He had a few strokes in the past months, finally yesterday God took him.
--Tim Gager
NEWS FLASH..STONE SOUP, CAMBRIDGE POETRY, LOSES AN ORIGINAL..
Cambridge says Farewell to an original,
a man who sustained an artists outlet,
Poets, Painters, Singers, Musicians of all stripes,
creator & host of long running open mic
that began in a gallery
jazz records spinning to readings,
moved to bars & parks & malls,
VHS tapes, CD's, cable,
a loyal group enjoying
Poetry...
Stone Soup Poetry,
thirty some odd years going
every Monday for eternity!
Jack Powers,
Godfather of Cambridge Poetry scene
has passed on to that
great gig in the sky,
joining Brother Blue
in an
Improvisation!
Jack Powers,
open mic MC,
loved, hated, cheered, jeered,
he brought international Poets
to Massachusetts
introduced generations to Beats,
Yeats, Dickinson, et al,
& local voices were raised
are rising
around the republic
from Slam to Jam
to Squawking Folks,
to the streets of NYC!
Stone brewing a stew
out of blue
return to roots,
overflowing,
gather 'round!
Jack Powers,
showed a poor white boy from suburbia
what it meant to be a Poet,
and you know I have know idea
how one achieves such status
without apparatus...
Jack Powers,
& in his court we sang
raising glasses high,
pool cues, beef stews,
words without limit,
it was a ruckus!
Jack,
so long,
have a great journey
fly with Bird,
ride with Neil,
drink with Jack, Jack,
Charles glaring from the corner,
wine on his breath;
carry on.
Jack Powers.
July, 1991. two crazed boys, high on pot & colas,
roared down to Cambridge town & T. T. the Bears
for some Stone Soup.
They signed up, but, did not read,
the night got late, they split & roared up the dark highway.
November, 1991, one crazed boy roars down to Stone Soup,
this night, he reads, & it is glorious, & he is hooked,
an addiction,
& the rest is history.
Peace Out, Jack.
Your Poetry Pal,
D. A. Boucher,
aka, Da Butcha, Short Attention Span King of Poetry
Arthur Hiberious Fluffington, "Art Fluff",
Short Attantion Span Poet
Cambridge says Farewell to an original,
a man who sustained an artists outlet,
Poets, Painters, Singers, Musicians of all stripes,
creator & host of long running open mic
that began in a gallery
jazz records spinning to readings,
moved to bars & parks & malls,
VHS tapes, CD's, cable,
a loyal group enjoying
Poetry...
Stone Soup Poetry,
thirty some odd years going
every Monday for eternity!
Jack Powers,
Godfather of Cambridge Poetry scene
has passed on to that
great gig in the sky,
joining Brother Blue
in an
Improvisation!
Jack Powers,
open mic MC,
loved, hated, cheered, jeered,
he brought international Poets
to Massachusetts
introduced generations to Beats,
Yeats, Dickinson, et al,
& local voices were raised
are rising
around the republic
from Slam to Jam
to Squawking Folks,
to the streets of NYC!
Stone brewing a stew
out of blue
return to roots,
overflowing,
gather 'round!
Jack Powers,
showed a poor white boy from suburbia
what it meant to be a Poet,
and you know I have know idea
how one achieves such status
without apparatus...
Jack Powers,
& in his court we sang
raising glasses high,
pool cues, beef stews,
words without limit,
it was a ruckus!
Jack,
so long,
have a great journey
fly with Bird,
ride with Neil,
drink with Jack, Jack,
Charles glaring from the corner,
wine on his breath;
carry on.
Jack Powers.
July, 1991. two crazed boys, high on pot & colas,
roared down to Cambridge town & T. T. the Bears
for some Stone Soup.
They signed up, but, did not read,
the night got late, they split & roared up the dark highway.
November, 1991, one crazed boy roars down to Stone Soup,
this night, he reads, & it is glorious, & he is hooked,
an addiction,
& the rest is history.
Peace Out, Jack.
Your Poetry Pal,
D. A. Boucher,
aka, Da Butcha, Short Attention Span King of Poetry
Arthur Hiberious Fluffington, "Art Fluff",
Short Attantion Span Poet
10/14/10
R.I.P. Jack Powers
Jack Powers, the founder of Stone Soup, passed away earlier today. No other information is available at this time.
We send our sympathies to his family and our appreciation to Margaret Nairn, James Van Looy, and Deb Priestly and others who dutifully visited Jack in the last months of his life.
Jack Powers, the founder of Stone Soup, passed away earlier today. No other information is available at this time.
We send our sympathies to his family and our appreciation to Margaret Nairn, James Van Looy, and Deb Priestly and others who dutifully visited Jack in the last months of his life.
10/12/10
Jack Powers Stone Soup Savor Poetry Prize to be Awarded Monday, October 18th
The Jack Powers prize is to be awarded annually to a poet who has made a distinguished contribution to stone soup Poets, through their commitment to the art of poetry, and the power, subtlety and quality of their work. The identity of the poet will be announced and awarded on October 18th.
No publication is necessary; nor is submission of any written text required. Simple presence at Stone Soup, together with dedicated recitation, are the criteria.
The prize is named in honor of Stone Soup’s founder, Jack Powers who served the Boston and Cambridge communities as a mentor and champion of new, aspiring, and developing poets since 1971, which service, rendered unflaggingly and humbly, has helped define Boston’s identity as a poetry town for four decades.
No publication is necessary; nor is submission of any written text required. Simple presence at Stone Soup, together with dedicated recitation, are the criteria.
The prize is named in honor of Stone Soup’s founder, Jack Powers who served the Boston and Cambridge communities as a mentor and champion of new, aspiring, and developing poets since 1971, which service, rendered unflaggingly and humbly, has helped define Boston’s identity as a poetry town for four decades.
November 15: Bert Stern Features
Stone Soup Poetry meets from 8-10 p.m. every Monday at the Out of The Blue Art Gallery at 106 Prospect Street with an open mike sign-up at 7:30 p.m. On November 1st, we welcome the lauded poet, Bert Stern.
Bert Stern is Milligan Professor Emeritus at Wabash College, and has also taught at the University of Thessaloniki and at Peking University. At present, with his wife, Tamlin Neville, he edits Off the Grid Press. Bert also teaches in an alternative sentencing program called Changing Lives through Literature.
Stern's poems have appeared in Poetry, Hunger Mountain, The American Poetry Review, Beloit Poetry Review, Ibbetson Street, and in many other journals and anthologies. In 1998 Red Dust published Silk/The Ragpicker’s Grandson. Steerage, his recent poetry collection, is on the “Must Read” list selected by the Massachusetts Book Award. He has been nominated four times for a Pushcart Prize, and is the recipient of an Artist’s Grant from the Somerville Arts Council.
Stone Soup Poetry meets from 8-10 p.m. every Monday at the Out of The Blue Art Gallery at 106 Prospect Street with an open mike sign-up at 7:30 p.m. On November 1st, we welcome the lauded poet, Bert Stern.
Bert Stern is Milligan Professor Emeritus at Wabash College, and has also taught at the University of Thessaloniki and at Peking University. At present, with his wife, Tamlin Neville, he edits Off the Grid Press. Bert also teaches in an alternative sentencing program called Changing Lives through Literature.
Stern's poems have appeared in Poetry, Hunger Mountain, The American Poetry Review, Beloit Poetry Review, Ibbetson Street, and in many other journals and anthologies. In 1998 Red Dust published Silk/The Ragpicker’s Grandson. Steerage, his recent poetry collection, is on the “Must Read” list selected by the Massachusetts Book Award. He has been nominated four times for a Pushcart Prize, and is the recipient of an Artist’s Grant from the Somerville Arts Council.
10/6/10
November 1st: Jane Ormerod Features
Stone Soup Poetry meets from 8-10 p.m. every Monday at the Out of The Blue Art Gallery at 106 Prospect Street with an open mike sign-up at 7:30 p.m. On October 1st, we continue as one of the longest weekly poetry venues in New England with new visiting feature, Jane Ormerod.
Jane Ormerod is the author of the full-length poetry collection, Recreational Vehicles on Fire (Three Rooms Press, 2009), the chapbook 11 Films (Modern Metrics, 2008), and the spoken word CD Nashville Invades Manhattan. Born on the south coast of England, she now lives in New York City.
A regular on the New York poetry and spoken word circuit, readings have included The Knitting Factory, The Bowery Poetry Club, The Cornelia Street Cafe, Galapagos Art Space, and The Stone where Jane has taken part in performances and readings of Gertrude Stein's Pink Melon Joy, and the work of Blaise Cendrars and Walt Whitman. She also performs extensively across the United States and beyond - San Francisco to Portland, Boston, Philadelphia, Princeton, Salt Lake City, Canada, Ireland, The Netherlands to name just a few places.
She is host of the reading series Emotional Rescue at The Cornelia Street Café, and is a founding editor at Uphook Press.
"Her's is not just poetry to mull over. On the page or in live performance, it is what happens when language is taken by surprise. Jane Ormerod is a member of that venerable assembly of wordshakers that first made their appearance in the paleolithic caves and who still carry on in our day."
- Alex Caldiero, Sonosopher & Artist in Residence at Utah Valley University
Stone Soup Poetry meets from 8-10 p.m. every Monday at the Out of The Blue Art Gallery at 106 Prospect Street with an open mike sign-up at 7:30 p.m. On October 1st, we continue as one of the longest weekly poetry venues in New England with new visiting feature, Jane Ormerod.
Jane Ormerod is the author of the full-length poetry collection, Recreational Vehicles on Fire (Three Rooms Press, 2009), the chapbook 11 Films (Modern Metrics, 2008), and the spoken word CD Nashville Invades Manhattan. Born on the south coast of England, she now lives in New York City.
A regular on the New York poetry and spoken word circuit, readings have included The Knitting Factory, The Bowery Poetry Club, The Cornelia Street Cafe, Galapagos Art Space, and The Stone where Jane has taken part in performances and readings of Gertrude Stein's Pink Melon Joy, and the work of Blaise Cendrars and Walt Whitman. She also performs extensively across the United States and beyond - San Francisco to Portland, Boston, Philadelphia, Princeton, Salt Lake City, Canada, Ireland, The Netherlands to name just a few places.
She is host of the reading series Emotional Rescue at The Cornelia Street Café, and is a founding editor at Uphook Press.
"Her's is not just poetry to mull over. On the page or in live performance, it is what happens when language is taken by surprise. Jane Ormerod is a member of that venerable assembly of wordshakers that first made their appearance in the paleolithic caves and who still carry on in our day."
- Alex Caldiero, Sonosopher & Artist in Residence at Utah Valley University
10/5/10
October 18: Gordon Marshall Features
Stone Soup Poetry meets from 8-10 p.m. every Monday at the Out of The Blue Art Gallery at 106 Prospect Street with an open mike sign-up at 7:30 p.m. On October 18th, we celebrate Gordon Marshall's return. Marshall will feature his new book and also be on hand to present the Jack Powers Stone Soup Savor Poetry Prize.
Gordon Marshall has been writing poetry for 30 years. His ninth volume, Stoplights, will be coming out this month. He tutors writing at Jewish Vocational Services. In addition, he writes for AllAboutJazz.com and All About Jazz—New York. He lives in Boston.
9/19/10
October 11th: Susan Deer Cloud Returns
Stone Soup Poetry meets from 8-10 p.m. every Monday at the Out of The Blue Art Gallery at 106 Prospect Street with an open mike sign-up at 7:30 p.m. On October 11th, we celebrate the return of Susan Deer Cloud.
Susan Deer Cloud is a Métis Catskill Native of Mohawk/Blackfoot and some Seneca lineage. She has received various awards and fellowships, including a National Endowment for the Arts Literature Fellowship, a New York State Foundation for the Arts Fellowship, a Chenango County Council for the Arts Literature Grant, First Prize in Allen Ginsberg Poetry Competition (twice), Prairie Schooner’s Readers’ Choice Award, and Native American Wordcraft Circle Editor’s Award for her multicultural anthology Confluence.
Deer Cloud’s poems and stories have been published in numerous journals and anthologies (Sister Nations: an Anthology of Native Women Writers on Community, Unsettling America & Identity Lessons multicultural anthologies, American Indian Culture & Research Journal, Yellow Medicine Review, To Topos (Poetry International), Mid-American Review, Poet Lore, Spoonful, Ms. Magazine, Prairie Schooner, Many Mountains Moving, North Dakota Quarterly, Quarterly West, Earth’s Daughters, Shenandoah, Exquisite Corpse, Pembroke Magazine, Stone Canoe, Paterson Literary Review, Helicon Nine, etc.).
She has edited multicultural Confluence and Native anthology I Was Indian (Before Being Indian Was Cool), plus the 2008 Spring Issue of Yellow Medicine, a Journal of Indigenous Literature, Art & Thought (she is now an adviser to Yellow Medicine). Currently she is editing the Re-Matriation Chapbook Series of Native Poetry being brought out by FootHills.
Deer Cloud’s most recent books are The Last Ceremony and Car Stealer (FootHills Publishing) and her collection of poems, Braiding Starlight, is forthcoming from Split Oak Press. Her Persian cat with a Chinese name, Wu Wei, purrs when Susan reads her Indian poetry in the middle of the starry nights.
9/18/10
October 4: Mary Alexandra Agner Features
Stone Soup Poetry meets from 8-10 p.m. every Monday at the Out of The Blue Art Gallery at 106 Prospect Street with an open mike sign-up at 7:30 p.m. On October 4th, widely published poet Mary Alexandra Agner makes her first visit to our venue.
Mary Alexandra Agner writes of dead women, telescopes, and secrets.
She is the author of The Doors of the Body (Mayapple Press 2009) and The Scientific Method (Parallel Press 2011). Her poems have appeared in North American Review, Boxcar Poetry Review, Isotope, and other magazines.
She was born in a United State made for lovers and currently lives outside Boston. Her family tree bears Parson Brown oranges. Her advanced degrees include Earth & planetary science and creative writing. She’s blessed to have a paying job that utilizes both of them.
All her life she’s observed the universe and written about it.
9/13/10
September 27: Gloria Mindock Features
Stone Soup Poetry meets from 8-10 p.m. every Monday at the Out of The Blue Art Gallery at 106 Prospect Street with an open mike sign-up at 7:30 p.m. On September 27th, we celebrate the return of poet, editor, performer and publisher Gloria Mindock.
Gloria Mindock is the author of La Portile Raiului (Ars Longa Press, 2010, Romania), Nothing Divine Here (U Soku Stampa, 2010, Montenegro), and Blood Soaked Dresses (Ibbetson Street Press, 2007).
She is the editor of Cervena Barva Press, the Istanbul Literary Review, an online journal based in Istanbul, Turkey, and co-editor of X-Peri. She has had numerous publications including Poet Lore, River Styx, Phoebe, Blackbox, Poesia, Bogg, Ibbetson, WHLR, UNU: Revista de Cultura, Citadela, Aurora, and Arabesques. She has been nominated for a Pushcart Prize, a St. Botolph Award, and was awarded a fellowship from the Massachusetts Cultural Council distributed by the Somerville Arts Council. Gloria’s press, Cervena Barva Press, was just awared a SUR Translation Program Award from Buenos Aires, Argentina to publish a book by Luis Raul Calvo with translation by Flavia Cosma.
Stone Soup Poetry meets from 8-10 p.m. every Monday at the Out of The Blue Art Gallery at 106 Prospect Street with an open mike sign-up at 7:30 p.m. On September 27th, we celebrate the return of poet, editor, performer and publisher Gloria Mindock.
Gloria Mindock is the author of La Portile Raiului (Ars Longa Press, 2010, Romania), Nothing Divine Here (U Soku Stampa, 2010, Montenegro), and Blood Soaked Dresses (Ibbetson Street Press, 2007).
She is the editor of Cervena Barva Press, the Istanbul Literary Review, an online journal based in Istanbul, Turkey, and co-editor of X-Peri. She has had numerous publications including Poet Lore, River Styx, Phoebe, Blackbox, Poesia, Bogg, Ibbetson, WHLR, UNU: Revista de Cultura, Citadela, Aurora, and Arabesques. She has been nominated for a Pushcart Prize, a St. Botolph Award, and was awarded a fellowship from the Massachusetts Cultural Council distributed by the Somerville Arts Council. Gloria’s press, Cervena Barva Press, was just awared a SUR Translation Program Award from Buenos Aires, Argentina to publish a book by Luis Raul Calvo with translation by Flavia Cosma.
September 20: Zeke Russell Features
Stone Soup Poetry meets from 8-10 p.m. every Monday at the Out of The Blue Art Gallery at 106 Prospect Street with an open mike sign-up at 7:30 p.m. On September 20th, we debut local up and comer Zeke Russell, who debuts his brand new chapbook at our venue.
Zeke Russell Is a third generation poet who has been writing since the age of 10. He was a contributor to the Lowell based performance/art magazine Outlet. He was the organizer for the Sultan Of Lowell Presents open mic series. He is currently a regular at the Mill City open mic and slam and was a semifinalist for that venue’s 2010 National Poetry Slam competition team. You can often find him at the Cantab Lounge on a Wednesday night, explaining over a glass of beer, why Lowell is superior to Cambridge. He also serves as the Master of Ceremonies for In Spite of Life players’ annual Fourth of July Parade and Satire play. He has recently self published a chapbook Short Poems about Dead People, through Sergeant Press.
Stone Soup Poetry meets from 8-10 p.m. every Monday at the Out of The Blue Art Gallery at 106 Prospect Street with an open mike sign-up at 7:30 p.m. On September 20th, we debut local up and comer Zeke Russell, who debuts his brand new chapbook at our venue.
Zeke Russell Is a third generation poet who has been writing since the age of 10. He was a contributor to the Lowell based performance/art magazine Outlet. He was the organizer for the Sultan Of Lowell Presents open mic series. He is currently a regular at the Mill City open mic and slam and was a semifinalist for that venue’s 2010 National Poetry Slam competition team. You can often find him at the Cantab Lounge on a Wednesday night, explaining over a glass of beer, why Lowell is superior to Cambridge. He also serves as the Master of Ceremonies for In Spite of Life players’ annual Fourth of July Parade and Satire play. He has recently self published a chapbook Short Poems about Dead People, through Sergeant Press.
9/9/10
September 13: Diana Saenz and Marshall Harvey at Stone Soup
Stone Soup Poetry meets from 8-10 p.m. every Monday at the Out of The Blue Art Gallery at 106 Prospect Street with an open mike sign-up at 7:30 p.m. On September 13th, Stone Soup welcomes the return of poets Diana Saenz and Marshall Harvey.
Diana Sáenz is a native of Los Angeles California, and has been writing poetry since the age of 15. Her plays have been produced around the country, and she is has three books of poetry presently for sale: An Ordindary Life Discussed, The Book of Eve, and Just This side of the 3rd Millenium. Diana and her husband, Marshall Harvey, whom she met in 1995 at Stone Soup Poetry when it was at TT The Bears, are the editors of Boston Poet Publication.
Her plays have been produced across the U.S. Her poetry has been staged in co-productions in theater and dance. She is on the Board of Directors of The National Boston Poetry Festival, and the founding editor of Boston Poet Magazine, and present editor of bostonpoet.com.
Marshall Harvey has been published in numerous journals and is the the author of Painted Light, published in 1994. He has also written a novel (The Psychic Lover) and an acclaimed study on iambic pentamet ("Iambic Pentameter from Shakespeare to Browning"). He is currently working on a theory on art.
Stone Soup Poetry meets from 8-10 p.m. every Monday at the Out of The Blue Art Gallery at 106 Prospect Street with an open mike sign-up at 7:30 p.m. On September 13th, Stone Soup welcomes the return of poets Diana Saenz and Marshall Harvey.
Diana Sáenz is a native of Los Angeles California, and has been writing poetry since the age of 15. Her plays have been produced around the country, and she is has three books of poetry presently for sale: An Ordindary Life Discussed, The Book of Eve, and Just This side of the 3rd Millenium. Diana and her husband, Marshall Harvey, whom she met in 1995 at Stone Soup Poetry when it was at TT The Bears, are the editors of Boston Poet Publication.
Her plays have been produced across the U.S. Her poetry has been staged in co-productions in theater and dance. She is on the Board of Directors of The National Boston Poetry Festival, and the founding editor of Boston Poet Magazine, and present editor of bostonpoet.com.
Marshall Harvey has been published in numerous journals and is the the author of Painted Light, published in 1994. He has also written a novel (The Psychic Lover) and an acclaimed study on iambic pentamet ("Iambic Pentameter from Shakespeare to Browning"). He is currently working on a theory on art.
8/15/10
September 6th: Tom Daley Features
Stone Soup Poetry meets from 8-10 p.m. every Monday at the Out of The Blue Art Gallery at 106 Prospect Street with an open mike sign-up at 7:30 p.m. On September 6th, poet and instructor Tom Daley makes one of his all-too infrequent visits to the venue--a night not to be missed.
Tom Daley serves on the faculty of the Online School of Poetry (http://onlineschoolofpoetry.org/ ) and teaches poetry and memoir writing in the greater Boston area. His work has appeared or is forthcoming in Harvard Review, Fence, Barrow Street, Diagram, Rio Grande Review and elsewhere. He is the author of a play, Every Broom and Bridget—Emily Dickinson and Her Servants, which he has adapted into a one-man show.
Stone Soup Poetry meets from 8-10 p.m. every Monday at the Out of The Blue Art Gallery at 106 Prospect Street with an open mike sign-up at 7:30 p.m. On September 6th, poet and instructor Tom Daley makes one of his all-too infrequent visits to the venue--a night not to be missed.
Tom Daley serves on the faculty of the Online School of Poetry (http://onlineschoolofpoetr
August 30: Susan Chandel Features
Stone Soup Poetry meets from 8-10 p.m. every Monday at the Out of The Blue Art Gallery at 106 Prospect Street with an open mike sign-up at 7:30 p.m. On August 30th, past Stone Soup visitor Susan Chandel returns to the venue.] to promote her new collection.
Susan Chandel was first published in Seventeen Magazine in July 1974. Writing and drawing have been her passions since she was a young child growing up on Cape Cod. Her work has also appeared in The Café Review and the online collection iPeace:15,000 stories. Susan received a B.A. in English from the University of Massachusetts, and promptly traveled North America in search of a reason not to settle down. She returned to New England, raised three children and has worked as an advocate in mental health, rape crisis and domestic violence for over 20 years.
Currently, Susan lives with her ornery Chihuahua Cisco in her tree house in mid coast Maine.
Stone Soup Poetry meets from 8-10 p.m. every Monday at the Out of The Blue Art Gallery at 106 Prospect Street with an open mike sign-up at 7:30 p.m. On August 30th, past Stone Soup visitor Susan Chandel returns to the venue.] to promote her new collection.
Susan Chandel was first published in Seventeen Magazine in July 1974. Writing and drawing have been her passions since she was a young child growing up on Cape Cod. Her work has also appeared in The Café Review and the online collection iPeace:15,000 stories. Susan received a B.A. in English from the University of Massachusetts, and promptly traveled North America in search of a reason not to settle down. She returned to New England, raised three children and has worked as an advocate in mental health, rape crisis and domestic violence for over 20 years.
Currently, Susan lives with her ornery Chihuahua Cisco in her tree house in mid coast Maine.
August 23rd: The Highway Poets Return
Stone Soup Poetry meets from 8-10 p.m. every Monday at the Out of The Blue Art Gallery at 106 Prospect Street with an open mike sign-up at 7:30 p.m. On August 23rd, Stone Soup celebrates Biker Poetry Month with the return of The Highway Poets.
K.Peddlar Bridges is the co-founder of the Biker Poets & Writers Association and founder of the ROADPOET online magazine. He also serves as a columnist for CT Cruise News and motorcyclegoodies.com. An occasional writing workshop teacher, his work has appeared in numerous publications and has made many radio and television appearances.
Gypsypashn publishes in print and on the web regularly, she is well-known for her monthly column... in New England's Motorcyclist Post. She and Colorado's Gypsyrose produce 'Biker Bits,' a daily Biker Rights e-zine. In 2004, Gypsypashn published A Samplng of Soul, a collection of poetry.
Marc D. Goldfinger has been published by Ibbetson Street Press, The Aurorean, Pegasus, The Boston Poet, Clamor magazine, Earth First! and the Crooked River Press among others. He is currently the poetry editor of Spare Change News, a paper put out for the benefit of homeless people. He is a counselor for people with Substance Use Disorders and some of his work has been used to augment courses at the University of Massachusetts in Boston. His newest works include Essays On Major Mental Illness with a Co-Occurring Substance Use Disorder or What Came First: The Chicken or The White Horse.
Stone Soup Poetry meets from 8-10 p.m. every Monday at the Out of The Blue Art Gallery at 106 Prospect Street with an open mike sign-up at 7:30 p.m. On August 23rd, Stone Soup celebrates Biker Poetry Month with the return of The Highway Poets.
K.Peddlar Bridges is the co-founder of the Biker Poets & Writers Association and founder of the ROADPOET online magazine. He also serves as a columnist for CT Cruise News and motorcyclegoodies.com. An occasional writing workshop teacher, his work has appeared in numerous publications and has made many radio and television appearances.
Gypsypashn publishes in print and on the web regularly, she is well-known for her monthly column... in New England's Motorcyclist Post. She and Colorado's Gypsyrose produce 'Biker Bits,' a daily Biker Rights e-zine. In 2004, Gypsypashn published A Samplng of Soul, a collection of poetry.
Marc D. Goldfinger has been published by Ibbetson Street Press, The Aurorean, Pegasus, The Boston Poet, Clamor magazine, Earth First! and the Crooked River Press among others. He is currently the poetry editor of Spare Change News, a paper put out for the benefit of homeless people. He is a counselor for people with Substance Use Disorders and some of his work has been used to augment courses at the University of Massachusetts in Boston. His newest works include Essays On Major Mental Illness with a Co-Occurring Substance Use Disorder or What Came First: The Chicken or The White Horse.
8/14/10
August 16th: Brian Young Features
Stone Soup Poetry meets from 8-10 p.m. every Monday at the Out of The Blue Art Gallery at 106 Prospect Street with an open mike sign-up at 7:30 p.m. On August 16th, we are visited by poet and playwright Brian Young.
Born in Atlanta, Ga., he gained a B. A. in Philosophy from the University of Georgia, Athens, Ga.; he also, Minored in Drama: studied Acting with the Alliance Theatre Company’s Theatre School of Atlanta, Ga. – also with Jean Shelton’s Actors Lab in San Francisco, CA. ; he has engaged in varied, limited productions, from community theatre in Atlanta, Ga. - to progressive modern-experimental theatre in Los Los Angeles, CA.
He developed and engaged in special partial, limited performances of his own first play, On The Frontier: The President and Mrs. Lincoln, presented tonight (copyright 2004), along with full readings of the play: while, also, participating in extensive poetry readings in group sessions - all in the bay area, San Francisco & Berkeley, CA.
Spending the greater portion of his years and life in Los Angeles, CA., he was formerly an Asst. Calendar/Staff Editor with the LA. WEEKLY, (some years ago); he is a poet with limited publication in group anthologies. From his poetry - came his first play on President Kennedy. He now lives in Boston, MA.; and has just launched a new Blog: wwwyoungexpedition.blogspot.com
Stone Soup Poetry meets from 8-10 p.m. every Monday at the Out of The Blue Art Gallery at 106 Prospect Street with an open mike sign-up at 7:30 p.m. On August 16th, we are visited by poet and playwright Brian Young.
Born in Atlanta, Ga., he gained a B. A. in Philosophy from the University of Georgia, Athens, Ga.; he also, Minored in Drama: studied Acting with the Alliance Theatre Company’s Theatre School of Atlanta, Ga. – also with Jean Shelton’s Actors Lab in San Francisco, CA. ; he has engaged in varied, limited productions, from community theatre in Atlanta, Ga. - to progressive modern-experimental theatre in Los Los Angeles, CA.
He developed and engaged in special partial, limited performances of his own first play, On The Frontier: The President and Mrs. Lincoln, presented tonight (copyright 2004), along with full readings of the play: while, also, participating in extensive poetry readings in group sessions - all in the bay area, San Francisco & Berkeley, CA.
Spending the greater portion of his years and life in Los Angeles, CA., he was formerly an Asst. Calendar/Staff Editor with the LA. WEEKLY, (some years ago); he is a poet with limited publication in group anthologies. From his poetry - came his first play on President Kennedy. He now lives in Boston, MA.; and has just launched a new Blog: wwwyoungexpedition.blogspot.com
7/23/10
August 9th: January Gill O'Neil Features
Stone Soup Poetry meets from 8-10 p.m. every Monday at the Out of The Blue Art Gallery at 106 Prospect Street with an open mike sign-up at 7:30 p.m. On August 9th, we welcome poet on the rise January Gill O'Neil.
January Gill O’Neil is the author of Underlife (CavanKerry Press, December 2009). Her poems and articles have appeared in The MOM Egg, Crab Creek Review, Ouroboros Review, Drunken Boat, Crab Orchard Review, Callaloo, Literary Mama, Field, Seattle Review, and Cave Canem anthologies II and IV, among others. Underlife, is a finalist for ForWard Review Book of the Year Award, and the 2010 Paterson Poetry Prize. In 2009, January was awarded a Money for Women/Barbara Deming Memorial Fund grant. She was featured in Poets & Writers magazine’s January/February 2010 Inspiration issue as one of their 12 debut poets. A Cave Canem fellow, she is a senior writer/editor at Babson College, runs a popular blog called Poet Mom, and lives with her two children in Beverly, MA.
Visit January Gill O'Neil's blog.
Stone Soup Poetry meets from 8-10 p.m. every Monday at the Out of The Blue Art Gallery at 106 Prospect Street with an open mike sign-up at 7:30 p.m. On August 9th, we welcome poet on the rise January Gill O'Neil.
January Gill O’Neil is the author of Underlife (CavanKerry Press, December 2009). Her poems and articles have appeared in The MOM Egg, Crab Creek Review, Ouroboros Review, Drunken Boat, Crab Orchard Review, Callaloo, Literary Mama, Field, Seattle Review, and Cave Canem anthologies II and IV, among others. Underlife, is a finalist for ForWard Review Book of the Year Award, and the 2010 Paterson Poetry Prize. In 2009, January was awarded a Money for Women/Barbara Deming Memorial Fund grant. She was featured in Poets & Writers magazine’s January/February 2010 Inspiration issue as one of their 12 debut poets. A Cave Canem fellow, she is a senior writer/editor at Babson College, runs a popular blog called Poet Mom, and lives with her two children in Beverly, MA.
Visit January Gill O'Neil's blog.
August 2nd: Frank and Erin Reardon
Stone Soup Poetry meets from 8-10 p.m. every Monday at the Out of The Blue Art Gallery at 106 Prospect Street with an open mike sign-up at 7:30 p.m. On August 2nd, we celebrate a poetry reunion with blood relatives and literary comrades Frank and Erin Reardon.
Frank Reardon was born in 1974 in Boston, Ma. He's lived all over the United States and currently lives in North Dakota. Frank has published poetry collections such as Cancer Face, Exorcism Of The Con-Artist, Rival Tongues and his new entitled Interstate Chokehold. Frank also has published in such magazines and webzines as New York Quarterly, Quillbillies, Black Listed, Epic Rites, Denver Syntax, Up The Staircase, New Mexico Review and Kill Poet. Frank is currently locked away in the Badlands working on his first novel.
Erin Reardon is a poet. She has been published at Silenced Press, Hecale, the Neo-Lampshadian Outpost, Spoonful, Parasitic, Zygote in My Coffee, Words Dance, Beat the Dust, Heroin Love Songs, Epic Rites and Gutter Eloquence Magazine. She has featured three times at Stone Soup and has performed several open mics there and at The Cantab and The Lizard Lounge.
Stone Soup Poetry meets from 8-10 p.m. every Monday at the Out of The Blue Art Gallery at 106 Prospect Street with an open mike sign-up at 7:30 p.m. On August 2nd, we celebrate a poetry reunion with blood relatives and literary comrades Frank and Erin Reardon.
Frank Reardon was born in 1974 in Boston, Ma. He's lived all over the United States and currently lives in North Dakota. Frank has published poetry collections such as Cancer Face, Exorcism Of The Con-Artist, Rival Tongues and his new entitled Interstate Chokehold. Frank also has published in such magazines and webzines as New York Quarterly, Quillbillies, Black Listed, Epic Rites, Denver Syntax, Up The Staircase, New Mexico Review and Kill Poet. Frank is currently locked away in the Badlands working on his first novel.
Erin Reardon is a poet. She has been published at Silenced Press, Hecale, the Neo-Lampshadian Outpost, Spoonful, Parasitic, Zygote in My Coffee, Words Dance, Beat the Dust, Heroin Love Songs, Epic Rites and Gutter Eloquence Magazine. She has featured three times at Stone Soup and has performed several open mics there and at The Cantab and The Lizard Lounge.
July 26th: The "Chad F***ed Up" Open Mike Extravaganza
Due to more than one scheduling error (i.e. Chad f***ed up), Stone Soup was unable to secure a feature for July 26th. As a result, the night belongs to the open mikers with an ultra-extended open mike segment. People always afraid of showing up late for the open mike, coming with a poem that's too long (note: this almost never happens) or not knowing whether a particular night is a good night to debut a different kind of poem, Stone Soup says "Come on down!" People who have been away are welcome. People who have never been are welcome. We want to hear from you.
7/13/10
July 19th: Michael Mack Features
Stone Soup Poetry meets from 8-10 p.m. every Monday at the Out of The Blue Art Gallery at 106 Prospect Street with an open mike sign-up at 7:30 p.m. On July 19th, we feature poet and playwright Michael Mack, fresh from a performance in Washington, DC.
Poet, playwright, and performer Michael Mack served in the US Air Force before graduating from the Writing Program at MIT.
His poems have appeared in America, the Beloit Poetry Journal, Cumberland Poetry Review, Journal of the American Medical Association, and Southern Poetry Review. They have aired on National Public Radio and were anthologized in Best Catholic Writing.
Awards include an Artist's Grant from the Massachusetts Cultural Council, First Prize in the National Writers Circle Poetry Competition, and an Eloranta Fellowship, which funded a residency at the Tyrone Guthrie Centre for the Arts in Ireland.
Mack has performed in venues as diverse as the US Library of Congress, Boston's Museum of Fine Arts, the Columbia Festival of the Arts, Philadelphia Fringe Festival, the Austin International Poetry Festival, and Off-Off-Broadway at the Times Square Arts Center.
His solo play Hearing Voices (Speaking in Tongues) explores his mother's life with schizophrenia, and he has performed it nationwide both in theatrical settings and for consumers and providers of mental health services. These have included McLean Hospital, the national conference of the National Alliance on Mental Illness (NAMI), and for faculty and students of the Harvard Medical School.
Visit Michael Mack's website.
Stone Soup Poetry meets from 8-10 p.m. every Monday at the Out of The Blue Art Gallery at 106 Prospect Street with an open mike sign-up at 7:30 p.m. On July 19th, we feature poet and playwright Michael Mack, fresh from a performance in Washington, DC.
Poet, playwright, and performer Michael Mack served in the US Air Force before graduating from the Writing Program at MIT.
His poems have appeared in America, the Beloit Poetry Journal, Cumberland Poetry Review, Journal of the American Medical Association, and Southern Poetry Review. They have aired on National Public Radio and were anthologized in Best Catholic Writing.
Awards include an Artist's Grant from the Massachusetts Cultural Council, First Prize in the National Writers Circle Poetry Competition, and an Eloranta Fellowship, which funded a residency at the Tyrone Guthrie Centre for the Arts in Ireland.
Mack has performed in venues as diverse as the US Library of Congress, Boston's Museum of Fine Arts, the Columbia Festival of the Arts, Philadelphia Fringe Festival, the Austin International Poetry Festival, and Off-Off-Broadway at the Times Square Arts Center.
His solo play Hearing Voices (Speaking in Tongues) explores his mother's life with schizophrenia, and he has performed it nationwide both in theatrical settings and for consumers and providers of mental health services. These have included McLean Hospital, the national conference of the National Alliance on Mental Illness (NAMI), and for faculty and students of the Harvard Medical School.
Visit Michael Mack's website.
6/27/10
July 12th: Joanie DiMartino Features
Stone Soup Poetry meets from 8-10 p.m. every Monday at the Out of The Blue Art Gallery at 106 Prospect Street with an open mike sign-up at 7:30 p.m. On July 12th, Joanie DiMartino will debut her first poetry book Strange Girls, for the Boston area.
Joanie DiMartino has work published in literary journals including Alimentum, Calyx, Wicked Alice Poetry Journal, and Modern Haiku, and also in anthologies, such as Motif: Writing by Ear, Letters to the World: Poems from the Wom-Po Listserv, and New Growth: Recent Kentucky Writings. She is a past winner of the Betty Gabehart Award for poetry from the Women Writers Conference, Kentucky, and was a finalist in the Cultural Center of Cape Cod poetry competition. She is a founding member of the women’s poetry group Mosaic, in Lexington, Kentucky, and is currently also a member of Poets & Writers Consortium East in Groton, Connecticut. Her first chapbook, Licking the Spoon, was published in 2007 by Finishing Line Press, and her first full-length collection, Strange Girls, about women in sideshows, circuses, and carnivals, was released in June, 2010 from Little Red Tree Publishing.
Her poems have been featured in several art exhibits in Lexington, Kentucky, including Sideshow, a collaborative project with the Women Artists Group; Collaborations + Catalysts, an exhibit highlighting combined mediums; and Connections, an interfaith exhibit, where her poem, “The Monks,” an experimental piece incorporating Gregorian Chant throughout the poem, was performed. She was most recently featured in the exhibit Women in the Arts, a show by local artist Deborah Curtis, where her portrait and poem, “Self-Portrait,” were on display at ArtWorks in Norwich, Connecticut.
DiMartino holds an MA in public history from Rutgers University. She has worked in the history museum field for fifteen years, and her poetry often pairs history with a feminist perspective. She hosts ‘Soup & Sonnets,’ a monthly literary salon for women, and, along with performing poetry, leads workshops and discussion groups. Raised in southern New Jersey, DiMartino has lived in Lexington, Kentucky, and now resides with her son, Dante, in Mystic, Connecticut.
Click here to Purchase Strange Girls.
Stone Soup Poetry meets from 8-10 p.m. every Monday at the Out of The Blue Art Gallery at 106 Prospect Street with an open mike sign-up at 7:30 p.m. On July 12th, Joanie DiMartino will debut her first poetry book Strange Girls, for the Boston area.
Joanie DiMartino has work published in literary journals including Alimentum, Calyx, Wicked Alice Poetry Journal, and Modern Haiku, and also in anthologies, such as Motif: Writing by Ear, Letters to the World: Poems from the Wom-Po Listserv, and New Growth: Recent Kentucky Writings. She is a past winner of the Betty Gabehart Award for poetry from the Women Writers Conference, Kentucky, and was a finalist in the Cultural Center of Cape Cod poetry competition. She is a founding member of the women’s poetry group Mosaic, in Lexington, Kentucky, and is currently also a member of Poets & Writers Consortium East in Groton, Connecticut. Her first chapbook, Licking the Spoon, was published in 2007 by Finishing Line Press, and her first full-length collection, Strange Girls, about women in sideshows, circuses, and carnivals, was released in June, 2010 from Little Red Tree Publishing.
Her poems have been featured in several art exhibits in Lexington, Kentucky, including Sideshow, a collaborative project with the Women Artists Group; Collaborations + Catalysts, an exhibit highlighting combined mediums; and Connections, an interfaith exhibit, where her poem, “The Monks,” an experimental piece incorporating Gregorian Chant throughout the poem, was performed. She was most recently featured in the exhibit Women in the Arts, a show by local artist Deborah Curtis, where her portrait and poem, “Self-Portrait,” were on display at ArtWorks in Norwich, Connecticut.
DiMartino holds an MA in public history from Rutgers University. She has worked in the history museum field for fifteen years, and her poetry often pairs history with a feminist perspective. She hosts ‘Soup & Sonnets,’ a monthly literary salon for women, and, along with performing poetry, leads workshops and discussion groups. Raised in southern New Jersey, DiMartino has lived in Lexington, Kentucky, and now resides with her son, Dante, in Mystic, Connecticut.
Click here to Purchase Strange Girls.
6/20/10
July 5th: Aaron Goldstein Features
Stone Soup Poetry meets from 8-10 p.m. every Monday at the Out of The Blue Art Gallery at 106 Prospect Street with an open mike sign-up at 7:30 p.m. On July 5th,ollowing the Fourth of July festivities, Aaron Goldstein brings his conservative viewpoint that has launched a thousand response poems at The Cantab to Stone Soup.
Aaron Goldstein has been writing poetry for nearly twenty years. Originally from Thunder Bay, Ontario, Canada, Aaron came to Boston ten years ago in the pursuit of happiness. A conservative in a field dominated by liberals, socialists and communists, Aaron can be seen antagonizing the patrons and poets of the Cantab Lounge on most Wednesday nights with his verse from the right. Aaron is also an accomplished essayist on politics and other passions and is a regular online contributor to The American Spectator as well as other conservative blogs.
Aaron's poems were featured in the anthology Out of the Blue Writers Unite (2003). He has also put out two chapbooks Oysters & The Newborn Child: Melancholy & Dead Musicians (2003) and Woman in the Sky: Poems Inspired by Amelia Earhart & The Journey of Flight (2009).
Aaron, however, does not live by politics alone. His other passions include, but are not limited to, baseball, music and ketchup flavored potato chips. Aaron currently lives in Jamaica Plain where he shares space with the beloved Boston poet Christopher Kain.
6/7/10
6/4/10
June 28th: Don Hammontree Features
Stone Soup Poetry meets from 8-10 p.m. every Monday at the Out of The Blue Art Gallery at 106 Prospect Street with an open mike sign-up at 7:30 p.m. On June 28, poet, author and musician Don Hammontree will close off the month of June for Stone Soup with a mix of spoken word and acoustic music.
Don Hammontree is a writer, singer, and photographer who resides in Fall River, Mass. A native Midwesterner, he has gigged all along the East Coast and the American heartland, and has also performed in Poland and Ukraine. He has released three solo CDs, "Mount Hope Days" in 2003, "The Mumbai EP" in 2005, and "Brutalist School" in 2010.He has also self-published a novel, "Baptized in Formaldehyde," described as a "sex, drugs and rock and roll tome for the whole family." His music can be sampled at iTunes and www.cdbaby.com/artist/DonHammontree.
Listen to Don hammontree's music.
Stone Soup Poetry meets from 8-10 p.m. every Monday at the Out of The Blue Art Gallery at 106 Prospect Street with an open mike sign-up at 7:30 p.m. On June 28, poet, author and musician Don Hammontree will close off the month of June for Stone Soup with a mix of spoken word and acoustic music.
Don Hammontree is a writer, singer, and photographer who resides in Fall River, Mass. A native Midwesterner, he has gigged all along the East Coast and the American heartland, and has also performed in Poland and Ukraine. He has released three solo CDs, "Mount Hope Days" in 2003, "The Mumbai EP" in 2005, and "Brutalist School" in 2010.He has also self-published a novel, "Baptized in Formaldehyde," described as a "sex, drugs and rock and roll tome for the whole family." His music can be sampled at iTunes and www.cdbaby.com/artist/DonHammontree.
Listen to Don hammontree's music.
June 21: Jade Sylvan Presents Book of Hope
Stone Soup Poetry meets from 8-10 p.m. every Monday at the Out of The Blue Art Gallery at 106 Prospect Street with an open mike sign-up at 7:30 p.m. On June 21, local author Jade Sylvan presents the local youth group Books of Hope as they tour throughout New England this summer.
Books of Hope seeks to give the next generation of young authors the tools they need to bring their talents into the world and help shatter the negative stereotypes that often surround urban youth. Based in the Mystic Housing Project in Somerville Massachusetts, its mission is to empower young people to find their voices and give back to their community through creative writing, book production, performance, and social entrepreneurship.
Through the process of writing, designing, and promoting their own books of poetry, creative nonfiction, and short stories, young authors become aware of the power they hold within themselves to open doors and create positive change. The program provides a safe space for at-risk teens, primarily from families of Haitian immigrants, to use their creativity constructively and spread inspiration and motivation to others. Now in its tenth year, Books of Hope is extending its reach from Somerville and the surrounding areas to the rest of New England and beyond.
Visit the Books of Hope web site.
Stone Soup Poetry meets from 8-10 p.m. every Monday at the Out of The Blue Art Gallery at 106 Prospect Street with an open mike sign-up at 7:30 p.m. On June 21, local author Jade Sylvan presents the local youth group Books of Hope as they tour throughout New England this summer.
Books of Hope seeks to give the next generation of young authors the tools they need to bring their talents into the world and help shatter the negative stereotypes that often surround urban youth. Based in the Mystic Housing Project in Somerville Massachusetts, its mission is to empower young people to find their voices and give back to their community through creative writing, book production, performance, and social entrepreneurship.
Through the process of writing, designing, and promoting their own books of poetry, creative nonfiction, and short stories, young authors become aware of the power they hold within themselves to open doors and create positive change. The program provides a safe space for at-risk teens, primarily from families of Haitian immigrants, to use their creativity constructively and spread inspiration and motivation to others. Now in its tenth year, Books of Hope is extending its reach from Somerville and the surrounding areas to the rest of New England and beyond.
Visit the Books of Hope web site.
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