Hello, Poets!

Welcome to new subscribers including Faulkner Fox's UT students, Ebony poets, slam family, and Maybelle out thar in Bastrop who cain't spel but bought 'er a Dell pentium puter with the lottery millions that only a certain type rural folk seems to win. (No, Maybelle, that is NOT a coffee cup holder, it's a CD tray).

Table of Contents:

1. APAL Poets Guide

2. Featured Poetry

3. Books/Chapbooks/CD's

4. Announcements

5. Slam family stuff

APAL Poets Guide:

All events free unless otherwise noted. Some venues pass the tip jar for featured poets.

1. Tuesday, September 8 - Ruta Maya Coffee House, 4th & Lavaca. APAL open mic, sign up at 6:30. Featured poet: Stazja releasing new chapbook Dream Songs. Co-hosted by Sara Sutterfield Winn and Maslow. fmi, e mail maslow_at_flash.net.

2. Tuesay, September 8 - Electric Lounge, 302 Bowie. Slam, this week, every week, $50 to the winner. $2. Admission. Sonya Feher hosts. Sign up by 8:30 pm. fmi call 476-FUSE.

3. Wednesday, September 9 - Movements Gallery 211 E. 6th St. BYOB: Blast Your Own Breath.Tammy Gomez hosts, 9-10:30 p.m. for more information contact tejana.tongue_at_mail.utexas.edu

4. Thursday, September 10 - Barnes & Noble Arboretum. Hosted by Herman Nelson. Guests are John Berry, Stazja McFadyen and Preston Tyree. A round robin open mic will follow. 7:30-10 p.m. fmi call 837-8693 or 928-0619

5. Saturday, September 12 - Saturday Night Live Poetry at Quackenbush's Coffee House, 2120 Guadalupe. APAL open mic, sign up at 7:30 pm. Hosted by Diane Fleming. Featured poet: Richard Cole, author of Success Stories. fmi contact buddydog_at_texas.net.

6. Sunday, September 13 - Sunday Salon at E. 13th Heritage House. DiverseArts Little Gallery, 5 p.m. 810 E. 13th. Scenes from BILLY, a musical play that tells the story of four energetic African American singers whose group, the Lost Chords, is scheduled to tour the nation alongside popular 1950s musicians such as Billy Eckstine. For more information contact Bennedene Walton at 479-8735

7. Monday, September 14 - Patio of Jovita's Restaurant, 1619 S. First St. Red Salmon Arts continues hosting its on-going poetry series, "Southside Poetic Action Series". Open mike reading from 7:30 - 9:30 pm. fmi contact Resistencia Bookstore, 416-8885.

8. Tuesday, September 15 - Ruta Maya Coffee House, 4th and Lavaca. APAL open mike. Sign up at 6:30 pm. Co-hosts: Sara Sutterfield Winn and Maslow. Featured poet: Stazja. fmi e-mail maslow_at_flash.net

9. Tuesday, September 15 - Electric Lounge, 302 Bowie. Weekly Slam. Sign up around 8:30 p.m. I forget who's hosting this week, maybe Mike Henry, always worth the $2 price of admission. Win $50. fmi call 476-FUSE.

10. Wednesday, September 16 - Movements Gallery, 211 E. 6th St. BYOB: Blast Your Own Breath.Tammy Gomez hosts, 9-10:30 p.m. open mic, i mean REALLY open. fmi contact tejana.tongue_at_mail.utexas.edu

11. Thursday, September 17 - Barnes and Noble on the Drag, 2246 Guadalupe. 7 pm. Poet and essayist Richard Cole reads and signs his new book, Success Stories. fmi call 457-0581.

12. Thursday, September 17 - Ebony Sun Java House, 1209 E. 11th, Suite C.

East Side Black & White Poetry hosted by Stazja McFadyen. Proud to feature Vicky Charleston. APAL open mike sign-up at 7:30 p.m. fmi call 346-7773.

13. Saturday, September 19 - Saturday Night Live Poetry at Quacks, 2120 Guadalupe. APAL open mic, sign-up at 7:30 pm. Co-hosted by Diane Fleming and Stazja McFadyen. fmi contact buddydog_at_texas.net

14. Monday, September 21 - North American Poetry Jam 2 (Nap Jam) begins at the Plaza Hotel, downtown Las Vegas, at the end of the FREMONT EXPERIENCE. 4 days of performance poetry. Jam is like slam, hold the competition. fmi contact bowerbird_at_aol.com

Featured Poetry

Thanks to all who generously offer their work for publication in the APAL newsletter.

This week's theme: Work

Next week's theme: Childhood memories, part 1

1. From John Pruitt, of Austin.

Workin' Man Blues

Words by John E. Pruitt

I've worked manpower

And daylabor too

Washed pots and pans

And not just a few

Worked humpin' on a shovel

Diggin' ditches in the dirt

Worked out in the winter

An' I worked until it hurt

I'm a workin' man

Yes I'm a workin' man

I do what I can with whatever I got

'cause I'm a workin' man

Now I've pulled wire

And I've pounded nails

I've drove eighteen wheels

And I've hoisted sails

I've shoveled shit

And I've shoveled snow

I butchered hogs

‘Cause don't you know

I'm a workin' man

Yes I'm a workin' man

I do what I can with whatever I got

'cause I'm a workin' man

Now I got my pride

When it comes to gettin by

Don't wear no necktie

I'm a blue collar guy

Got blue jeans and boots

A hardhat and gloves

When it comes to hard labor

Man, I can push and I shove

Cause I'm a workin' man

Yes I'm a workin' man

I do what I can with whatever I got

'cause I'm a workin' man

Well I get up early

And I get back home every night

And I do honest work

And my life is alright

I'm just like my Daddy

An nearly as tough

It's the old man that showed me

That workin’ can get rough

Cause I'm a workin' man

Yes I'm a workin' man

I do what I can with whatever I got

'cause I'm a workin' man

If the world goes to hell

And things get really bad

I sure won't worry

And I sure won't be sad

I'll just go out to the woods

And put me up a shack

I'll plant me a little garden

And I’ll never look back

Cause I'm a workin' man

Yes I'm a workin' man

I do what I can with whatever I got

'cause I'm a workin' man

2. From Cynthia Passmore of St. Petersburg, Florida

Last Call

They spilled words

across the pine bar

where she slung drinks for tips,

the licorice apertif and French Pernot

that sweetened her morning coffee.

Saturated bar rags

seep stories of lost lovers

and hopeful tomorrows.

Now hang to dry amidst the sour fruit

soley purposed to quench

the mouths of dreamers.

Long necked bottles

gleam liquid solace

safely harbored on cramped shelves,

and she remembers

the taste of sweetness at the bottom

and lifts her finger to gently lick up

what still remains.

3. From spontaneous bob of Oklahoma City.


In 1992 I spent several months

working as a poet

who was trying

to be a photographer.

However, after a few years

and several career changes

I am now a painter

pretending to be a poet.

You see,

I've been working on

this collage...

Sort of a sepia-toned,

depressed artistic thing.

A lot of dark spaces.

A lot of torn edges.

I'd show it to you,

but I haven't actually

glued anything together


(It's so much easier

to be respected

as an artist

when no one's

seen your work)


to cut and paste

a life

into shreds

then back together

Eight and a half

by eleven inches

with no single inch

where it used to be...

Now that's a piece of work.

To make it pretty,

painting the edges of nightmares with

bright and gold

until anyone who sees it

smiles and says

"What a magnificent eye

for realism."

"Such an eye for the world."

Real life

with adventures and flowers.

Real life

with battlefields and love scenes.

Real life

as seen on TV.

Sort of a sepia-toned,

depressed, artistic thing.

Sort of a dark brown heart.

God, doesn't it remind you...

doesn't it...

Such an eye for the truth.

Can't you feel it staring?

Sort of a dark brown eye.

Sort of a beautiful tragedy.

doesn't it...

remind you of...


(You can read your own

meaning into the piece...

That's always a better story

than the one I could tell...




4. And finally, from Richard Cole's new book, Success Stories.Come hear Richard at Quack's on Sept. 12, and/or Barnes and Noble on the Drag, Sept 17.

Elegy for an Ad Department

When they finally called us, we were nothing

if not relieved, even giddy to report upstairs

on a cold day in December, a Friday just before lunch --

the witching hour of the week for layoffs.

For two years, our jobs had felt like a car crash

in extreme slow motion, the body skidding undeniably

out of control but slowly and slow enough for us

to argue and deny, to dream a little

as the road signs crept for days past our windows,

slow enough to get out and walk,

and why not? The doors were always unlocked,

toward a final and increasingly obvious

collision with business reality.

We arrived at the executive wing,

all padded carpet and mahogany, with dark green ficus

and palm trees tended, I knew, by silent workers

who moved through the building on weekends,

watering and snipping the brown tips.

They sent us to the master boardroom --

dark paneling, a teakwood table, plush drapes

and a marble credenza overloaded with a chorus line

of expensively manicured bonsai.

Our salaries compete with this, I thought,

and I counted the room: from fifty-five, now

seventeen of us left.

We assumed our places, and Olga, our last, best secretary,

sat down beside me in a wing-backed chair,

all five feet two inches of her almost lost in the soft

Italian leather, swinging her legs, quiet, grim.

At 11:50 sharp, our manager John arrived

with four strangers in dark suits from Human Resources.

"Christ," I thought. "Does it take this many

to kill us?" Last month they'd laid off Peter, the man

who 20 years ago had built this department, a brilliant --

and that is the word -- corporate designer.

Then last week, John called us together to tell us

he could tell us nothing, that his own superior

was growing testy, that he felt, he said, "naked in the wind,

dodging traffic." So none of us were surprised

when he miserably cleared his throat

and began talking quickly

about the costs

of doing business. One of the suits interrupted

and told us to remember

we hadn't made a profit in 18 months (this,

after 18 years in the black), and yes, we'll remember.

We should have worked harder, smarter.

But we'll also remember the hubris and pig-greed

of the men who rode this company down

through a swarm of screaming bodies

and golden executive parachutes.

And let it be remembered as well

that in our minor niche of creating flyers

that wound up usually in somebody's trash,

we did our job, I'd like to think, as professionals,

though at that moment we were only

children, very small,

listening as our parents told us

we would have to leave home forever.

This would be Frank's third termination,

who had worked late each day correcting the copy,

including my own, and the third for Bob who was 54,

and the second for Marie, with two sons

entering college and a husband last year

laid off as well. They sat frozen, their faces as if

carved. And I who, incredibly,

had always felt above these people, the closest

I had to friends, simply because of the poetry

I hid in my desk, I turned away,

and I remember how I stared out across the frozen city

at a single, red balloon far off.

gaining slowing over the office buildings.

And as John told us, his voice collapsing, that our busines

had failed, and as Olga cried without shame,

I followed the balloon as it wobbled and soared until

finally in the gray, forgiving sky, it slipped

and disappeared.

© 1998 Richard Cole

3. Books/Chapbooks/CD's

chap*book (noun) First appeared 1798 : a small book containing ballads, poems, tales, or tracts

(and from Carol Koss in OKC) : Addenda to definition of 'chapbook' - it was so called because it was hawked by 'chapmen' - or peddlers. The word 'chap' comes from a ME and/or OE word meaning 'cheap.' - from large Random House Dictionary

You are invited to bring your books/chapbooks/anthologies to sell at Ruta Maya on Tuesdays. For guidelines e-mail maslow_at_flash.net

1. Success Stories, Limestone Books; Austin, Tx. Poetry and essays by Richard Cole. $11.95. "Success Story is a great book, and I don't use the word lightly. It's as new as Leaves of Grass was for its time. Richard Cole has written about the corporation-run, downsizing world of today as one who knows it from the inside. But this is only half of it -- there is the engrossing report of his adventures, anxieties, fears, and -- wonderful to see in poetry these days -- tenderness and love. The poems link to make a continuous action. The voice is unforced, direct, surprising." --Louis Simpson, Pulitizer Prize Winner. Available at Quack's on Sept. 12, Barnes & Noble, signing on Sept 17. or e mail the author at cole_at_GlobeSet.com.

2. Tina's Fine-Ass Lingerie: The First Four Years of The Austin Poetry Slam Team.

CD recorded Live at the Electric Lounge. Contains cuts by the Austin Slam Team members 1995-1998. OProduced by Wammo. $10. Available at the Electric Lounge. e jacksabbath_at_yahoo.com or call 476-FUSE. Order multiple copies now, while supplies last.

3. New offerings from The Poet's Tree Press:::::::

Each book is $7 or you can buy them as a set for $12

For ordering information e-mail CVannoy_at_aol.com

Into The Storm

by Chris Vannoy

From San Diego, California to St. Petersburg, Florida this collection of poems cross the continent. Poignant snapshots of relationships with a dash of Beat. They both combine to be a whisper within a shout.

The Unwinding

by C. Passmore

This book reflects the changing of seasons and the changes that come when life moves through the turbulent times of a woman's life. It shows how parents and children view different sides of life and how, when the roles are reversed, the other side of the storm is seen from a different view.


1. Austin Poets at Large (APAL) is a not-for-profit group of poets come together to promote the growth of poetry in Austin and provide a nurturing atmosphere for poets and those who love poetry. APAL staff meetings at 6:30 p.m. every Saturday at Quack's, 2120 Guadalupe, followed by Saturday Night Live APAL open mike. Meetings are open to anyone interested in participating. Looking for volunteers to do layouts and printing. Salary is commensurate (or is that commiserate?) with poet's pay. For more information call 458-3159 or e stazja_at_aol.com

2. BOWERBIRD: dear performance poets-you're invited to come and perform at

***** nap jam two *****the north american poetry jam, a 4-night explosion of performance poetry. unlike slam, where the central focus is competition, jam has _cooperation_ as its organizing principle. jam is a performance poetry showcase,

a videoshoot, and a big party, all rolled into one. the next jam is from september 21-25, 1998, at the "plaza" hotel, in downtown las vegas.

for an online version of the jam "manual", which contains all the info you'll need, visit <http://users.aol.com/bowerbird>. because of the las vegas location, we've got a great rate of $40 per room, double occupancy, so that's just $20 per person per night, $80 for all 4 nights.


3. GULF COAST PUBLISHING COLONY (12/27/98-1/3/99): Call for Entry. Ten

selected writers to join poet/editors, Susan Bright and Margo LaGattuta, for 7-day intensive, collaborative publishing colony on beautiful Texas Gulf coast resulting in publication of the 17th Plain View Press New Voices Series anthology, a national showcase for American writers and issue-based literary work. Send 15-20 pages by Nov 15: Plain View Press, P.O. 33311, Austin, TX 78764. Inquiries: Susan Bright,

512-441-2452 (sbpvp_at_eden.com), Margo LaGattuta, 810-693-7344

(lagapvp_at_aol.com.) Follow New Voices Series link:


Reading Fee: $10.


"Next to the Last Word" the 15 collection of poetry by Susan Bright will be released in Dec. of 1998. Reading schedule to follow. To arrange for readings call: 441-2452.

4. From Ernest Slyman:

"Might wish to stop by Reverie and post a note on your zine. It's free. Can also affix a link back to your site. Reverie is an open forum devoted to encouraging the creative writer. It affords a meeting place between publishers of zines and writers new and established.


5. VonEnemy moves to the Dead End Street!

COMPANY PRESS RELEASE HOQUIAM, WA – August 26, 1998: Dead End Street Publications is pleased to announce the signing of VonEnemy, the highly regarded Los Angeles performance poet. His newest work, a collection with the working title "Cacophonic Vibes," will be available in early 1999.

6. " Hi Stazja,

sorry I have not been in contact for a while, art and life, life and art, work, party, you know how it is. I enjoy the newsletter, it makes me feel connected to happy memories of Austin. I really hope to make this years festival, I am trying hard to get some funding to get me on that big bird to the land of poetry and music.

Yorkshire has had a really bad summer. You want rain? we can send you lots and lots in exchange for a little bit of sunshine.

Much love to you and poets at large. Love Alex Krysinskixxx"

Slam Family Stuff

1. Y'all want to hear some local good effects from the National Poetry Slam? On 5 occasions over the past two weeks, I've met or heard from people who have come to hear the spoken word because of the 1998 NPS. The word spreads.

2. "...I would first like to thank Phil West, Mike Henry, Juliette Torrez and all the Austinians who not only almost killed themselves putting on a great nationals for us, but who also have showed monumental loads of class before, during, and after the nationals. Thanks guys, you are, were, and always will be tops in my

chap book..." Daniel Ferri

3. Stazja,

Hello from Oklahoma!!!

Quick mention...The OKC SLAM TEAM had a great time at Nationals!!!! We met wonderful people and had 4 AMAZING days full of words!!!

Thanks to the ENTIRE city of Austin, and the tireless efforts of everyone involved!!!

-spontaneous bob

4. Check out the homepage of the 1998 National Poetry Slam at http://slam.home.texas.net/98Nationals/welcome.htm

5. Other websites to visit:

#1 1998 National Poetry Slam Team New York member Guy LeCharles Gonzales'

"a little bit louder" at http://www.geocities.com/~loudpoet/

featuring Guy's article:


Nuyorican Poets bring home the 1998 National Poetry Slam Championship"

in which the #1 team receives their rightful headline recognition omitted in the Time Magazine article. (Reminder: that was the magazine naming A. Hitler "Man of the Year" about 60 years ago.)

also check out The Mining Company at http://poetry.tqn.com/mbody.htm

and Next... Magazine online at http://members.aol.com/nextmag

6. Excerpt from Eve Stern's letter in an ongoing discussion re group performance pieces:

"Performance poetry is nothing less than an exchange of energy, that I for one consider sacred. Don't tell me you've never felt the exchange from audience to the stage, that wave of surprise from the left hand side, that ripple of laughter from the back: it wafts up to us, we plug into it, and then we send it back, and the exchange keeps going, better than electricity. If you've never had that magic feeling, then you're not a good performance poet, I'll be bold enough to say. And if performance

poetry is an exchange of energy, then why not feel that exchange and that

communion with another artist, on the stage: why not share it with another poet? The only reason I can think of, once again, is ego: you have to be willing to share the limelight, you have to be willing to be less of you you you to become a stronger we."

Eve Stern

Boston '97 Team

Coach, Ozarks '98 Team

All-Purpose Word Goddess

Anyone wanting off the mailing list, just send me a nice polite request by e mail.

"The pen is mightier than the sword" ,,, (who originally said that, anyway?)

Much love,