Yawn Arbuckle

Yawn Arbuckle, an esteemed individual hailing from the enchanting landscapes of Arizona, has dedicated their entire life to the pursuit of poetic excellence. From the sun-drenched deserts to the majestic mountains, Yawn's deep connection with Arizona has shaped their artistic journey. Born and raised in the vibrant city of Phoenix, they found solace and inspiration in the breathtaking beauty of the state. Yawn's passion for poetry blossomed at a young age, as they immersed themselves in the rich literary heritage of Arizona. They delved into the works of renowned poets who found solace in the vastness of the desert and translated their experiences into mesmerizing verses. With an insatiable thirst for knowledge, Yawn embarked on an academic journey dedicated to the study of poetry. Attending the prestigious University of Arizona, Yawn honed their poetic craft under the guidance of esteemed professors and immersed themselves in the vibrant literary community of the state. They explored the depths of poetic expression, intertwining the unique essence of Arizona with their own introspective musings. Throughout their academic tenure, Yawn delved into the works of Arizona's literary giants, drawing inspiration from the evocative landscapes and diverse cultural tapestry. Their studies encompassed everything from the poignant verses of Alberto Ríos, capturing the spirit of the Southwest, to the transcendent imagery of poets who found solace in the vastness of the Grand Canyon. Yawn's dedication to their craft led them to participate in numerous poetry workshops and gatherings, where they shared their own creations and engaged in profound discussions with fellow poets. Their unwavering commitment to poetry culminated in the publication of a remarkable anthology that beautifully encapsulated the essence of Arizona's poetic soul. Now, as the esteemed admin of this website, Yawn Arbuckle continues to be a guiding light for poetry enthusiasts, fostering a community where words come alive and imaginations soar. With their vast knowledge and profound understanding of Arizona's poetic legacy, Yawn strives to inspire others to embrace the transformative power of language and embark on their own poetic odysseys. Through their tireless efforts, Yawn Arbuckle remains an unwavering advocate for the poetic arts, breathing life into the pages of this website and inviting poetry lovers from all walks of life to embark on a journey of self-expression and creative exploration.

TC Tolbert

October 22, 2025

TC Tolbert – Tucson Poet Laureate (2017 – 2023)

TC Tolbert serves as a vibrant and transformative voice in contemporary American poetry. Appointed as the Poet Laureate of Tucson in 2017, Tolbert guided the city’s literary engagement through 2023, shaping a poetic culture rooted in inclusion, empathy, and the desert’s quiet resilience. Tolbert’s years as laureate left a deep imprint on Arizona’s poetry community, from public readings in city parks to collaborations that brought poetry into schools, libraries, and neighborhood centers across Tucson.

About

Tolbert identifies as trans and genderqueer and often describes themself as a feminist, collaborator, dancer, poet — and simply “a human in love with humans doing human things.” Their artistic life embodies that statement. Holding an MFA in Creative Writing from the University of Arizona, Tolbert chose Tucson as both a personal refuge and a creative laboratory, drawn to its open skies, Sonoran landscape, and thriving community of artists.

Living in the desert, Tolbert has cultivated a poetic practice that moves fluidly between body and language. They frequently connect the motion of dance with the movement of words, treating poetry as choreography — a conversation between text, rhythm, and breath. This holistic approach to craft mirrors Tucson’s own cultural terrain, where art, activism, and environment often meet.

Literary Work & Contribution

Tolbert is the author of the full-length poetry collection Gephyromania (Ahsahta Press, 2014; reissued by Nightboat Books), a book that explores the idea of “bridge-building” — between genders, languages, and modes of becoming. The title, from the Greek gephyra meaning “bridge,” captures Tolbert’s ongoing fascination with transformation and the spaces between fixed identities.

They have also published several chapbooks, including Turning to Hear the Last Leaves of Stargazer Fall, I: Not He: Not I, and territories of folding. Each of these smaller works demonstrates Tolbert’s gift for merging lyrical precision with emotional experimentation.

As co-editor (with Trace Peterson) of Troubling the Line: Trans and Genderqueer Poetry and Poetics (Nightboat Books, 2013), Tolbert helped create one of the most influential anthologies of its kind. The volume gathers more than 50 writers and has become a cornerstone text in queer literary studies, used in classrooms nationwide. The project exemplifies Tolbert’s lifelong commitment to community-building through art.

Tolbert’s poems have appeared in leading journals and anthologies, including Prairie Schooner, Verse Daily, and Diagram. Their voice resonates for its honesty, courage, and linguistic grace — a blend of vulnerability and precision that continues to influence younger Arizona poets.

Advocacy, Community & Impact

During their six-year tenure as Tucson’s Poet Laureate, Tolbert expanded what civic poetry can do. In 2019, they were awarded an Academy of American Poets Laureate Fellowship for their community projects connecting trans, non-binary, and queer residents through writing workshops and public readings.

Tolbert’s outreach programs emphasized poetry as both healing and social practice — a way for marginalized voices to see themselves represented and to find solidarity in language. They’ve led free writing circles, poetry walks, and cross-disciplinary performances blending movement, music, and verse. Many of these initiatives remain active today, facilitated by the poets Tolbert mentored.

In interviews, Tolbert has spoken of poetry as “a practice of attention and tenderness,” a way to “stay awake to our shared humanity.” This ethic has guided not only their public service but also their teaching at the University of Arizona and in workshops across the Southwest.

Why Tolbert Matters for Arizona Poetry

Voice & Visibility: As one of the first openly trans or genderqueer city poet laureates in the United States, TC Tolbert redefined what literary leadership can look like. Their visibility in Tucson’s cultural landscape continues to inspire inclusivity and representation in the arts.

Intersectional Practice: Tolbert’s poetry brings together identity, ecology, and activism. Their work captures both the physical beauty of the Sonoran Desert and the psychological landscapes of transition, belonging, and human connection — a union of place and self that feels uniquely Arizonan.

Bridge-Builder: True to the meaning of Gephyromania, Tolbert builds bridges — between people, disciplines, and communities. They bring poetry out of academic spaces and into everyday life, transforming classrooms, coffee shops, and public plazas into shared arenas of expression.

For Readers of AZPoetry.com

Tolbert invites readers to consider language as terrain — a landscape where identity, geography, and desire converge. Their work embodies the emotional texture of Tucson: sun-bleached, spacious, and full of quiet defiance.

For lovers of poetry, Tolbert offers a model of art as community practice. Their writing urges us to embrace ambiguity, nurture compassion, and recognize the bridges that connect us — not only across difference, but within ourselves. With deep respect for the desert and for those who inhabit it, TC Tolbert continues to expand the boundaries of Arizona poetry, shaping a more inclusive and resonant literary future.

Alas poor yorick poem by the klute featuring hyperrealistic jester at ren fair | azpoetry. Com

‘Alas Poor Yorick’ by The Klute

October 4, 2025

Alas, Poor Yorick

I regard the sad little man
As I stand in line at Ye Olde Churro Hut
With equal measures of pity and hatred
He wears a tri-cornered, tri-colored hat that is by design
Three sizes too large for his head
Upon each corner rests a single bell that jingles
With each act of prehistoric vaudeville that he performs
Mistaking the expression on my face as an invitation
He’s coming my way
Little does he know, I hate jesters
I hate them with the white-hot intensity of an Inquisitor’s branding iron
Jesters provoke within me a desire to transcend the Renaissance
And go back to the Stone Age
Where it would be perfectly acceptable to take a large rock
And smash his proto-mime skull in
But this is the modern era
While I’m certain that no jury in America
Would convict me for killing a jester
I stay my hand
Because this is not his fault
He doesn’t want to be a jester
No one does.
No one wants to don a pair of tights,
Paint their faces in the tradition of Emmett Kelly
And prance about like a magnificent poof
If God had granted him the stature he would have chosen to be a knight
Or at least a page
Had he been born with rakish good looks and a way with the ladies,
He could have been a rogue
And if he had been in possession of musical talent
He could have been a minstrel
(although I hate minstrels too)
But his thin, short, and sexless reality
Has collided with the Dungeons and Dragons fantasies of his youth
And the result continues his happy ambling gait
Towards my place in line at Ye Olde Churro Hut
I desperately scan the crowd for a broadsword
To cleave this clown in twain
But finding none,
I steel myself for the upcoming barrage of stale quips, bad puns, and friendly jibes
“Prithee my lord, wouldst thou like to hear the tale of Punch and Judy?”
I grab him by his massive lapels and pull him to my face

No.
No I wouldn’t.

There’s a reason why Punch and Judy didn’t make it out of the Middle Ages alive.
People are fonder of the Black Death than they are of Punch and Judy.
Now I know this isn’t your fault.
All I want is some fried dough
And I’ll leave.

The awkward silence is broken by the shout of “Huzzah! Another twenty pounds for the King!”
I release him and he scurries off to the friendly couple from Sun City
That seem quite willing to put up with his capering.
I collect my Churro and sit under a shade tree
Of all the things arcane that this Renaissance Fair had to conjure up

Alas poor Yorick.
I knew him Horatio.

About the poem “Alas Poor Yorick” by The Klute

Alas Poor Yorick was written by The Klute in 2002, originally intended for a chapbook entitled “Damn the Torpedoes”. The Klute was a popular Arizona slam poet for nearly 25 years, and this poem captures his satirical voice. Also known as Bernard Schober, The Klute often used humor to introduce new ideas into the Arizona culture. At the time, this poem was performed for mostly conservative audiences that dominated Arizona from the 1950s until the state began to flip politically in 2020.

Summary of “Alas, Poor Yorick” by The Klute

In “Alas, Poor Yorick,” The Klute offers a darkly comic and sharply observational monologue set in the most mundane of absurd modern arenas: a Renaissance Fair churro stand. The speaker, waiting in line at “Ye Olde Churro Hut,” encounters a jester — a small, pitiful man dressed in an oversized tri-cornered hat with jingling bells. The sight ignites within the narrator an almost comically violent hatred, one rooted less in the man himself and more in what he represents: forced mirth, historical reenactment gone wrong, and the discomfort of artificial joy.

As the speaker imagines crushing the “proto-mime skull” of this self-styled fool, he acknowledges the absurdity of his own reaction — “this is not his fault,” he admits — and begins to psychoanalyze the jester’s predicament. No one, he claims, wants to be a jester. Instead, life and circumstance have whittled the man into this tragicomic role, doomed to caper for others’ amusement while suppressing his dignity.

The narrative crescendos when the jester approaches, performing with “stale quips, bad puns, and friendly jibes.” The speaker’s fantasy and frustration boil over in a moment of confrontation. He grabs the man’s lapels and delivers a scathing retort: a demand for silence and a rejection of the hollow spectacle around him. The poem closes with the speaker’s self-aware echo of Hamlet’s most famous line — “Alas, poor Yorick. I knew him, Horatio.” — transforming Shakespeare’s meditation on mortality into a contemporary satire on performance, identity, and modern disillusionment.

Analysis: The Jester, the Poet, and the Human Condition

Beneath its humor, “Alas, Poor Yorick” is a deeply layered piece about frustration with artifice and longing for authenticity. The Klute’s speaker projects his existential exhaustion onto the jester — a figure both ridiculous and tragic — who serves as a mirror of humanity’s own clownish struggle to find purpose. The setting at a Renaissance Fair, a space of contrived nostalgia, underscores the tension between the past we romanticize and the hollow performance of that nostalgia in the present.

The poem’s voice blends satire and confession, a hallmark of The Klute’s performance style. His hyperbolic hatred (“the white-hot intensity of an Inquisitor’s branding iron”) collapses into reluctant empathy. The jester becomes an avatar of lost dreams and failed self-transformation — the “thin, short, and sexless reality” colliding with the “Dungeons & Dragons fantasies of his youth.” Through humor and mock aggression, the speaker grapples with his own place in a society addicted to spectacle and performance, where even rebellion feels choreographed.

Language, Rhythm, and Tone

The poem reads like a rant-turned-revelation, fusing the theatricality of Shakespearean soliloquy with the comic rhythm of spoken word poetry. The Klute’s diction moves effortlessly between the archaic (“Prithee my lord”) and the contemporary (“I desperately scan the crowd for a broadsword”), creating a tension that mirrors the absurd coexistence of medieval pageantry and modern consumer culture.

The mock-heroic tone — elevating a churro-stand encounter into an epic battle — allows The Klute to explore the futility of righteous anger in an age of trivial distractions. Even the speaker’s imagined violence serves no purpose beyond catharsis; his rebellion ends, fittingly, in snack-time apathy beneath a “shade tree.” The final line’s allusion to Hamlet reframes this moment of quiet surrender as both humorous and mournful: in trying to reject artifice, the speaker realizes he is part of it.

Themes: Performance, Identity, and Disillusionment

Performance as Survival: The jester, forced to entertain, becomes a metaphor for anyone trapped in performative social roles — whether artist, worker, or consumer.
Hatred as Projection: The speaker’s loathing reveals more about his own disillusionment than the jester’s flaws. His anger masks the fear that he too might be a performer without meaning.
The Death of Authenticity: By referencing Hamlet’s Yorick — a literal skull of a dead fool — The Klute implies that sincerity itself is dead, buried beneath layers of irony and spectacle.

This duality of humor and despair runs throughout The Klute’s work, reflecting his gothic-punk aesthetic and his philosophical fascination with mortality, absurdity, and social commentary.

The Klute’s Arizona Legacy and Performance Style

As a leading voice in Arizona’s spoken word and performance poetry scene, The Klute (Bernard Schober) has become known for fusing theatrical flair with biting satire. His performances at venues like Lawn Gnome Publishing, Caffeine Corridor, and events like The Poe Show channel the dark wit of Edgar Allan Poe through a distinctly modern, sardonic lens.

In “Alas, Poor Yorick,” his humor masks a critique of both cultural escapism and personal alienation — themes that resonate deeply with audiences across Arizona’s desert stages, where performance poetry thrives as both art and social commentary.

Learn More About The Klute

To explore more of The Klute’s work, performances, and influence on Arizona’s modern poetry scene, visit his full poet bio on AZPoetry.com.

Discover how his gothic wit, philosophical edge, and dark humor continue to shape the voice of Arizona poetry.

Chelsea Guevara

September 16, 2025

Chelsea Guevara: U.S.-Salvadoran Voice, Slam Champ & Storyteller of Memory & Belonging

From Utah Roots to National Slam Triumph

Chelsea Guevara is a U.S.-Salvadoran poet and spoken word artist originally from Salt Lake City, Utah. In 2024, she made history by winning the Womxn of the World International Poetry Slam, becoming the first Salvadoran and the first Utahn to take home a national individual slam title.

Her work bridges languages, cultures, and generations. Drawing upon her family’s histories in El Salvador, her experience in Utah, and her identity as a Latina in the U.S., Chelsea weaves together storytelling, academia, and performance to explore themes of history, memory, identity, belonging, and resistance.

Academic Life & Creative Inquiry

Chelsea is currently engaged with the academic world. At the University of Arizona, she has pursued graduate studies in Latin American Studies (as of the latest info), and her coursework deeply informs her poetry. Her academic research—into Salvadoran history, diasporic identity, colonialism, and memory—provides the scaffolding for much of her creative work.

This blending of scholarship and artistry allows her poetry to function not just as aesthetic expression, but as a site of cultural reclamation and historical narrative. Her writing is attentive to both micro-moments (family, language, place) and macro-forces (migration, colonial legacies, social justice).

Published Works & Recognition

Chelsea’s published work includes:

Somewhere Over the Border (micro-chapbook): Finalist for the Gunpowder Press Alta California Chapbook Prize in 2023.
Her poetry has been featured in Button Poetry, Write About Now Poetry, Mapping Literary Utah, and others.
In 2025, she released her full-length collection Cipota with Button Poetry. Cipota explores intergenerational trauma, diaspora, memory, and the reclamation of identity.

Performance, Identity & Community

Chelsea is not just a poet on the page—she’s a performance poet with palpable stage presence. She has performed widely at slam events and spoken word venues, bringing emotional honesty, rich narrative detail, and cultural specificity to her performances. Winning Womxn of the World 2024 placed her squarely in the national spotlight for her ability to command a stage while telling deeply personal stories.

She is also active in organizing poetry events in Tucson, Arizona, helping to build community, nurture younger poets, and create space for Latinx and Central American voices. Her work in events aligns with an ongoing commitment to representation and justice through art.

Themes, Style & Influence

Chelsea’s poetic style is marked by:

Cultural Memory & Diaspora: Memories of El Salvador, family stories, migration, and border crossings appear often in her work.
Identity & Healing: Exploration of what it means to be U.S.-Salvadoran, the tension between past and present, and the personal as political.
Scholar/Poet Hybrid: Her academic background shapes her use of imagery, metaphor, and historical context—she often makes visible what is overlooked.
Performance Energy: Her poems are crafted not just to be read, but to be heard—she’s earned her slam title by giving words emotional power and urgency.

Her influences include both Latin American literary traditions and the spoken word community—she stands at the intersection of diaspora poetics and activism through language.

Key Milestones & Why Chelsea Matters in Arizona Poetry

First Salvadoran and Utahn to win a national individual slam (Womxn of the World, 2024) — a landmark achievement for representation.
Micro-chapbook Somewhere Over the Border recognized at a national level (Alta California prize finalist).
Publication of Cipota in 2025 with a major poetry platform (Button Poetry), helping her reach

Haiku from Seventeen Syllables by Hisaye Yamamoto

August 20, 2025

“Haiku from Seventeen Syllables” by Hisaye Yamamoto

it was so much easier to say yes, yes, even when one meant no.

About the author Hisaye Yamamoto

Haiku, Silence, and Struggle in Seventeen Syllables

In Hisaye Yamamoto’s short story Seventeen Syllables, a deceptively simple English-language haiku emerges as a subtle but powerful symbol of emotional restraint, generational divide, and the burden of cultural expectations. The phrase, “It is so much easier to say yes, yes, even if one meant no,” carries deep thematic weight as it encapsulates the central conflict between a Nisei daughter, Rosie, and her Issei mother, Tome, who finds expression and fleeting joy through composing Japanese haiku. The line may appear offhand at first, but under close examination, it becomes a poignant reflection of silent resistance, suppressed identity, and a quiet plea for understanding.

Yamamoto’s Arizona Connection: Writing Through Internment

Before we explore this line further, it’s important to understand the author behind it. Hisaye Yamamoto, a pioneering Japanese-American writer, was imprisoned at the Poston War Relocation Center in Arizona during World War II. Like many others of Japanese descent, Yamamoto and her family were forcibly removed from their home and detained for years behind barbed wire in the Arizona desert. While interned, she wrote for the Poston Chronicle, the camp newspaper, and began cultivating the voice that would later distinguish her fiction.

Yamamoto’s stories, particularly Seventeen Syllables, are deeply informed by this trauma of incarceration, but they also explore the quieter, more intimate struggles within Japanese-American families—especially between mothers and daughters navigating language, identity, and survival in a divided America.

Summary: A Mother’s Voice, A Daughter’s Silence

The story Seventeen Syllables centers on the relationship between Tome, an Issei mother who writes haiku, and Rosie, her teenage Nisei daughter who is more concerned with her budding romantic interest in a boy named Jesus Carrasco. As the mother becomes increasingly consumed with her poetry, winning recognition in a local Japanese-language paper, her American-born daughter remains emotionally and linguistically distant, unable to comprehend her mother’s devotion or sorrow.

Throughout the story, Tome reads her poems aloud to Rosie, seeking connection and affirmation. Rosie, however, can only offer polite nods and automatic approval. She finds it easier to say “yes, yes” rather than confront her confusion or disinterest—hiding her emotional detachment with passive affirmation. The story culminates in a powerful, emotional outburst in which Tome reveals her traumatic history and pleads with Rosie to promise she will never marry. Rosie, once again, quietly complies.

Analysis: Haiku as a Symbol of Disconnection and Survival

The casual haiku—“It is so much easier to say yes, yes, even if one meant no”—functions on multiple levels. On the surface, it reflects Rosie’s immediate emotional coping mechanism: to avoid tension, she offers approval she doesn’t feel. But more deeply, the line encapsulates the silent endurance of women—especially immigrant women like Tome—who suffer emotional pain without protest, navigating cultural and familial expectations with quiet acquiescence.

Haiku, a Japanese poetic form built on brevity (the length is confined to seventeen syllables) and layered imagery, becomes a central symbol in the story. Tome’s haiku practice represents her attempt to reclaim identity, artistry, and emotional agency in a life dominated by domestic labor and an emotionally abusive husband. Yet, her daughter’s inability to fully engage with the meaning of haiku, or the Japanese language itself, mirrors the growing gap between generations—between cultural roots and American assimilation.

Rosie’s “yes, yes” is not just about politeness. It is about powerlessness, about the learned behavior of suppressing dissent for the sake of harmony. It’s a mantra of compliance passed down to daughters, a gesture of love wrapped in silence. The haiku’s meaning reaches beyond the mother-daughter dynamic to touch on a broader experience of marginalized women, who often find themselves silenced not just by language, but by society.

The Lingering Legacy of Internment and Inheritance

Yamamoto’s life and work embody the complicated layers of trauma, identity, and survival for Japanese Americans during and after World War II. Her time at the Poston internment camp in Arizona was not only a formative personal experience but also a defining influence on her literary career. The quiet, restrained beauty of her stories—much like haiku itself—hides deep reservoirs of pain, longing, and resistance.

Discover More About Hisaye Yamamoto

To learn more about Hisaye Yamamoto’s life, her literary achievements, and her connection to Arizona through her internment at the Poston camp, visit her AZPoetry.com poet bio page.

Explore how this remarkable writer gave voice to generations of women, immigrants, and the quietly resilient.

Green & Red by Ashley Naftule

July 30, 2025

“Green & Red” by Ashley Naftule

When I was six,
my favorite part about eating watermelon
was harvesting the black seeds.

My parents would cut off the green skin
so I could slip my tongue into ruby flesh
and pluck out the seeds.

I’d store them in my cheeks,
piling up one black teardrop after another
until I had enough ammunition stocked up
to machinegun my sister’s friends.

My parents would always tell me
to stop shooting them.
I said I wasn’t:
I was trying to kiss them with
my seeds.

I tripped over a curb
the day before my seventh birthday.
On the ground, my head near the concrete,
I cried as my knee oozed watermelon red.

I stuck my fingers through the cracked shell,
feeling for the seeds in my legs.
Imagine my horror when I found nothing there.

About the poetry Ashley Naftule

“Green & Red” was originally published on FormerCactus on September 2018.

“Green & Red” by Ashley Naftule: Poem Summary & Analysis

Ashley Naftule’s poem “Green & Red” is a tender, surreal reflection on childhood innocence, memory, and the body’s transformation over time. What begins as a nostalgic recollection of summer watermelon rituals gradually evolves into an introspective meditation on loss, physical pain, and the imagination of a child confronting a world that doesn’t always align with fantasy.

Summary of “Green & Red”

The poem opens in a summer memory: a six-year-old’s delight in eating watermelon not for the fruit itself, but for the small, black seeds embedded in its flesh. The child meticulously gathers the seeds in their cheeks, transforming them into playful “ammunition” for spitting at their sister’s friends—an act described with both mischief and innocence. When their parents scold them, the child insists they’re not being aggressive, but affectionate: they are “trying to kiss them with my seeds.”

The mood shifts abruptly as the speaker recalls falling the day before their seventh birthday. With their head against the concrete and knee bloodied, the child’s imagination seeks comfort in metaphor: the red of the injury mirrors watermelon flesh. In a quietly devastating moment, they reach into the wound expecting to find seeds—symbols of playfulness and continuity—but instead, they find “nothing there.”

Analysis: The Imagination of Injury and the Loss of Innocence

A Child’s Imaginative World

The poem brilliantly captures the tactile and sensory experience of being a child. Naftule uses vivid imagery: “slip my tongue into ruby flesh,” “black teardrop,” “knee oozed watermelon red”—each phrase evokes not just the memory of a fruit, but the immersive physicality of childhood. Watermelon becomes more than a summer treat—it becomes a medium of love, war, and language.

Seeds as Symbols of Growth and Emotion

The seeds function symbolically throughout the poem. In the early stanzas, they are tangible tokens of affection and fun. Their black color and teardrop shape hint at deeper emotional resonances—grief, memory, desire—that come into focus later. The seeds, once stored in the cheeks and used playfully, become a metaphor for expression and emotional release.

The Shocking Absence

When the speaker falls and bleeds, their instinct is to look inside for those same seeds—as if their very being was made of fruit and joy. But the stark realization that “there [was] nothing there” marks a turning point: a moment of disillusionment and embodied reality. The absence of seeds is not just a physical lack, but a loss of innocence. It’s a subtle and moving depiction of the first time a child realizes their internal world may not match the real one.

Ashley Naftule’s Voice and Style

Naftule’s writing often navigates the boundary between the surreal and the personal, the whimsical and the tragic. In “Green & Red,” their poetic voice captures a moment both ordinary and profound: a scraped knee that becomes an existential crisis in a child’s mind. Their ability to ground surreal emotion in physical imagery is what makes this poem resonate long after the final line.

Discover More Work by Ashley Naftule

Ashley Naftule is a playwright, poet, and journalist based in Phoenix, Arizona. Their poetry often blends speculative themes, queer identity, and emotionally vivid storytelling. To explore more about their work, visit Ashley Naftule’s poet bio page on AZpoetry.com.

Ashley Naftule

July 30, 2025

Ashley Naftule: Phoenix Poet, Playwright & Performance Artist

Ashley Naftule (they/them) is a dynamic poet, playwright, performer, and arts journalist based in Phoenix, Arizona. Known for blending speculative themes, queer and trans identity, and razor‑sharp lyricism, Naftule is deeply rooted in Arizona’s creative community through their innovative work at Space55 Theatre and beyond (Planet Scumm).

Early Artistic Journey & Literary Voice

Originally from California, Naftule relocated to Phoenix, where their writing and performance practice flourished. They became a resident playwright and Associate Artistic Director at Space55, producing plays like Ear, The First Annual Bookburners Convention, Radio Free Europa, and Peppermint Beehive (Planet Scumm). Their approach to poetry and prose draws on influences ranging from Grant Morrison’s surreal comics to Philip K. Dick’s speculative sci‑fi, imbuing text with dreamlike, uncanny resonance.

Published Poetry & Journalism

Naftule’s poems and short fiction have appeared in numerous outlets including Rinki Dink Press, Ghost City Review, The Molotov Cocktail, Occulum, and Amethyst Review (Phoenix Art Museum, Ashley Naftule). As a freelance journalist, their writing has been featured in major platforms such as Pitchfork, Phoenix New Times, Vice, The AV Club, and Longreads (Phoenix Art Museum).

Performance & Artistic Influence in Arizona

Through performances at Space55 and collaborations with local painters, musicians, and theater-makers, Naftule contributes significantly to Phoenix’s arts culture. Their interdisciplinary expertise—spanning poetry, theater, visual art, and performance—makes them a versatile and boundary-pushing presence in the Arizona literary scene.

Themes & Style

Surreal Colors and Dark Humor: Naftule’s work often mixes whimsy with the uncanny—Dadaist, feminist, sci‑fi, and existential threads entwine.
Gender Fluid & Queer Identity: Their writing negotiates fluid identity and nonbinary experience through poetic imagery and playful defiance.
Political & Cultural Critique: They explore how consumerism, technology, and systems of power intersect with individual expression.

Why Ashley Naftule Belongs on AZpoetry.com

Arizona Connection: Longtime Phoenix resident and Space55 collaborator contributes richly to the state’s literary ecosystem.
Literary Range: Bridges poetry, theater, journalism, and performance—enhancing Arizona’s scene across mediums.
Community Engagement: Their work includes mentorship, creative leadership, and inclusive programming for diverse artists.

Key Highlights & Features

Highlight	Details
Residency	Resident playwright & Associate Artistic Director at Space55 Theatre, downtown Phoenix (Planet Scumm)
Publications	Poetry & fiction in Ghost City Review, Occulum, Rinky Dink Press, The Hard Times, and more (Ashley Naftule, Ghost City Press)
Journalism	Bylines in Phoenix New Times, Pitchfork, Vice, AV Club, Bandcamp, and others (Phoenix Art Museum, Medium)

In Their Own Words

Naftule reflects: “When I finish writing something … and it doesn’t immediately embarrass me, the feeling of satisfaction … feels like a hammer striking a nail.” Their form flourishes under constraint and fusion—combining prompt-based weirdness, spoken word punch, and speculative imagery into original poetic structures (Phoenix Art Museum).

What’s Next

Ashley is currently working on Peppermint Beehive, a play exploring gentrification in downtown Phoenix with nods to John Waters, The B‑52s, and cult aesthetics. They’ve also written an absurdist comedy novella inspired by Spuds MacKenzie and are involved in podcasts, chalk art installation, and emerging poetry collaborations (Phoenix Art Museum).

Discover More

Explore more of poets of Arizona HERE.

Ain't i an american by jeremiah blue poem azpoetry. Com

And Ain’t I An American by Jeremiah Blue

July 4, 2025

“And Ain’t I An American” by Jeremiah Blue

I do appreciate the eagle
but not enough to call it American
and tattoo it on my arm with banners
of “God Bless the USA”

Because I am hoping that the US will be
just one amongst others blessed by God

And ain’t I an American?

I am trying to free Tibet with the bumper of my car
rather than replacing it with an American flag

I think that free-trade zones aren’t often all that free

I wrote a poem about my national pride
and it didn’t say anything about keeping the Mexicans out

Being a small minority of the world’s population
while consuming nearly half its resources
sounds like a comfortable enough position
to not be all that well threatened by immigrants
sending paychecks home to impoverished families

And ain’t I an American?

I took classes in non-violent resistance
rather than studying my enemy for weaknesses
because ‘fighting for peace’ is like
‘fucking for virginity’
Sounds like a pretty reasonable argument to me?

And ain’t I an American?

Fox: not my primary source of news.

Reality TV doesn’t look anything like my reality.

I left my Top Gun jacket and mullet
in the era they came our and perished in

I am drinking Guinness over Bud Light every time

I prefer salsa and flamenco to Garth Brooks

I think hot dogs are immoral

and I haven’t been to a baseball game
since Baby Ruth named its candy bar after that one guy

And ain’t I an American?

I don’t think you need to be a lesbian
or a woman that is mad to be a feminist

I feel it is a more productive move away from institutionalized racism
to not fill our prisons with a majority of our black and brown men

I am starting to think that it has been just a little too long
since we have had a non-male or non-religious president

There are times when the thought crosses my mind
that the American Dream is just something
that those who have been handed it
dreamed up to keep
everyone else dreamin’

And America does not, at all times,
make me proud to be an American

And ain’t I an American?

About the poet Jeremiah Blue

Exploring National Identity in Jeremiah Blue’s “And Ain’t I An American”

Jeremiah Blue’s poem “And Ain’t I An American”, originally published in 2012, offers a thought-provoking examination of American identity, challenging conventional symbols and notions of patriotism. Through a series of introspective reflections, Blue invites readers to reconsider what it truly means to be an American in today’s diverse society.

Summary of “And Ain’t I An American”

The poem begins with the speaker acknowledging traditional emblems of American patriotism, such as the eagle and the phrase “God Bless the USA.” However, the speaker expresses a desire for inclusivity, hoping that divine blessings extend beyond the United States to encompass all nations. This sentiment sets the tone for the poem’s exploration of broader, more inclusive definitions of national pride.

Throughout the poem, the speaker reflects on various personal choices and beliefs that diverge from mainstream American norms:

Opting for a “Free Tibet” bumper sticker over an American flag decal.
Questioning the fairness of free-trade zones.
Writing about national pride without advocating for restrictive immigration policies.
Highlighting the disproportionate consumption of global resources by a small segment of the world’s population.
Choosing non-violent resistance over aggressive tactics.
Expressing skepticism toward mainstream media and reality television.
Preferring cultural elements from other countries, such as Guinness over Bud Light and salsa over country music.

The poem culminates with the speaker contemplating systemic issues within American society, including institutionalized racism, gender inequality in political leadership, and the elusive nature of the American Dream. Despite these critiques, the recurring refrain, “And ain’t I an American?” underscores the speaker’s assertion of their American identity, suggesting that questioning and critical reflection are integral components of true patriotism.

Analysis of Themes and Techniques

Jeremiah Blue employs several literary devices to convey the poem’s central themes:

Refrain: The repeated question, “And ain’t I an American?” serves as a powerful refrain, emphasizing the speaker’s challenge to narrow definitions of American identity and highlighting the diversity of experiences and beliefs that constitute the nation.
Irony and Satire: By juxtaposing traditional symbols of patriotism with personal choices that deviate from the norm, the poem utilizes irony to question the authenticity of conventional expressions of national pride.
Cultural Critique: The poem addresses various societal issues, including consumerism, media influence, systemic racism, and gender inequality, prompting readers to reflect on the complexities and contradictions inherent in American society.
Personal Reflection: Through the speaker’s candid sharing of personal preferences and beliefs, the poem underscores the importance of individual agency in defining one’s own sense of patriotism and belonging.

Overall, “And Ain’t I An American” invites readers to engage in a nuanced exploration of national identity, encouraging a more inclusive and critical understanding of what it means to be American.

Discover More About Jeremiah Blue

To learn more about Jeremiah Blue’s work and contributions to contemporary poetry, visit his poet bio page on AZpoetry.com.

WHAT’S WRONG WITH BEING HUMAN poem by Josh Rathkamp

May 31, 2025

“WHAT’S WRONG WITH BEING HUMAN” by Josh Rathkamp

I lived two houses down a dead end street.
When the river ran rough
we checked our basements.
We called to each other to help.
We hauled boxes up
from the dark like large fish.

When Mary or Mark or Helen died,
little by little,
we all did. We sent flowers.
The street took to looking
like a Cadillac. It grew bolder.
It grew rosy cheeks.

When Jack repainted, John
repainted, and the painters
ate lunch on the roof.

We said “it looks nice,”
nodding at our mailboxes.
We waved while shoveling snow
off the walkway no one walked
but the dogs and our manic-depressive mailman.

When we wanted an egg or a glass
of milk we drove to the store.
We stared out our windows.
Our children grew without parents.
We grew into speaking without words.

We thought our reflections
in the lamplight were only there
out of loyalty, and, if given
a chance, would run
like Mrs. Eddie’s dead son
naked, through trees.

About the poet Josh Rathkamp

The Vegetarian’s Nightmare poem by Baxter Black

May 27, 2025

“The Vegetarian’s Nightmare” a cowboy poem by Baxter Black

parsley power ladies and diner and make
you a shameful degrading confession a
deed of disgrace in the name of good
taste though I did it I meant no
aggression I had planted a garden last
April and lovingly sang it to Ballad but
later in June beneath the full moon
forgive me I wanted to salad so I I
slipped out and fondled a carrot
caressing its feather at all but the
first of a brute died power out the root
and the competent came with a pup and
laying my hand on a radish a jerk and it
left a small crater then with the blade
of my true value spade I exhumed a
slumbering Taylor
seller had pucked I twisted the squash
tomatoes were wincing in fear I choked
the romaine screamed out in pain their
anguish was filling my ears I finally
came to the latest as it cringed at the
top of the road with one wicked slice
there beheaded to twice as it rise I
dealt a death blow i butchered the
onions and parsley so my whole was all
covered with gore I chopped and I walked
without looking back then I stealthily
slipped in the door my bounty lay naked
dying so I drowned them to snuff out
their life I sliced and I peeled as they
thrashed and they reeled on the cutting
board under my knife I violated Tomatoes
so their innards could never survive I
grated and grounded they made not a
sound then I thought of the Tator alive
and then I took the small broken pieces
and tortured and killed with my hands
and touched them together heedless of
whether they suffered or made their
demands I ate them forgive me I’m sorry
but hear me no I’m a beginner of those
plants feel pain so it’s hard to explain
to someone who eats them for dinner and
tend to begin a crusade for plants
rights including chickpeas and the ACLU
will be helping me too in the meantime
please pass the blue cheese

Transcribed from “A Vegetarian’s Nightmare” by OddballVQ on YouTube.

Watch “The Vegetarian’s Nightmare” performed by the cowboy poet Baxter Black on YouTube.

About the poet Baxter Black

A Cowboy’s Darkly Hilarious Ode to Salad Suffering

In A Vegetarian’s Nightmare, legendary cowboy poet Baxter Black delivers a gut-busting, rhyme-heavy monologue that flips the ethical script on vegetarianism. This satirical performance poem opens as a self-confession, revealing the narrator’s horrifying crimes—against vegetables. What follows is a mock-epic of culinary violence, complete with carrots “fondled,” radishes “jerked,” lettuce that “screamed out in pain,” and romaine “beheaded” under moonlight.

With classic cowboy flair, Black uses elevated poetic diction mixed with gritty humor to describe the emotional and physical trauma inflicted upon his unsuspecting garden. His knife is no kitchen utensil—it’s a weapon of mass destruction. Through personification, vivid imagery, and his signature Western cadence, he paints the harvest as a battlefield. Tomatoes are violated, onions butchered, and potatoes tortured until they meet their end—only to be drowned in blue cheese.

Satire with a Sharp Edge

Black’s poem works brilliantly as a parody, skewering the moral high ground often claimed by vegetarians. Rather than arguing logically, he humorously leans into absurdity: if plants can feel pain, then aren’t vegetarians just as guilty of violence as meat eaters?

The poem plays with the reader’s expectations, starting off sounding like a sincere ethical admission, but quickly descending into over-the-top (yet skillfully rhymed) carnage. Black’s message isn’t to launch an actual crusade for “plant rights,” but rather to poke fun at the hypocrisy or blind spots in moral dietary choices. It’s an exaggerated cowboy logic: if you’re going to kill to eat, might as well own it.

Performance Roots and Cowboy Poetics

Like many of Baxter Black’s works, A Vegetarian’s Nightmare is best experienced aloud. The poem thrives on rhythm, timing, and dramatic delivery—a natural fit for Black’s background in performance poetry and radio. His voice—equal parts campfire storyteller and satirical commentator—makes the gruesome humor land with levity, not malice.

It also exemplifies a classic hallmark of cowboy poetry: transforming everyday ranching life (or in this case, eating salad) into a mythic, moral, and often hilarious tale. Black’s poem, while playful, also asks us to reconsider our assumptions with a wink and a laugh.

Discover More About Cowboy Poet Baxter Black

“A Vegetarian’s Nightmare” is just one example of Baxter Black’s unforgettable ability to mix wit, Western wisdom, and poetic technique. To learn more about the life, legacy, and literary contributions of this iconic Arizona cowboy poet, visit his full biography on AZpoetry.com.

Rex arramsith arizona poet a man taking a selfie

Rex Arrasmith

May 15, 2025

Rex Carey Arrasmith: Bridging Worlds Through Poetry and Fiction

Rex Carey Arrasmith is a poet and fiction writer whose work traverses the landscapes of memory, identity, and the natural world. Splitting his time between Sedona, Arizona, and Lāna’i, Hawaii, Arrasmith draws inspiration from the vortexes of Arizona’s Coconino National Forest and the serene beauty of the Pacific. His writing often serves as a memorial to friends and lovers lost to the AIDS pandemic, capturing moments of joy, sorrow, and reflection.

After a 30-year career with United Airlines, Arrasmith pursued his passion for writing, earning an MFA in Fiction from Lesley University in 2018, followed by an MFA in Poetry in 2020. He is a co-founder of Cambridge Common Writers, a Lesley MFA alumni group that fosters community among writers.(cambridgecommonwriters.org, cambridgecommonwriters.org)

Arrasmith’s poetry and fiction have been featured in numerous literary journals, including Lily Poetry Review, Passengers Journal, Solstice Literary Magazine, Spillwords, Hares Paw Literary Journal, New Note Poetry, and Dark Thirty Poetry Publishing. His poem “Whale Song” in Spillwords reflects his deep connection to nature and the awe it inspires.

Arrasmith’s Poetry Transcends Literature and Spirituality

In addition to his literary pursuits, Arrasmith is an ordained Universal Life Minister, crafting uniquely inspired wedding vows that blend poetic sensibility with personal narratives. His multifaceted career and diverse experiences enrich his writing, offering readers a tapestry of stories that resonate with authenticity and emotional depth.

For more information on Rex Carey Arrasmith and his work, visit his Cambridge Common Writers profile.