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.

The Tiger by William Blake

April 11, 2025

“The Tiger” by William Blake

Tiger Tiger, burning bright,
In the forests of the night;
What immortal hand or eye,
Could frame thy fearful symmetry?

In what distant deeps or skies.
Burnt the fire of thine eyes?
On what wings dare he aspire?
What the hand, dare seize the fire?

And what shoulder, and what art,
Could twist the sinews of thy heart?
And when thy heart began to beat,
What dread hand? and what dread feet?

What the hammer? what the chain,
In what furnace was thy brain?
What the anvil? what dread grasp,
Dare its deadly terrors clasp!

When the stars threw down their spears
And water’d heaven with their tears:
Did he smile his work to see?
Did he who made the Lamb make thee?

Tiger Tiger burning bright,
In the forests of the night:
What immortal hand or eye,
Dare frame thy fearful symmetry?

About the poem “The Tiger” by William Blake

Summary of The Tiger

First published in 1794 as part of William Blake’s collection Songs of Experience, “The Tiger” (often modernized as “The Tyger”) is one of the most iconic and enduring poems in the English literary canon. The poem opens with the unforgettable line:

“Tiger Tiger, burning bright / In the forests of the night”

This vivid image sets the stage for a series of philosophical inquiries into the nature of creation, beauty, and terror. The speaker marvels at the tiger’s awe-inspiring presence, contemplating what kind of divine or immortal being could “frame thy fearful symmetry.”

Throughout the poem, Blake asks repeated questions—where the tiger’s fire came from, who dared to forge its sinews, what hammer or chain shaped its brain, and whether the same creator could have also made the gentle lamb. The poem ends with a slightly altered repetition of the opening lines, drawing attention to the tiger’s powerful mystery.

Analysis of The Tiger

Blake’s “The Tiger” is a profound meditation on the duality of existence—particularly the coexistence of beauty and danger, good and evil, innocence and experience. The tiger is a metaphor for something divine yet fearsome: a creature so perfectly made that its very existence forces the reader to question the nature of its creator.

The Question of Divine Intent

Blake questions not only how the tiger was created but why. Is the being who made the lamb—the symbol of innocence—also responsible for the tiger, a symbol of ferocity and destruction? This dualism aligns with the poet’s broader vision, contrasting Songs of Innocence with Songs of Experience, and challenging readers to think beyond simplified notions of good and evil.

Industrial Imagery

Lines like:

“What the hammer? what the chain, / In what furnace was thy brain?”

suggest a blacksmith’s forge, evoking images of industrial labor and craftsmanship. This metaphor may represent the creative process—or possibly, in a more existential interpretation, the brutal mechanisms of the universe or divine will. Blake’s use of such imagery also reflects early anxieties about the Industrial Revolution and humanity’s growing detachment from nature and spirituality.

Sound and Structure

Blake’s use of trochaic meter (a stressed syllable followed by an unstressed one) gives the poem a rhythmic, chant-like quality. The rhyming couplets make the poem feel almost like a nursery rhyme, heightening the contrast between its melodic form and its unsettling content. This contrast is essential to its power—it reads beautifully but asks terrifying, unanswerable questions.

Blake’s Legacy in Arizona Poetry

William Blake’s “The Tiger” has transcended centuries and cultures, continuing to inspire poets today—including those working in Arizona. The poem is notably referenced in Aaron Hopkins-Johnson’s “Alzheimer’s Poetry Project”, a piece that explores memory, identity, and language through intergenerational and literary lenses. The reference to Blake in this contemporary work speaks to the poem’s lasting relevance—especially its grappling with the mysteries of creation and perception.

Why William Blake Appears on AZPoetry.com

While William Blake never set foot in Arizona, his influence is echoed in the voices of modern Arizona poets. His questioning of divine order, poetic experimentation, and emotional complexity continue to inspire poets across the state. By including Blake in our Classic Poetry collection, we highlight the lineage of ideas that flow from great literary traditions into the creative currents of the Southwest.

Explore more classic poems referenced by Arizona poets and discover contemporary voices like Aaron Hopkins-Johnson, who draw on Blake’s influence in their own distinctive ways.

Bob Frost

April 11, 2025

Scottsdale’s First Official Poet Laureate and Cowboy Wordsmith

From Marine Corps to Master of Metaphor

Born to share a name with one of the most celebrated poets in American history, Bob Frost of Scottsdale, Arizona, found his own poetic path through life’s winding roads. His journey into poetry began with a high school English assignment, and over the years, his pen never stopped moving. Even during his time in the U.S. Marine Corps and throughout a successful professional career, Frost continued to write verse—capturing his experiences, observations, and reflections on life in rhythmic form.

After retiring in 1997, Frost revisited the growing collection of poetry he had amassed over decades. That decision culminated in the release of his debut book, A Sweet Place to Play, marking the start of his public journey as a poet.

A Cowboy Poet in the West’s Most Western Town

Frost’s poetic voice deepened after joining the Verde Vaqueros, a charitable riding group supporting the Boys and Girls Clubs of Greater Scottsdale. Inspired by the traditions of the American West, Frost began writing cowboy poetry—an art form rich in humor, grit, and heart. One of his poems won a cowboy poetry contest in Tombstone, Arizona, prompting the publication of his second book, Cowboy Poems about the Old West and New, in 2009.

Noticing that Scottsdale—branded “The West’s Most Western Town”—lacked an official cowboy poet, Frost approached then-Mayor Jim Lane with a proposal: to become the city’s poet laureate. Though the initial request didn’t yield an immediate response, Frost continued to build bridges with Scottsdale’s cultural community by reading poetry at city council meetings and public events.

After reading his poem A Cowboy’s Lament at a memorial for Councilman Tony Nelssen, the mayor responded. In that moment, Bob Frost officially became Scottsdale’s first poet laureate, a position he would hold with distinction for more than a decade.

Championing Poetry in the Community

During his 11-year tenure, Bob Frost made it his mission to bring poetry into everyday life in Scottsdale. He worked closely with the Scottsdale Center for the Arts and Scottsdale Public Library to organize workshops, literary events, and public readings. He also hosted several episodes of a poetry-themed show on Scottsdale’s municipal television channel, broadening his reach to residents throughout the valley.

One of his most beloved contributions was the Poetry Hike, held in the Phoenix Mountains Preserve. Participants hiked scenic desert trails, pausing every few hundred feet to share and reflect on poetry—blending physical activity with literary appreciation in a uniquely Arizonan fashion.

Frost was not just a poet but a facilitator of creative dialogue. He encouraged readers and writers of all ages to engage with poetry, leading by example with his generous spirit and relatable storytelling.

Poet Laureate Emeritus

In 2024, Frost stepped down from the role of Scottsdale Poet Laureate, passing the torch to the next voice in the city’s growing poetry legacy. He was honored with the title Poet Laureate Emeritus and invited to serve on the selection committee for the city’s new laureate.

Though no longer the official voice of poetry for Scottsdale, Frost continues to inspire through his published works, community involvement, and dedication to keeping the spirit of the West alive in verse.

The Men Who Don’t Fit In by Robert Service

April 11, 2025

“The Men Who Don’t Fit In” by Robert Service

There’s a race of men that don’t fit in,
A race that can’t stay still;
So they break the hearts of kith and kin,
And they roam the world at will.

They range the field and they rove the flood,
And they climb the mountain’s crest;
Theirs is the curse of the gypsy blood,
And they don’t know how to rest.

If they just went straight they might go far;
They are strong and brave and true;
But they’re always tired of the things that are,
And they want the strange and new.

They say: “Could I find my proper groove,
What a deep mark I would make!”
So they chop and change, and each fresh move
Is only a fresh mistake.

And each forgets, as he strips and runs
With a brilliant, fitful pace,
It’s the steady, quiet, plodding ones
Who win in the lifelong race.

And each forgets that his youth has fled,
Forgets that his prime is past,
Till he stands one day, with a hope that’s dead,
In the glare of the truth at last.

He has failed, he has failed; he has missed his chance;
He has just done things by half.
Life’s been a jolly good joke on him,
And now is the time to laugh.

Ha, ha! He is one of the Legion Lost;
He was never meant to win;
He’s a rolling stone, and it’s bred in the bone;
He’s a man who won’t fit in.

About “The Men Who Don’t Fit In” by Robert Service

Summary, Analysis, and the Restless Spirit That Connects Him to Arizona Writers

Robert W. Service (1874–1958), often called “the Bard of the Yukon,” is remembered for his rollicking ballads, frontier storytelling, and vivid portrayals of wanderers, gamblers, and outcasts. Born in England and raised in Scotland, Service immigrated to Canada, where he worked as a banker and traveled extensively. He gained international fame for his poems about life during the Klondike Gold Rush, especially “The Shooting of Dan McGrew” and “The Cremation of Sam McGee.” Yet it is “The Men Who Don’t Fit In”—first published in his 1907 collection Songs of a Sourdough—that continues to resonate across generations, especially with readers who feel like outsiders to conventional life.

Like Arizona’s Edward Abbey, Service gave voice to the renegade, the dissenter, and the free-spirited wanderer. Both authors shared a deep suspicion of conformity and a romantic vision of those who follow their own rugged path—even when it leads to isolation.

📚 Poem Summary

“The Men Who Don’t Fit In” captures the restless soul who resists society’s expectations, choosing a life of wandering over stability. Service introduces us to “a race of men that don’t fit in,” individuals who, despite their strength and character, are driven by an unshakable urge to seek out the unfamiliar.

These men “roam the world at will,” climbing mountains and crossing oceans, always chasing a vague notion of fulfillment or purpose. Though they have potential—”strong and brave and true”—they are perpetually dissatisfied, believing they’re just one move away from finally finding their “proper groove.” Unfortunately, that next move often proves to be “only a fresh mistake.”

Over time, these men grow older, their youthful hopes slipping away until they’re left confronting the reality of unfulfilled potential. In the end, Service offers a bittersweet laugh and the acknowledgment that these men were “never meant to win”—not by the standards of a world that rewards steadiness, routine, and predictability.

🔍 Analysis: The Mythos of the Restless Outsider

At its core, “The Men Who Don’t Fit In” is a poetic portrait of the romantic wanderer—a figure equally celebrated and mourned. These men, often misunderstood by society, represent a type of individualism that refuses to be tamed. They have “the curse of the gypsy blood,” a metaphor for innate restlessness, an inherited trait that makes them incapable of settling down.

Service doesn’t condemn these men, but neither does he glorify them blindly. His tone is reflective, almost elegiac. The poem is a meditation on both the beauty and the cost of nonconformity. While society may view these individuals as failures—those who “just done things by half”—Service frames their choices as inevitable, even noble in their refusal to compromise.

This poem resonates especially deeply in the American West, where frontier mythology and the lone cowboy figure dominate cultural narratives. Arizona, in particular, has long attracted these “men who don’t fit in”—from miners and ranchers to artists, survivalists, and poets like Edward Abbey, who fiercely critiqued mainstream culture and government control, choosing instead a solitary existence in the redrock wilderness of southern Utah and Arizona.

🏜️ Robert Service and the Arizona Spirit

Although Robert Service never settled in Arizona, his work parallels many of the region’s most iconic literary voices. Like Abbey, Service writes about independence, isolation, and living deliberately on the margins. Both men saw poetry as a tool for giving voice to the misfits and rebels—the kind of people who ride alone into the desert, unbothered by convention or comfort.

In Abbey’s Desert Solitaire and The Monkey Wrench Gang, we meet similarly untamable characters who live outside the law and resist societal expectations. These are spiritual cousins to Service’s “Legion Lost.” They may never win medals or corporate promotions, but they live authentically—and that, for poets like Service and Abbey, might be the real definition of success.

✍️ Final Thoughts

“The Men Who Don’t Fit In” remains one of Robert Service’s most enduring poems not just because of its lyrical cadence, but because it speaks to something universal: the longing to be free, to wander, to reject the pressure to fit in. It’s a rallying cry for anyone who has ever felt out of place in the world—and a gentle reminder that, while this path is not easy, it is often true.

The Road Not Taken by Robert Frost

April 11, 2025

“The Road Not Taken” by Robert Frost

Two roads diverged in a yellow wood,
And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I could
To where it bent in the undergrowth;

Then took the other, as just as fair,
And having perhaps the better claim,
Because it was grassy and wanted wear;
Though as for that the passing there
Had worn them really about the same,

And both that morning equally lay
In leaves no step had trodden black.
Oh, I kept the first for another day!
Yet knowing how way leads on to way,
I doubted if I should ever come back.

I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I—
I took the one less traveled by,
And that has made all the difference.

About the poem “The Road Not Taken” by Robert Frost

A timeless meditation on choice, individuality, and reflection—by a poet who once visited Tucson’s Poetry Center.

Few American poems have captured the cultural imagination quite like Robert Frost’s “The Road Not Taken.” First published in 1916 in his collection Mountain Interval, the poem explores the consequences of our choices and the paths we choose—or don’t choose—in life. With its evocative imagery and deceptively simple language, the poem has been quoted at graduations, weddings, and funerals, yet remains one of the most commonly misinterpreted works in American literature.

Frost, a four-time Pulitzer Prize winner, made a historic visit to the University of Arizona Poetry Center in Tucson in the early days of its founding. His reading there further cements his legacy and influence on the Southwest’s vibrant literary landscape. That connection is why Robert Frost is honored here on AZPoetry .com.

Summary of The Road Not Taken

The poem opens with the speaker arriving at a fork in a forest trail during autumn. Faced with two diverging paths, he regrets that he cannot travel both and must choose only one. He examines both roads and decides to take the one “less traveled by”—although he admits that the difference between the two was, in fact, minimal.

He acknowledges that he may never return to try the other path and imagines, in the future, how he will recall this moment “with a sigh,” claiming that choosing the road less traveled “has made all the difference.”

Analysis: What Does the Poem Really Mean?

At first glance, “The Road Not Taken” appears to celebrate individualism—the choice to forge one’s own path in life. However, Frost’s careful language suggests a more nuanced and even ironic meaning. The speaker admits that both roads were “really about the same,” undermining the idea that one was clearly less traveled. The “sigh” he foresees in the future is ambiguous—could it be regret? Nostalgia? Pride? All of the above?

Frost seems to be commenting not just on the choices we make, but on how we construct the stories of those choices later. The poem plays with the human tendency to create meaningful narratives from the accidents and ambiguities of life. It challenges the reader to question how much of our identity is shaped by decisions, and how much by how we later choose to interpret those decisions.

With its layered meanings, “The Road Not Taken” transcends time and context. It is at once deeply personal and profoundly universal.

Robert Frost’s Connection to Arizona

While Robert Frost is often associated with the rural landscapes of New England, his literary influence extended far beyond the Northeast. In fact, Frost visited the University of Arizona Poetry Center in Tucson, one of the nation’s most prestigious literary institutions. His appearance helped establish the Poetry Center’s early reputation as a magnet for major literary figures and laid the groundwork for Arizona’s enduring engagement with poetry.

Frost’s Tucson visit represents a bridge between classical American poetry and the poetic voices that would later emerge from the desert Southwest. His inclusion on AZPoetry.com honors that connection and his contributions to American letters.

Final Thoughts

“The Road Not Taken” continues to spark conversations about agency, memory, and the stories we tell ourselves about our lives. Whether you read it as a celebration of courage or a meditation on the illusion of choice, Frost’s poem remains one of the most enduring and enigmatic works in American poetry.

On his blindness sonnet 19 by john milton baroque azpoetry. Com

On His Blindness by John Milton

April 10, 2025

“On His Blindness” or also known as “When I Consider How My Light Is Spent”

John Milton, published in 1673

When I consider how my light is spent
Ere half my days in this dark world and wide,
And that one talent which is death to hide
Lodg’d with me useless, though my soul more bent
To serve therewith my Maker, and present
My true account, lest he returning chide,
“Doth God exact day-labour, light denied?”
I fondly ask. But Patience, to prevent
That murmur, soon replies: “God doth not need
Either man’s work or his own gifts: who best
Bear his mild yoke, they serve him best. His state
Is kingly; thousands at his bidding speed
And post o’er land and ocean without rest:
They also serve who only stand and wait.”

About the poem “On His Blindness” by John Milton

Summary and Analysis of “On His Blindness” by John Milton

John Milton’s poem “On His Blindness” is one of the most powerful meditations on human limitation, divine purpose, and the value of inner service. Written in the mid-17th century after Milton had gone completely blind, this sonnet remains a timeless work of spiritual and philosophical reflection. It is part of the public domain and frequently cited in contemporary literature—including in Aaron Hopkins-Johnson’s poignant poem “Alzheimer’s Poetry Project,” which draws from Milton’s central themes of patience, perception, and worth beyond ability.

Summary of “On His Blindness”

The poem opens with Milton contemplating his growing blindness, a devastating affliction for one of England’s greatest writers. He questions how he can continue to serve God without his vision, which he had long used in the service of poetry and scholarship. He worries that his “light is spent” and that his “one talent”—a reference to the Biblical parable of the talents—has been rendered useless. As he struggles with feelings of guilt and inadequacy, he wonders whether God demands labor from those who have been left with diminished capacity.

But in the poem’s famous volta (or “turn”), Milton finds resolution. He imagines a response from Patience, personified as a gentle counselor, who tells him that God does not need man’s work or gifts. Instead, what matters most is submission, faith, and readiness. The poem closes with the famous line: “They also serve who only stand and wait.”

Analysis of Themes and Meaning

“On His Blindness” is a masterful exploration of faith under trial. Milton uses the Petrarchan sonnet form—an eight-line octave followed by a six-line sestet—to mirror his internal struggle and ultimate spiritual epiphany. The first half of the poem is filled with doubt and sorrow, while the second half offers comfort, understanding, and divine perspective.

The poem’s central message is that usefulness is not always visible or tied to action. It is a radically inclusive idea for its time: that those who are suffering, limited, or incapacitated in some way are no less worthy or capable of spiritual fulfillment. Service, in Milton’s view, can be as simple and profound as waiting in trust and humility.

Milton’s use of Biblical allusions—from the Parable of the Talents to the Book of Job—grounds the poem in the Christian tradition, while his emotional honesty makes it universal. His fears about “that one talent which is death to hide” reflect an artist’s anguish about lost potential, but also the human experience of grief, aging, and changing identity.

Influence and Legacy

“On His Blindness” has remained a touchstone in English literature and continues to resonate with poets today. Its legacy is evident in modern poetic reflections on disability, aging, and patience—including Aaron Hopkins-Johnson’s poem “Alzheimer’s Poetry Project,” which indirectly references Milton’s final line. Hopkins-Johnson, in writing about the quiet labor of memory and the beauty found in slowing down with Alzheimer’s patients, echoes Milton’s idea that service and value are not always visible, but deeply present.

Why This Poem Belongs on AZPoetry.com

Milton’s “On His Blindness” provides essential context for understanding the moral and poetic traditions that shape contemporary Arizona writers. Referenced in modern poems by local authors like Aaron Hopkins-Johnson, its influence stretches across time, geography, and form. As part of our Classic Poetry collection, it stands not only as a literary landmark but as a bridge connecting today’s poets with the enduring questions that have long fueled poetic expression.

Learn more about how Arizona poets carry forward the legacy of classic verse by exploring the AZPoetry.com poet bio for Aaron Hopkins-Johnson.

David Tabor

April 10, 2025

David Tabor: Analog Artist, Photographer, and Arizona Poet

A Creative Rooted in Arizona’s Poetry and Art Scene

David Tabor is a multidisciplinary artist whose creative journey blends poetry, photography, and performance. Based in Arizona, Tabor made his early mark in the local poetry slam community, creating zines that featured his work and the work of fellow poets. His passion for the written word evolved alongside his deep love of visual storytelling—capturing life through analog photography and hand-crafted zines.

Poetry Slam Veteran and DIY Publisher

Tabor was an active voice in Phoenix’s spoken word scene, performing and producing zines during the Essenza Coffee Shop days. His eye for aesthetics and reverence for authenticity gave rise to a body of work that valued intimacy, imperfection, and the handmade. Zines were often his publishing medium of choice, a perfect format for sharing raw, immediate poetic experiences with a grassroots audience.

A Return to Analog Photography

During the pandemic, Tabor returned to one of his earliest creative loves: analog photography. Drawing on skills he developed in the ’90s, he embraced traditional film, darkroom printing, and a slower, more contemplative process. In just a few years, he produced four photo zines and honed a distinctive style centered on “finding beauty in what’s already there.”

His photographic work often explores ordinary moments and overlooked textures of urban and natural spaces. Through zines and hand-printed darkroom pieces, Tabor invites audiences to experience stillness and see the poetry embedded in the everyday.

Collaboration and Connection

One of his proudest accomplishments is a collaborative photo book with artist Lisa Tang Liu. The project was a labor of love—combining visual artistry and editorial rigor, and pushing Tabor’s creative boundaries further than ever before.

Bells, Books, and Improvisation

When he’s not behind the camera, David Tabor works as a bell maker and staff photographer at Cosanti Originals in Paradise Valley, Arizona. The overlap of craftsmanship in both photography and bronze casting has become part of his artistic ethos—use the tools at hand, trust the process, and let the work speak for itself.

A man of many talents, Tabor is also an ordained minister. He once performed spontaneous wedding ceremonies during “7 Minutes in Heaven,” a beloved performance series at Phoenix’s Space 55 Theater.

The Perspective of Time

Tabor attributes much of his recent success to personal growth and perspective. Once deterred by self-doubt, he’s come to embrace failure as a stepping stone in the creative process. Whether through poetry, photography, or zines, David Tabor continues to explore new frontiers while remaining rooted in authenticity and intention.

Cymelle edwards flagstaff poet azpoetry. Com

Cymelle Leah Edwards

April 10, 2025

Flagstaff-Based Poet and Editor with National Recognition

Cymelle Leah Edwards is a rising literary voice from Flagstaff, Arizona, whose work echoes across page and stage. A Pushcart Prize nominee and recipient of the prestigious Diana Gabaldon Creative Writing Award, Edwards is quickly earning a place among the most vital poets in the Southwest. With a strong commitment to both craft and community, she balances creative output with leadership roles in Arizona’s vibrant literary scene.

Academic Excellence and Literary Leadership

Edwards holds an MFA in Creative Writing from Northern Arizona University, where her passion for poetry blossomed into a broader commitment to publishing and editing. She formerly served as the Poetry Editor for Thin Air Magazine, NAU’s long-running literary journal. Her editorial insight also extends as an editor at Kelp Journal, where she cultivated voices across genres.

Community Organizer and Advocate for the Arts

Cymelle is not only a powerful writer, but also a champion of literary culture in Northern Arizona. She served as a board member for the Northern Arizona Book Festival, helping to organize and support one of the state’s most important annual literary events. Her work as an organizer underscores her dedication to amplifying diverse voices and creating inclusive platforms for poets and writers throughout the region.

Publishing Credits and Performance Poetry

Her written work has been published in respected literary journals such as Elm Leaves Journal, Contra Viento, and Ghost City Press. Beyond the page, Cymelle has made waves in Arizona’s spoken word scene, winning the Phoenix Poetry Slam at the downtown art venue Megaphone PHX, a hub for poetic performance and creative experimentation.

GCU Roots and the Arizona Connection

Before pursuing her MFA, Cymelle attended Grand Canyon University, an institution known for producing talented artists and thinkers. Her creative trajectory remains deeply tied to Arizona—from the desert landscape to the mountain views of Flagstaff—and her poetry often reflects the natural, cultural, and emotional terrain of the Southwest.

A Voice to Watch in Contemporary Poetry

Cymelle Leah Edwards represents the best of contemporary Arizona poetry: talented, thoughtful, and unafraid to confront personal and political truths. Whether through her haunting verse, her curatorial insight, or her work behind the scenes in the literary community, Edwards is a vital part of Arizona’s poetic identity and an emerging force on the national literary stage. She currently lives in Indianapolis, Indiana.

Jeff Falk

April 10, 2025

Jeff Falk: Visual Artist, Poet, and Arizona Arts Icon

From the Heartland to the Desert

Born in Nebraska and raised in Kansas, Jeff Falk moved with his family to Phoenix, Arizona in 1959. Since then, he has firmly rooted himself in the Arizona arts scene as both a groundbreaking visual artist and an influential figure in the world of spoken word poetry. His creative contributions—spanning visual media, poetry, and community-building—have made Falk a cornerstone of the Grand Avenue arts movement in downtown Phoenix.

A Creative Force in Phoenix Since 1984

Since the early 1980s, Falk has been developing a uniquely expressive style through mixed media art. Working with painting, drawing, collage/decollage, glue, wood, paper, and found objects, he believes that “a work of art is the sum of its parts”—each piece a fusion of tangible materials and intangible personal experiences. Falk often employs “materials at hand” as a philosophical approach to creativity, emphasizing authenticity, resourcefulness, and intuitive composition.

Champion of Spoken Word Poetry in Arizona

While Falk is primarily known as a visual artist, his impact on Arizona’s poetry scene is equally significant. As the founder of the gallery Deus Ex Machina on Grand Avenue, he created a welcoming and experimental venue for poets and artists alike. It was at this gallery that Falk launched “The Poetry Industrial Complex” and “Caffeine Corridor,” two beloved spoken word series that became integral to the development of Phoenix’s contemporary poetry scene.

Many Arizona poets—including Jack Evans, Bill Campana, and Shawnte Orion—credit Jeff Falk with offering a creative home where they could grow their voices and find their audience. These events became cultural institutions, giving a platform to emerging and established writers while blurring the lines between performance, activism, and art.

Poetry as Communication and Critique

Jeff Falk’s poetic philosophy is as uncompromising and insightful as his artwork. He writes with the belief that “getting inside other people’s heads with words is the last vestige of semi-honest communication left in a world that mistakes opinions for fact, celebrities for heroes, loudness for meaning, and glitz and glamor for truth.” His poetry cuts through noise, offering readers sharp, poignant reflections on society, identity, and the human experience.

A Legacy of Raw Creativity and Community

Whether in a gallery or behind a microphone, Falk has spent decades inspiring Arizona’s creative community through honesty, originality, and unfiltered expression. His commitment to nurturing the arts has left a permanent mark on Phoenix’s cultural identity.

David Chorlton

April 9, 2025

David Chorlton: Bridging Continents Through Poetry

From Austria to Arizona: A Journey Across Cultures

Born in Austria in 1948, David Chorlton spent his formative years in Manchester, England, amidst the industrial landscapes of the northern region. In his early twenties, he relocated to Vienna, Austria, where he immersed himself in the rich European art and music scene. In 1978, Chorlton moved to Phoenix, Arizona, with his wife, Roberta, marking the beginning of a profound connection with the American Southwest.

A Deep Connection with the Desert Landscape

Settling in Arizona, Chorlton developed a profound appreciation for the desert’s unique beauty and its diverse wildlife. This admiration is vividly reflected in his poetry, which often explores themes of nature and the environment. His collection, The Porous Desert, exemplifies this focus, offering readers an intimate portrayal of the Arizona landscape.

Acclaimed Works and Literary Contributions

Throughout his literary career, Chorlton has produced an impressive array of poetry collections. Notable works include:

Poetry Mountain
Waiting for the Quetzal (March Street Press)
The Devil’s Sonata (FutureCycle Press, 2012)
Selected Poems (FutureCycle Press, 2014)

His chapbooks have also garnered recognition, with The Lost River winning the Ronald Wardall Award from Rain Mountain Press in 2008, and From the Age of Miracles securing the Slipstream Chapbook Competition in 2009.

Exploring Fiction and Translation

Beyond poetry, Chorlton ventured into fiction with The Taste of Fog, a novel set in 1962 Vienna that delves into the complexities of a murder investigation. Additionally, he has contributed to literary translation, bringing to English audiences the works of Austrian poet Christine Lavant in Shatter the Bell in My Ear, published by The Bitter Oleander Press.

A Voice in Anthologies and Exhibitions

Chorlton’s poetry has been featured in various anthologies, including Fever Dreams (University of Arizona Press) and New Poets of the American West (Many Voices Press). His work also played a role in the “Fires of Change” exhibition, a collaboration between artists and scientists addressing the impact of climate change on forest management.

Libby Rooney

April 9, 2025

Libby Rooney: Spoken Word Poet and Arts Advocate in Globe, Arizona

From Israel to Arizona: A Journey Fueled by Creativity

After living in Israel for 35 years, Libby Rooney found her new home in Globe, Arizona, where her vibrant voice and dynamic presence have made her a standout in the state’s spoken word scene. As manager of the Chrysocolla Inn, Rooney brings hospitality and heart to the small-town experience, but it’s her poetry and performance that truly define her creative spirit. With roots in both global living and local storytelling, she brings a unique perspective to the Arizona arts community.

A Voice for Women and the World

Rooney rose to national attention when she performed at the 2015 Women of the World Poetry Slam in Albuquerque, New Mexico—one of the most respected poetry competitions in the country. There, she showcased her passion for performance poetry and feminist advocacy through dynamic, emotionally charged work. Her poem “To Be” was later featured on the widely followed Button Poetry YouTube channel, helping her reach a global audience of poetry lovers.

Performing Across Arizona’s Spoken Word Scene

Libby Rooney has shared her poetry at some of Arizona’s most cherished venues for spoken word, including The Firehouse Gallery, Lawn Gnome Publishing, and Jobot Coffee in Phoenix, as well as Miami Artworks in the Globe-Miami region. Her performances are known for their fierce honesty, lyrical insight, and an ability to connect deeply with diverse audiences.

Writing for the Globe Miami Times

In addition to her poetry, Libby Rooney is a dedicated writer and contributor for the Globe Miami Times, where she covers the arts and creative culture of Globe-Miami. Her stories highlight the thriving arts community in this historic Arizona region, giving a platform to visual artists, musicians, performers, and makers who are shaping the cultural fabric of the area.

Celebrating Small-Town Arizona Through Art

Rooney’s love for Globe is evident in her writing, her performances, and her commitment to local life. She often draws inspiration from the unique landscape and people of southern Arizona, blending personal narrative with a broader cultural commentary. Whether she’s capturing the essence of small-town beauty or advocating for greater artistic visibility, Rooney plays a vital role in keeping Arizona’s creative communities connected and alive.