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.
Valerie Martínez: Poet, Educator, and Advocate for Art, History, and Healing
Valerie Martínez is a celebrated American poet, writer, educator, translator, and arts administrator whose work transcends the boundaries of genre and discipline. Born and raised in Santa Fe, New Mexico, Martínez’s poetry is deeply rooted in the cultural, historical, and ecological landscape of the American Southwest. A descendant of both Spanish colonizers and Indigenous peoples, she brings a rich ancestral perspective to her writing—an intersection of memory, identity, and place.
From Santa Fe to the World: Life, Education, and Travel
Valerie Martínez left Santa Fe in 1979 to attend Vassar College, earning her A.B. in English and American Literature. She later pursued an MFA in Creative Writing/Poetry at the University of Arizona. Her life and poetry have been shaped by extensive travels across the United States and around the globe—including long stays in Swaziland (now Eswatini), Israel, Japan, South Africa, and Latin America.
Martínez’s time abroad, especially her years teaching English in Southern Africa, gave her a broad cultural perspective that informs the themes of empathy, environmental stewardship, and social justice that permeate her work.
A Distinguished Career in Education and Literary Arts
Before returning to New Mexico permanently in 2003, Martínez served as a college professor for more than 23 years, teaching courses in poetry, American literature, women’s literature, Latino/a literature, and Native American literature. From 2018 to 2021, she served as Director of History and Literary Arts at the National Hispanic Cultural Center in Albuquerque.
Her dedication to the intersection of art and community also led her to co-found Littleglobe, Inc., and later, the nonprofit arts and social change organization Artful Life. Most recently, she led the groundbreaking CHART project (Culture, History, Art, Reconciliation, and Truth), facilitating a year-long community engagement process addressing the complex cultural history of Santa Fe through inclusive storytelling and healing.
A Legacy of Poetry That Speaks to the World
Valerie Martínez is the author of six poetry collections, two chapbooks, and a book of translations. Her groundbreaking poetry blends lyricism with political and ecological awareness, giving voice to the voiceless and illuminating histories too often overlooked.
Notable Poetry Collections:
Count (University of Arizona Press, 2021) A hybrid book-length poem that examines climate change through myth, personal memory, environmental data, and global storytelling. Count was adapted into a choral composition titled As the Waters Began to Rise by composer Peter Gilbert.
Each and Her (University of Arizona Press, 2010) A powerful meditation on femicide and violence against women, particularly the murdered and disappeared women of Juárez, Mexico. The book was nominated for a Pulitzer Prize and received the 2011 Arizona Book Award.
Absence, Luminescent (Four Way Books, 1999; reissued 2010) Her debut collection, which won the Larry Levis Prize and a Greenwall Grant from the Academy of American Poets. Jean Valentine praised it as “expansive, surprising, intelligent… filled with compassion.”
World to World (University of Arizona Press, 2004) A collection that continues Martínez’s exploration of identity, ancestry, and spiritual inheritance.
And They Called it Horizon(Sunstone Press, 2010) Written during her tenure as Poet Laureate of Santa Fe, this collection reflects her deep connection to place and community.
Publications, Honors, and Influence
Martínez’s poetry has been widely published in esteemed literary journals such as Poetry, American Poetry Review, AGNI, The Colorado Review, and Mandorla. Her work also appears in more than 30 anthologies including The Best American Poetry.
A frequent guest speaker and reader at national literary festivals and universities, Martínez continues to inspire a new generation of poets with her genre-blending work and community-focused approach to art.
Her poem “Bowl” was featured in the PBS/Poetry Foundation “Poetry Everywhere” series and was also set to music by composer Glen Roven and performed by soprano Talise Trevigne. Another poem, “September, 2001,” was featured in The Washington Post‘s “Poet’s Choice” column.
Poetry as Artful Action
What sets Valerie Martínez apart is her unwavering belief in the power of poetry as a tool for transformation—not just personal, but communal and ecological. Her work invites readers to bear witness, to reflect, and to act.
Whether she’s writing about climate change, cultural memory, femicide, or the beauty of New Mexico’s landscape, her poems ask us to reconsider the stories we tell and the silences we keep.
This mountain stands near us: mountaining. It mistakes morning with mourning, when we wear slippers of steam to erase our carbon footprint.
Wind’s fingers wearing yours. you unravel a plough of harvested light notice its embers, when scribbled on drowned faces— repel fossilized wind.
Bluing under a dimming North Star, the Reservation’s ghosts paws cartilage pincered from a digital cloud. Its gnawed bones’ opaque sighs— the pallor of bleached wasp eggs, throbs on tree knobs penciled in with burnt ivory smell.
Rising out of the uranium pond— home picks: bird flight from a cartouche box, it then becomes a chain of floating islands.
Slipping into free-fall, we drip-pattern: the somewhere parts, our shoulders dissolving in somewhere mud.
The arcing sun whistles across the mask’s abalone brow, its blurring pouts into a forest chirping from the lake’s bite marks stamped vertically on this map’s windowsill.
Kneeling our thoughts on ellipses evaporating from ollas of fragrant wet clay— we saddle the drowning’s slippery rim. Father’s dying ceased, when he refunded this ours for fused hands plaster-coated in a glottal stop’s brief paralysis.
Pinpricked holes for eyes, reversible teeth hemmed in copper thread, polished brow-bone swiveling through trimmed hedges— he atrophies this aftermath, its highest frond withering on maps that dreamed our shadows waterlogged.
He then howls a constellation of anchors flung at blue birds pausing mid-flight where pewter wind creaks shut over the raft’s hesitation.
He explains the sun, not carried by horse, but a ceiling lamp flickering on our computer screens.
Mother threw a platter of blind spots on her son, without knowing that bees ached in her feet.
The beads of her breath sank into his chest— he kept them for five long years.
A tassel of singed hair cinched around his wrists, key latches soothing songbirds in his pockets of fire— he stains the night’s rim with sprigs of dry air exiting fevering bodies cupped briefly by their itching.
She dabs clear his brow, remembers: syringes filled with lake mist, wonders if it was him who strung teeth marks across her wrist the night before.
Together, they pace the ravine’s gauge nearing empty, step upon a pale horse lying on the earth’s heat, legs upright in the cattle guard, butcher paper stretched taut over wiry ribs.
Its gasping sent them barreling back toward the awakened cornfield.
Somewhere, between, they leapt back into their bodies, they didn’t recognize their own voices.
Her apparition ferries the flowers of their bruises back to the severing. The bullwhip’s knotted eye turns toward her and only her.
When fences come to suckle, where will her mind’s legs carry her? Moths mill about her feet’s sleeping fountains.
Her throat’s cave claims each son’s song, wears them like tiger’s legs across nights striped and fanged.
How they stretch between moon and helium, how they weave tuned and plucked out of the sea’s gassed maw.
How they uncover, with clear hands, a handful of hushed hours held like silver coins, where their eyes fail to shut for the third time.
Transcribed from the video “Sherwin Bitsui – Excerpt from “Dissolve” by Sherwin Bitsui and SplitThisRock.
Sherwin Bitsui’s Dissolve is a dreamlike and deeply layered exploration of landscape, memory, and identity. This excerpt presents an intricate, fluid movement through images of environmental destruction, cultural memory, and personal grief. The poem is filled with surreal juxtapositions, where natural elements—mountains, wind, lakes—intertwine with man-made disruptions, such as uranium contamination and digital landscapes.
Bitsui opens with a mountain that “mistakes morning with mourning,” signaling a world where nature and loss are deeply entangled. The imagery of footprints being erased suggests an existential impermanence, an inability to leave a lasting mark. The “Reservation’s ghosts” and “gnawed bones” evoke histories of displacement and trauma, while references to uranium and fossilized wind highlight environmental devastation.
The poem’s surreal logic continues as people dissolve into landscapes—shoulders becoming mud, voices becoming lost echoes. The presence of a father figure, described in fragmented, disorienting images, suggests both personal and collective grief. Meanwhile, the mother figure attempts to hold onto something tangible, but her body carries wounds and burdens inherited from generations before.
Bitsui’s language is strikingly visceral and fragmented, mirroring the instability of identity in a colonized landscape. His images resist linear narrative, instead weaving an atmosphere of dislocation and transformation. The poem grapples with the ways history, land, and personal memory dissolve into one another, creating a haunting meditation on survival and loss.
To learn more about Sherwin Bitsui and his poetic vision, visit his poet bio page.
there is a fine line between heroism and martyrdom and on march 3rd 1991 i watched a man nearly cross it swing 56 blows led to this king’s ransom swing 56 blows set off a chain of events some still have yet to recover from swing swing rodney’s life and construction helps us understand why building bridges of compassion was more important than his destructive past swing swing swing taser this is 56 times i watched in horror not believing what was clear as glass in front of my barely 18 year old eyes swing my mind muddied by my belief that this is unbelievable is this a nightmare wake up this is happening swing swing he was a big man he must have deserved it swing swing swing kick driving way too fast for much too long swing really rodney 100 miles per hour in a hyundai swing he had two passengers and too much to drink swing swing allegedly two drugs course through his veins swing swing swing perhaps he was too black or too big in black to deserve dignity swing too slow to pull over too intoxicated to realize he was being beaten swing swing i can only imagine what george holliday was thinking as he recorded this historic moment swing swing swing kick a moment that changed my trust in who upholds the law swing cube spoke to it in his fictionalized art gangsters can’t be trusted so why should i believe these [ _ ] with attitude swing swing it’s hard to know what was said but i would imagine a taser speaks volumes swing swing swing five batons constantly attracted to one fallen body swing the racial slurs begin led ironically by a man named [ _ ] swing swing more firepower than an old western saloon swing swing swing kick so i guess we should be happy they didn’t just shoot him swing though they did break his skull and leg to show they mean business swing swing truth is he was a criminal on probation for armed robbery swing swing swing but did he deserve to have his criminal mind concussed in a savage beating swing by police later acquitted of charges swing swing judge declared the blow that broke king’s leg was not excessive swing swing wait what hey [ __ ] stop moving swing kick tasers they told him not to move while hitting him repeatedly swing maybe he thought the police were trying to kill him swing swing but i’m sure action spoke louder that night swing hard to imagine it takes 56 baton blows six kicks and two tasers to subdue one man swing 30 years later i’m still not over it swing 30 years later one question still resonates kick can’t we all just get along you
In “56”, Robert FlipSide Daniels delivers a haunting and powerful reflection on the brutal beating of Rodney King at the hands of the LAPD on March 3, 1991. The poem’s title refers to the 56 baton blows that rained down on King’s body—a harrowing number that sets the tone for this piece, which is both an indictment of police brutality and a meditation on justice, race, and American history.
The repetitive “swing” motif acts as a relentless drumbeat, mirroring the vicious attack itself. Each “swing” serves as a visceral reminder of every hit, every act of dehumanization, and every moment of disbelief the poet felt as he witnessed this atrocity unfold at just 18 years old. The poem shifts between historical facts, societal commentary, and personal reflection, questioning not only the actions of law enforcement but also the system that allowed them to walk free.
FlipSide does not ignore King’s past—his criminal record, his intoxication, his reckless speeding—but he forces the reader to ask: Did any of that justify what happened to him? He juxtaposes Rodney King’s flaws with the sheer excessive force and racial injustice he suffered, highlighting how Blackness itself often becomes a justification for violence in America.
The poem also critiques the media’s portrayal and public reaction to the event. References to Ice Cube and N.W.A. emphasize the deep distrust in law enforcement that existed long before King’s beating, while the line about George Holliday, the man who recorded the attack, underscores the power of video evidence in exposing systemic abuse. And yet—even with undeniable footage—the officers were acquitted, leading to the 1992 Los Angeles Riots.
The final 30 years later refrain reminds us that the pain, trauma, and unanswered questions still linger. The poem ends with King’s own plea for unity—“Can’t we all just get along?”—a heartbreaking echo of a man who, despite being brutally beaten, still sought peace.
FlipSide’s “56” is not just a poem—it is a call to remember, to question, and to demand accountability. It serves as a chilling reminder that justice, even when caught on camera, is far from guaranteed.
To learn more about FlipSide’s poetry and powerful storytelling, visit his poet bio pagehere.
“You Are Not What They Speak Of You” by Jason Lalli
because you are not what they speak of you like a tornado destroys a village is how quickly it destroyed his spirit Deja Vu with new faces Asian by Heritage but a Collegiate student in America with the thickness of a twig his tall slender meat and Bone cycle frame never seemed to get a warm reception
his genius felt socially awkward a confident computer nerd by stereotype shy wants to keep to himself type of demeanor don’t let this magician’s illusion fool you he wants to reach out his giant heart yearns for connection but social settings breathe life into bullying nightmares as beautiful women snap pictures to laugh about with their friends while peers in groups distaste we strip him of his dignity with insults to his face it’s the pain of rejection has become the erosion of self-confidence
how can mental strength survive if it’s the target always being shot as not like a private affair but the embarrassment of public humiliation insult bombs leave shots and negativity in the walls of his mind and his soul his heart transform the black empty life loses luster after a person is conditioned in such a man when degrading persecution becomes regular routine the Silver Lining is lost for light when the eyes always see Darkness no chance to hear truth when hateful poison is all that is fat to be heard so how can he feel alive if he’s imprisoned by fear
like the scared pit bull confined by its Leisure are we surprised to see snapping teeth in defense yet we wonder why suicide rates on a rapid incline why the outcast lashes out violently towards their fellow students as media rating Skyrocket with no regard
I was Witness as I watched his parents lifetime Harvest demolished with one action afraid of Confrontation there was no acknowledgment as he stared at the floor I can’t imagine his life being filled with beautiful Scenic views of his gaze is always fixed downwards as a bystander we have a choice to look away as he did afraid of Confrontation or to become a participant I chose to make a difference my actions spoke with words of encouragement as if to say my friend please take a moment to remove yourself from this angst fill the breath of oxygen invigorate life into your veins hear how beautiful your mind and soul is and always will be see the light outlining beyond their cloud of hatred
understand they’re unhappy with themselves they laugh at you because they want you to join them in their misery you are not what they speak of you you are the lights they wish to be you are purity don’t let them taint your good nature
be strong know that type of strength lies deep within your core it’s there you have it harness it’s power there are wind blowing against your unfazed Steel
you are not rock the world with time you were ever evolving maturing beyond the petty use this moment don’t let it use you lead is the opposite to the extreme and treat everyone you meet with kindness because know that once upon a time in a different scenario and place I I was you and I pray that today my actions prove that you can be me
Summary and Analysis of “You Are Not What They Speak Of You” by Jason Lalli
Jason Lalli’s poem “You Are Not What They Speak Of You” is a profound meditation on bullying, resilience, and self-worth. It tells the story of an Asian student studying in America, facing relentless social rejection and public humiliation. The poem paints a harrowing picture of how bullying erodes self-confidence, trapping its victims in a prison of fear and isolation.
The poem’s strength lies in its deep empathy. Lalli explores the emotional and psychological toll of bullying, likening it to a tornado that destroys a spirit in an instant. The student is portrayed as a misunderstood genius, a shy but big-hearted individual, yearning for connection yet repeatedly cast aside. The cruelty of his peers manifests in mockery, social exclusion, and outright insults, all of which build up, conditioning him to see the world through a lens of darkness.
Lalli masterfully shifts the poem’s tone from despair to empowerment. The speaker, who once endured similar torment, chooses to break the cycle—to uplift rather than ignore, to encourage rather than degrade. He urges the bullied student to see beyond the hatred, recognizing that cruelty often stems from the aggressors’ own pain and insecurity. The poem becomes a call to resilience, reminding the reader that self-worth is not defined by others’ opinions.
The final stanza is particularly powerful and transformative. The speaker declares that he was once in the victim’s position but has since risen above, proving that one can overcome and even surpass the pain inflicted by others. The poem becomes a beacon of hope, offering a message that is both timeless and universal: we are not what others say we are—we define ourselves.
To learn more about Jason Lalli’s poetry, spoken word performances, and advocacy for self-empowerment, visit his poet bio pagehere.
you were the child of R&B and jump Blues flamingo guitar and Mariachi Richard Valenzuela they called you Ritchie said Valenzuela was too much for a Gringo’s tongue said it would taste bad in their mouths if they said it so they cut your name in half to Valens and you swallowed that taste down stood tall like a bacho and sign that contract Rich was always about music you felt it tumble inside your chest as a boy playing a guitar with only two strings and when your neighbor caught you you thought he’d be angry over your racket instead he helped you repair the instrument and taught you how to grip it correctly and you left-handed boy playing a right-handed guitar repay him by making the notes fly you could play and sing at 17 you was signed at Del five records of America, wanted to pass you off as Italian, but you did not have old blue eyes, no yours were young and brown, brown like the dirt in the San Fernando Valley, brown like the hands of your tias who worked in the fields for pennies, died inside Cantinas with broken hearts, California’s hands were filled with hate back then leading white and brown master and slave and there you were, in the midst of it all, young chicano kid from the barrio, an American band stand shredding guitar strings while Dick Clark watched, I swear Ritchie, when I listen I can hear it all I can hear the screams from the zoot suit riots, I can hear the young gringo hipsters swarming you after a concert, how you made them laugh and dance in their ballrooms, the children sitting on the bleachers of your middle school. swaying to your rhythm and blues, the old men in your neighborhoods watching you play ranas when they shout it out much how you made them all smile Ritchie in a nation at war with it self, ashamed of the blood on his hands, you were never ashamed of who you were, took an old folk song from B Cruz, la bamba swung that afro Mexican rhythm into rock and roll and sang all Spanish lyrics at a time when speaking Spanish came with a wooden paddle punishment, you played live at the Apollo with Chuck Berry and rocked, you were a legend and Rich before that night before you boarded that plane, before you tumbled from the sky like it caled me in before your 19th birthday your body frozen near that Lake in Wisconsin the phrase what if still sits on our tongues and America is still trying to shape you into Hollywood still trying to bleach the memory of your skin wrote a movie and said you never spoke Spanish when you understood each cadino your mother placed in your ears as a child chocked her death up to Superstition and Mexican hoopla there are myths scattered in your legacy but I know Ritchie we know it was always about your music and that cannot be disfigured it plays forever in our hearts it is trapped inside Carlos Santana’s fingertips it drifts through alleys and walkways plays on television during commercials rides up elevators drifts into backyards where there is some boy brown and dusty desperately trying to play a guitar with only two strings
Myrlin Hepworth’s poem “Ritchie Valens” is a moving tribute to the young Chicano rock and roll legend Ritchie Valens—born Richard Valenzuela—who revolutionized American music before his tragic death at just 17 years old. The poem vividly recounts Valens’ meteoric rise, from his humble beginnings in the San Fernando Valley to becoming a star, all while battling the racial prejudice and cultural erasure that sought to strip him of his Mexican identity.
Hepworth crafts an evocative narrative, painting Valens as more than just a musician but as a symbol of resilience and cultural pride. The poem highlights the systemic pressures that forced Valens to change his name, downplaying his heritage to fit a white-dominated industry. However, despite the attempts to whitewash his identity, Valens’ Chicano roots remained embedded in his music, most notably in La Bamba, a Spanish-language hit that defied the mainstream aversion to bilingualism at the time.
Hepworth’s lyrical and rhythmic style mirrors the energy of Valens’ music, blending historical context with an almost spoken-word urgency. The poem seamlessly weaves together Valens’ personal story with broader themes of racial tension, cultural assimilation, and artistic defiance. It acknowledges the ways America has attempted to reshape Valens’ legacy while emphasizing the power of his music, which continues to inspire generations.
The final lines leave us with a powerful image: a young, brown-skinned boy struggling with a two-string guitar, much like Valens once did. It is a reminder that Ritchie’s influence is eternal, resonating in the lives of future musicians and dreamers.
To learn more about Myrlin Hepworth’s poetry and his contributions to spoken word and Chicano storytelling, visit his poet bio pagehere.
there’s a revolution. it spins like the world on its axis, so fast it carries no sound, no image, not even a vibration and if you run fast, like a child, and come to a sudden stop in your sprint, close your eyes quick, and hold your breath. you’ll feel it, you’ll hear it just say seconds behind, or a lifetime ahead. right now, there’s a Vietnamese boy running through a field with a pair of Nikes tucked under his arm, dodging bullets like raindrops, his blistered feet barely touching the grass, racing across the mud, racing against consumerism. the shoes are not for him, but for his grandmother so that the time in the field can be gentler in its monotony. right now, a boy’s just found a stone, he checks his weight for strength, it’s grooves for accuracy, then darts off with his fist held high, signaling to the other that the stick ball game was officially on, never knowing that the the rock he holds is the last reigning piece to a church bomb years ago in Selma, Alabama and the sound he hears played after, when he cracks a home run, is not the tinkling of broken glass from Miss Johnson’s window, but four little black angels crying tears of joy, cheering him as his feet hit every base. right now, in the Soviet Union, where the red curtain might be tatted, but its’ blood stained glow still cast over the eyes of everyone living there, and names like Stalin and Lenin bring shivers colder than the Hudson in December, and names like optimism, freedom, and democracy can get you shot, killed if you’re lucky. there was a girl sticking her hand into a military bonfire ignoring the pain and crackling of her own skin, she takes out a book half charred, which reads Three Sisters by Chekov and tucks it underneath the shirt, not for warmth, but salvation. right now, a crackhead had waited 10 minutes longer than he did yesterday, before going in the cop and tells himself tomorrow I’ll shoot for 20. a raced girl with bags underneath her eyes, and in beneath the legs which both by now her age stands, on the corner Main & Champion, and when some Tide State worker comes by flashing crisp $20 bills she gets on the bus and heads home for the first time in months. can you hear me now right now? a boy just ran for his life to go to school today, some girl got caught and smacked to some piece of car, leaving her purse behind, but not a virginity. can you hear me now? right now, a man just cut off his TV and actually had a conversation with his kids. there is a revolution happening around us every moment, of every day, and it is not black power, nor white power, it is not scary, not tyrannical, it is not Hitler nor Gandhi, Martin or Malcolm, Mama, no Nora. it is a young couple’s kiss behind the bleachers and the old couple holding hands in the mall, it is loving someone intensely for 5 minutes, then letting go when the song ends. it is your misfiring synapses, your unfit high, your seemingly miserable existence that still keeps beating in your chest like some Drummer Boy hellbent on getting through a spiritual desert, it is writing a poem or hearing one. it is your inhale and exhale. right now, there’s a revolution being fought right around us. look at the person next to you. see the battle being fought in their eyes and recognize it is just a reflection of the same war being fought inside you. it’s but the effort to live your life the way you wish every moment, every day of this life that you have and that is the battle and that is the Revolution and your goal tonight is a inhale and exhale to living live inhale, exhale. can you hear me now? if so then fight on soldiers, ‘cuz the life you saved this night will be your own.
Ed Mabrey’s poem Revolution is an urgent and powerful meditation on the silent, ongoing battles that define human existence. Unlike traditional revolutions that are marked by violence, politics, or ideological shifts, the revolution in Mabrey’s poem is deeply personal, invisible to the untrained eye, yet ever-present in our lives.
The poem unfolds in a series of vignettes, each capturing a moment of struggle, resilience, or defiance from various corners of the world. A Vietnamese boy runs barefoot, dodging bullets, not for himself but to bring comfort to his grandmother. A child picks up a stone for a game, unaware that it is a remnant of a church bombing in Selma, infused with historical pain. A girl in the Soviet Union risks her life to rescue a banned book from flames—not for warmth, but for the survival of knowledge. A crack addict fights against addiction, pushing the boundaries of self-control. A young woman, forced into sex work, takes her first steps toward reclaiming her life.
Through these moments, Mabrey illustrates that revolution is not just found in grand historical narratives but in the quiet acts of endurance, courage, and self-reclamation that happen right now—in real time, all around us. He challenges the reader to recognize the struggles in the eyes of those around them and to see their own internal battles reflected there. The poem’s rhythmic repetition of “right now” creates a sense of immediacy, making the revolution feel not only inevitable but also deeply personal.
Mabrey’s final call to action is simple yet profound: breathe. The act of inhaling and exhaling, of continuing despite hardship, is itself an act of defiance, a way to reclaim one’s life. Revolution is not just about resistance; it is about existence, about the ongoing fight to live authentically and freely.
Discover more about Ed Mabrey’s poetry and performance legacy here on his bio page.
Get Tickets to see Ed Mabrey, Individual World Poetry Slam Champion, feature at Ghost Poetry Show on April 9th, 2025!
April 9th, 2025 at The Rebel Lounge
Doors at 7:00PM | Show at 7:30PM
Advance Price: $10 + fees Day Of Show Price: $12 + fees
21+This is a special Ghost Poetry Show for National Poetry Month! Individual World Poetry Slam Champion ED MABREY features award-winning poetry live and in-your-face in the intimate setting of The Rebel Lounge!
15 poets compete in a poetry slam for cash prizes judged by 5 randomly selected audience members.
To sign up to perform email us at GhostPoetryShow@gmail.com
Joshua Wiss is a spoken word poet, musician, and storyteller based in Phoenix, Arizona. A poet of deep feeling and vibrant imagery, Wiss captures the essence of modern life, love, death, and the perils of suburban existence through his evocative performances. With a background rooted in the DIY aesthetic, Wiss merges raw emotion with carefully crafted verse, making his poetry a visceral experience for audiences.
A Veteran of the Poetry Slam Scene
Having competed at four National Poetry Slams, representing Flagstaff,Sedona, and the Valley of the Sun. Wiss has shared the stage with some of the world’s top-ranking performance poets, proving himself as a formidable force in the spoken word community. His poetry is as much a performance as it is an intimate conversation, pulling listeners into the rhythms of his words and the landscapes of his mind.
A Poet Rooted in Analog and Nostalgia
Beyond the stage, Wiss is a collector of stories and artifacts of the past. He can often be found tinkering with typewriters, playing musical instruments, or sorting through vinyl records at his day job in a record store. A self-described feeler with a voice, he embraces the analog world—a poet who revels in the beauty of VHS tapes, cassette players, and the timeless swing of Louis Prima.
Themes and Style
Joshua Wiss’s poetry is infused with powerful, often dreamlike imagery, reflecting on themes of:
Love and loss – Capturing the fleeting nature of relationships and memory.
Time and the universe – Questioning the cyclical patterns of existence and the energy that connects us all.
The human experience – Chronicling life’s highs and lows with authenticity and grace.
His poem Wallflower is a perfect example of his craft, blending themes of memory, presence, and the ephemeral nature of time. Lines like “every good party needs a Wallflower to stand witness and materialize memories” illustrate his unique ability to translate the intangible into poetic form.
A Legacy in the Making
Wiss’s work goes beyond spoken word competitions—his poetry is an experience, a ritual, and a reflection of the world around him. Whether performing at slams or connecting with audiences in intimate settings, Joshua Wiss continues to be a powerful and unforgettable voice in Arizona’s poetry scene.
Jack Evans has been a central figure in Arizona’s poetry scene for over 40 years, leaving an indelible mark on the cultural landscape of the Valley of the Sun. A celebrated poet, spoken word artist, and creative director, Evans is best known for his deep, soulful verse and his commitment to exploring themes of memory, loss, and the healing power of art. As the former Poet Laureate of the Southwest Conference United Church of Christ and the author of the acclaimed book Rain Is The Hourglass Of Memory, Evans continues to inspire audiences with his timeless work.
A Storied Journey from the East to the Southwest
Born on the banks of the Hudson during the twilight years of Roosevelt II’s reign, Jack Evans’ early life was steeped in history and literary tradition. His journey eventually led him to a little house overlooking the dusty Agua Fria when Lesley King ruled the land—a transformative move that rooted him in the vibrant, rugged spirit of the American Southwest. Evans’ love for music, film, baseball, and books has always colored his work, infusing his poetry with both a passion for cultural heritage and a modern, relatable voice.
A Life Dedicated to Poetry and Performance
For decades, Jack Evans has dedicated himself to the art of poetry. He writes, reads, thinks, and shares poetry with an enthusiasm that has resonated across generations. His work has been published in numerous literary journals and magazines, and he has performed in venues throughout Arizona and from coast to coast since the 1970s. Whether on stage at intimate local gatherings or at major poetry festivals, Evans’ performances captivate audiences with their blend of narrative depth and energetic delivery.
As a director of spoken word series for over 30 years, Evans has played a pivotal role in nurturing and showcasing emerging voices in the art form. Currently, he is the co-director of the Caffeine Corridor series in downtown Phoenix—a vibrant forum where poets and spoken word artists come together to share their work and inspire new creative connections.
Collaborative Performances and Healing Through Art
A notable aspect of Jack Evans’ career is his collaboration with guitarist Tom Bell. Their partnership, known as the Evans Bell Conversion, began with a memorable performance at Lawn Gnome Publishing on February 5, 2015. Since then, the duo has continued to push the boundaries of spoken word by integrating live music into their performances, creating immersive experiences that blend poetic narrative with melodic expression.
Their upcoming collaboration, showcased at the Healing Project, exemplifies Evans’ belief in the transformative power of art. This performance promises to be an experiential exploration of grief, death, loss, and change, inviting both performers and audience members to engage in a shared process of healing. Through conversation, reflection, and the potent force of the written word, the Evans Bell Conversion aims to help ease grief-related suffering and inspire hope.
Legacy and Impact on Arizona Poetry
Jack Evans’ legacy is a testament to his lifelong commitment to poetry and the arts. His work not only celebrates the rich cultural heritage of Arizona but also serves as a catalyst for healing and community connection. Evans’ influence extends far beyond his individual performances—he has nurtured countless emerging poets through his workshops, events, and creative leadership.
Living in Phoenix with his wife Judy, his dog, his cat, four parakeets, and a trusty laptop, Evans continues to embody the spirit of creativity and resilience. His ongoing contributions to the local poetry scene make him a cornerstone of Arizona literature, ensuring that the voices of the past, present, and future are heard and celebrated.
Nick Fox: Founder, Performer, and “The Voice of God” in Slam Poetry
Nick Fox is a celebrated poet, performer, educator, and a pivotal figure in the American slam poetry movement. As the founder of the Flagstaff Poetry Slam and an early competitor in Arizona’s burgeoning poetry slam scene, Fox helped shape the vibrant spoken word community that thrives in the state today. His contributions extend far beyond Arizona, as Fox is also renowned for hosting the finals of the National Poetry Slam for over a decade, where he earned the nickname “The Voice of God” for his commanding presence and resonant delivery.
Early Days in Slam Poetry: The Mesa Years
Nick Fox’s journey into slam poetry began during the first wave of the movement, performing in Mesa, Arizona. As a competitor in the early days of Arizona’s slam scene, Fox showcased his ability to blend compelling storytelling with captivating performance, quickly becoming a standout voice in the community. His work explored themes of humanity, relationships, and the intricacies of everyday life, resonating deeply with audiences. His contributions during this time helped solidify Mesa as a hub for poetry slam in Arizona.
Founding the Flagstaff Poetry Slam
Fox’s passion for creating spaces where poets could thrive led him to establish the Flagstaff Poetry Slam. Under his leadership, the slam became a cornerstone of Flagstaff’s arts and culture scene, drawing poets and audiences from across the state. By fostering an inclusive and dynamic environment, Fox played an instrumental role in building a community where poets of all backgrounds could share their voices.
The Flagstaff Poetry Slam not only became a home for local poets but also attracted some of the most talented spoken word artists from across Arizona. Fox’s ability to nurture new talent and curate engaging events helped make Flagstaff a vibrant hub for spoken word poetry, with ripple effects felt throughout the state’s literary scene.
Hosting the National Poetry Slam Finals: “The Voice of God”
Nick Fox’s influence extended far beyond Arizona when he became the longtime host of the National Poetry Slam finals, one of the most prestigious events in the spoken word world. For over a decade, Fox’s booming voice, charismatic stage presence, and sharp wit elevated the event to new heights. His commanding presence as host earned him the nickname “The Voice of God,” a testament to the respect and admiration he garnered from poets and audiences alike.
Fox’s role as host was not simply about announcing poets or performances—it was about creating an atmosphere of excitement, reverence, and community. His ability to connect with audiences and performers alike made the finals an unforgettable experience, cementing his legacy as a cornerstone of the national slam poetry movement.
Nick Fox as a Writer and Traveler
Beyond his achievements in poetry and performance, Nick Fox is also a prolific writer and avid traveler. His travel blog, “…said the Fox”, chronicles his journeys across the globe, combining his poetic sensibilities with his love of storytelling. Through vivid descriptions and thoughtful reflections, Fox’s blog offers readers a glimpse into his experiences and the lessons he’s learned along the way.
His travel writing explores themes of identity, cultural discovery, and the connections we form with the world around us. The same attention to detail and emotional resonance that defines his poetry shines through in his prose, making his blog a must-read for fans of both travel and literary artistry.
Educator and Mentor
As an educator, Nick Fox has inspired countless poets, performers, and writers to explore their own creative voices. His dedication to fostering talent and building communities has left a lasting impact on Arizona’s literary and performance arts scenes. Fox’s ability to connect with people on a personal level, whether through his poetry or teaching, underscores his commitment to creating spaces where others can thrive.
Fox’s legacy in Arizona poetry is one of mentorship, innovation, and passion. His contributions to slam poetry, both as a competitor and as an organizer, have helped elevate the art form in Arizona and across the country.
Legacy and Influence
Nick Fox’s contributions to slam poetry and the arts have made him a vital figure in Arizona’s literary history. From his beginnings as a slam poet in Mesa to founding the Flagstaff Poetry Slam and hosting the National Poetry Slam finals, Fox has consistently demonstrated a commitment to amplifying voices and building vibrant artistic communities.
His unique blend of poetry, performance, and storytelling continues to inspire audiences and writers alike. Nick Fox’s legacy lives on in the thriving slam poetry scenes he helped cultivate and the countless poets he has mentored and influenced throughout his career.
For more about Nick Fox’s writing and travels, visit his blog at nickfox.wordpress.com.
