Tag: Phoenix

Read Phoenix Poetry written by slam poets, cowboy poets, and literary giants inspired by the state of Arizona!

Alas Poor Yorick poem by The Klute featuring hyperrealistic jester at ren fair | AZpoetry.com

‘Alas Poor Yorick’ by The Klute

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

  1. Performance as Survival: The jester, forced to entertain, becomes a metaphor for anyone trapped in performative social roles — whether artist, worker, or consumer.
  2. 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.
  3. 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.

a boy eating a watermelon

Green & Red by Ashley Naftule

“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.

AZ poetry Ashley Naftule

Ashley Naftule

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

HighlightDetails
ResidencyResident playwright & Associate Artistic Director at Space55 Theatre, downtown Phoenix (Planet Scumm)
PublicationsPoetry & fiction in Ghost City Review, Occulum, Rinky Dink Press, The Hard Times, and more (Ashley Naftule, Ghost City Press)
JournalismBylines 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.

Posted in Poets  • 
Ain't I An American by Jeremiah Blue Poem AZpoetry.com

And Ain’t I An American by Jeremiah Blue

“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.

Natasha Murdock Arizona Poet

Natasha Murdock

Natasha Murdock: Suburban Elegy and the Poetics of Everyday Awe

Natasha Murdock is a poet whose voice emerges from the quiet corners of suburban life, motherhood, and memory. Based in Gilbert, Arizona, Murdock holds an MFA in Poetry from Arizona State University, where she honed a poetic style that embraces clarity, understatement, and emotional depth. She is a part of the vibrant East Valley literary scene, balancing her writing life with her work as adjunct faculty at Mesa Community College.

A Poetic Eye on Domestic Spaces and Unspoken Moments

Murdock’s poetry reveals the sacred in the everyday—whether it’s the hum of household chores, the surreal exhaustion of parenthood, or the strange, persistent beauty found in life’s overlooked moments. Her poems capture what is often left unsaid, drawing readers into an interior world where grace and tension coexist. Through a minimal yet resonant style, she examines the ways silence speaks and gestures carry the weight of memory.

Published in BlazeVOX and The Cobalt Review

Her work has appeared in respected literary journals including BlazeVOX and The Cobalt Review, where readers and editors alike have praised her ability to render ordinary experience with lyric intensity. These publications reflect her place among contemporary voices that push against the boundaries of form without losing accessibility or human connection.

Teaching, Community, and Literary Advocacy

Beyond the page, Murdock is a dedicated educator. At Mesa Community College, she introduces new generations of students to poetry, creative writing, and the power of literary expression. Her work in the classroom echoes her own journey—one that is rooted in Arizona’s literary institutions and nurtured by the mentorship and community of the Southwest’s writing culture.

A Voice Rooted in Arizona

As a poet living in Gilbert and working in the greater Phoenix area, Natasha Murdock brings a distinctly Arizona voice to contemporary poetry—one that reflects the contradictions of desert life, the rhythms of family, and the challenge of reconciling selfhood with responsibility. Her poetry bridges the intimate and the expansive, the personal and the political.

Readers can expect more work from Murdock in the coming years, as she continues to explore the complexities of language, longing, and living fully in the moment.

Posted in Poets  • 
Niccolea Miou Nance poet Arizona

Niccolea Miou Nance

Niccolea Miou Nance: Poet, Artist, and Advocate for Healing Through Art

Niccolea Miou Nance is a multifaceted artist whose work spans poetry, visual arts, and performance. Her creative endeavors are deeply rooted in personal experiences and the narratives of those around her, aiming to foster healing and empowerment through artistic expression.

Early Life and Artistic Journey

Niccolea’s journey into the arts began early, with a passion for storytelling and self-expression. Over the years, she has cultivated a diverse artistic portfolio, encompassing poetry, painting, and performance art. Her work often delves into themes of personal growth, resilience, and the transformative power of creativity.

Published Works and Contributions

Niccolea’s poetry has been featured in publications such as Borderline, a journal known for its focus on personal narratives, and Canyon Voices, an Arizona State University journal that highlights emerging writers. These platforms have allowed her to share her voice and connect with a broader audience.

She has also published two books available on Amazon:

  • The Words I Hold: A self-published collection that offers an intimate look into her personal experiences and reflections.
  • For Those Who Outlast Their Pain: Released by Swimming With Elephants Publications, this charity project donates proceeds beyond printing and shipping costs to organizations supporting women and survivors of sexual assault. The book serves as a testament to the healing potential of poetry.

Artistic Philosophy and Advocacy

Niccolea believes in the power of art as a tool for healing and social change. Her work often addresses complex emotional landscapes, aiming to provide solace and understanding to those who engage with it. Through workshops and performances, she encourages others to explore their own creative paths as a means of personal empowerment.

Beyond the Page: Performance and Exploration

An amateur fire-spinner and aspiring world traveler, Niccolea’s artistic expression extends beyond traditional mediums. Her performances incorporate elements of movement and visual spectacle, creating immersive experiences that captivate audiences. With plans to embark on global travels via sailboat, she continues to seek inspiration from diverse cultures and landscapes.

Posted in Poets  • 
Joseph Nieves AZpoetry.com

Joseph Nieves

Joseph Nieves: From Comic Books to Poetry Slams in Arizona

Joseph Nieves was raised in San Jose, California, where his earliest adventures were on foot, following his grandfather into the heart of the city. Those walks — which included stops behind a Burger King where his grandfather sold marijuana — would spark an enduring connection to the power of storytelling. One fateful day, a visit to a comic book store tucked into a rough plaza behind a Walgreens opened a new world for young Joseph: the imaginative universe of superheroes, legends, and vivid language.

That encounter with comics wasn’t just a childhood fascination — it became the foundation for his creative life. Through comics, Nieves developed an early appreciation for narrative structure, myth-making, and bold emotional expression — elements that would later define his work as a poet.

New Beginnings in Arizona: Discovering Poetry Slam

In the late 1990s, Nieves’ family relocated to Mesa, Arizona. By then a teenager, Joseph found a job at a local comic book shop, immersing himself even deeper in the worlds of imagination. Around the same time, he stumbled into another transformative discovery: the world of poetry slam.

Drawn to the energy, the emotion, and the raw authenticity of spoken word, Nieves began attending slams across the Phoenix metro area. His talent for weaving powerful imagery, humor, and introspection into tight three-minute performances quickly earned him a reputation as a compelling voice in Arizona’s slam poetry community.

Rise to Prominence: Flagstaff Poetry Slam Champion

Seeking new adventures (and cooler temperatures), Joseph Nieves moved north to Flagstaff, Arizona. There, his presence on the poetry scene blossomed. In 2006, Nieves was crowned the Flagstaff Poetry Slam Champion, a major milestone that solidified his place among Arizona’s top spoken word artists.

Later that year, he proudly represented Flagstaff at the National Poetry Slam in Austin, Texas, competing alongside a talented team that included Troy Thurman, J.J. Valentine, and Aaron Hopkins-Johnson. Sharing a national stage with some of the best poets in the country only sharpened Nieves’ skills and deepened his commitment to using poetry as a vehicle for storytelling and transformation.

Featured Performances and Recordings

Joseph Nieves’ dynamic performances have been featured on platforms beyond the stage. He was highlighted on the influential spoken word podcast Indiefeed, bringing his evocative work to a worldwide audience. His poems — often balancing humor with heartbreak, nostalgia with grit — resonate with listeners because of their vivid honesty and accessible style.

Whether recounting bittersweet memories of family life, unpacking the meaning of heroes and myths, or exploring the complexities of growing up amid shifting identities, Nieves’ poetry captures moments with a sharp, unflinching eye.

Academic and Literary Contributions

While perfecting his craft on the mic, Nieves also pursued academic excellence. He studied English at Mesa Community College before continuing at Westminster, where his passion for literature extended into leadership. He frequently hosted discussions, literary salons, and community events aimed at making literature more accessible and exciting to a new generation of readers and writers.

His belief in the power of storytelling — whether on a comic book page, in a poetry slam, or around a discussion table — has always been central to his mission as both a writer and educator.

Current Work: Nurturing Readers in Tempe, Arizona

Today, Joseph Nieves continues to share his love of words as the manager of a beloved bookstore in Tempe, Arizona. In his role, he fosters community engagement around books and creativity, helping to nurture the next wave of readers, writers, and poets.

While his professional life is rooted in literature, Joseph has never lost touch with his roots in performance poetry. His background in both comic book mythology and slam poetry gives his work a unique flavor — one that blends the fantastical with the deeply personal.

Whether he’s recommending graphic novels to customers, organizing literary events, or stepping up to a microphone for an impromptu reading, Joseph Nieves remains dedicated to the written and spoken word.

Joseph Nieves’ Impact on Arizona’s Literary Scene

As a poet, performer, educator, and community builder, Joseph Nieves embodies the spirit of Arizona’s literary culture — vibrant, diverse, resilient, and endlessly creative. His journey from a comic shop in San Jose to the slam stages of Flagstaff and beyond serves as an inspiring testament to the power of storytelling to transform lives.

Joseph Nieves’ story is a reminder that the seeds of creativity can be planted anywhere — even in the most unexpected corners — and that with passion and perseverance, those seeds can bloom into art that touches hearts across generations.

Posted in Poets  • 
The Laziest Man in the World poem Arizona poet Kalen Lander | AZpoetry.com

“The Laziest Man in the World” by Kalen Lander

Behold!
The laziest man in the world

Damn I’m a pearl
Countless bedsores adorn my soul
Check it, if you see my corpse walking round it’s a hoax
Cause in my head I’m at home

Tomes tell of my liquified bones
Don’t question it just keep an open mind
And know I’m holed up inside and it’s alright
It’s kinda like summer vacation
Well it’s more like mummification
It’s sorta like I’m Jason Statham
But instead of punching
I’m stuck in the basement
Yup

And I’ll I’m transporting are snacks to my mouth
All I look forward to is chilling out
All of my memories center around
How much I enjoy becoming one with the couch

Don’t tell me not to slouch these shoulders are heavy
Weight of the world? More like an early Wednesday
Wake up at 4 n then turn on the TV
Repeat indefinitely
Frozen pizza to me is a delicacy

Maybe people might say that I am my own worst enemy
I get all tuckered out from not exerting any energy
I prefer to be the middle link in human centipedes
I don’t want to be deciding when it’s time to shit n eat
Literally anything that isn’t sitting sickens me

I’ll pretend to be asleep when anybody intervenes
My mama wants to say I got a problem naw man
I’m taking after Grandma this rocker is awesome
And I ain’t getting up until you toss me off it
And then I’m probably gonna conk out on the carpet

Ooooo did I mention?
All this inactivity has given me heightened senses
I can smell a cheeto on the floor like it was incense
I can ignore the doorbell better than anybody ever
Got no competitors no natural predators

No feeling in my legs n no plans of leaving bed at all
N I would eat your disapproval if that shit was edible
I said it all before but I’m repetitive I’m
The Laziest man in the world

Music Video of “The Laziest Man in the World” performed by Snailmate

About the Poet Kalen Lander

Kalen Lander’s “The Laziest Man in the World” is a humorous and self-aware exploration of extreme idleness. With witty imagery and a tongue-in-cheek tone, the poem delves into the comforts of slouching, snacking, and avoiding the hustle of daily life. Lander’s ability to blend humor with sharp observation reflects his unique voice in the world of poetry and performance.

To learn more about Kalen Lander’s creative journey, his contributions to Arizona’s arts scene, and his evolution as a performer and poet, visit his full biography HERE.

Pieces of the Night song Gin Blossoms Doug Hopkins poet | AZpoetry.com

Pieces of the Night by Doug Hopkins

“Pieces of the Night” by Doug Hopkins

Well is it any wonder that the stars don’t just rush by
When you’re only doin’ 60 through this oh-so-vacant night
But it’s lackin’ something big this time
What the hell did you expect to find?
Aphrodite on a barstool by your side

Twelfth night we go
After something everyone should know
Somewhere in the distance out of sight
Then I saw gin mill rainfall
What do you remember if at all?
Only pieces of the night

And is it any wonder in the middle of the crowd
If you let your feet get trampled on
When the music is that loud
But you wanted to be where you are
But it looked much better from afar
A hillside in shadow between the people and the stars

Twelfth night we go
After something everyone should know
Somewhere in the distance out of sight
Then I saw gin mill rainfall
What do you remember if at all?
Only pieces of the night

And it seems so distant
But still only half the night away
Where notions between your questions come too
Is it any wonder where
The pieces of the night have been?

Twelfth night we go
After something everyone should know
Somewhere in the distance out of sight
Then I saw gin mill rainfall
What do you remember if at all?
Only pieces of the night
Only pieces of the night
Then I saw
Only pieces of the night

Twelfth night we go
After something everyone should know
Somewhere in the distance out of sight
Then I saw gin mill rainfall
What do you remember if at all?
Only pieces of the night

Twelfth night we go
After something everyone should know
Somewhere in the distance out of sight
Then I saw gin mill rainfall

Watch “Pieces of the Night” by Gin Blossoms

About the poet Doug Hopkins

“Pieces of the Night” by Doug Hopkins, and performed by the Gin Blossoms, is a haunting meditation on the fleeting nature of our memories and experiences. Through vivid imagery—driving slowly through a vacant night, encountering the surreal sight of “gin mill rainfall,” and evoking the legendary allure of a mythical figure on a barstool—Hopkins captures how moments of beauty and chaos slip away, leaving us with only fragments. The recurring reference to “Twelfth night” hints at the cyclical nature of these ephemeral experiences, suggesting that even as time passes, the impressions of the night linger like scattered pieces of a once-vibrant puzzle.

Hopkins’ lyrics challenge us to reflect on what we truly remember when the night fades into dawn—are our memories as complete as we wish, or are they, like the stars, just fragments of a greater, elusive tapestry?

To learn more about Doug Hopkins, his unique poetic vision, and his contributions to Arizona’s cultural landscape, visit his full bio HERE.

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Land Alive by David Chorlton poem artwork AZpoetry.com

Land Alive by David Chorlton

“Land Alive” by David Chorlton

The land isn’t empty, it’s thinking.
What will it become when
the clouds disappear and rocks take their place?
Where will the roads lead

when they reach the edge of human thought
and turn into philosophy
where the compass needle bends
and points toward itself?
How much history
can a lizard carry on its back
when it moves at the speed of a reflection

that waits for no one?
It’s as dark as dreams in the canyon
where shadows conspire
to climb the red walls
and fly, as questions do when

they outgrow any answers
that would have bound them
to the Earth.

Originally published online on September 3, 2024 by Lothlorien Poetry Journal, where you can visit to read Land Alive and four more poems.

About the poem Land Alive by David Chorlton

Discover the poem’s philosophical layers and explore the Arizona desert through Chorlton’s lens.

In “Land Alive,” Arizona poet David Chorlton challenges the notion of the desert as a barren, lifeless expanse. Instead, he breathes consciousness into the land, describing it as a force that thinks, reflects, and questions. The poem opens with a striking declaration—”The land isn’t empty, it’s thinking”—and from this premise, Chorlton invites readers to consider the Sonoran Desert not as a backdrop for human activity, but as a living, sentient presence.

The poem flows like a dream, moving from questions about geography and thought to surreal images of lizards carrying history and shadows conspiring to climb canyon walls. The language is both reflective and elusive, packed with metaphor and subtle philosophical questioning. What does it mean for a road to “reach the edge of human thought” or a compass to “point toward itself”? These images suggest a journey inward as much as outward, where the landscape provokes self-reflection and existential inquiry.

Chorlton, a longtime Phoenix resident and visual artist, brings an abstract sensibility to his desert poetry. “Land Alive” feels at home in his broader body of work, which often fuses nature, art, and meditations on place. The desert isn’t just scenery—it’s a character, an entity with memory and imagination. The lizard, a frequent figure in Southwestern imagery, is transformed into a metaphor for time, memory, and motion—“moving at the speed of a reflection / that waits for no one.”

The poem culminates in a moment of mystery and release, as questions “outgrow any answers / that would have bound them / to the Earth.” In this sense, “Land Alive” celebrates not just the land’s physical resilience, but its capacity to outlive and outthink human limitations.

Themes and Style

  • Philosophy of Place: The poem explores the mind-like quality of the land, raising questions about its future, history, and consciousness.
  • Nature as a Living Entity: The desert is not empty but active—filled with thought, movement, and ancient stories.
  • Metaphor and Surrealism: Chorlton’s imagery blends the real and the abstract, painting a landscape that is both physical and metaphysical.
  • Existential Tone: There’s an underlying sense of mystery and questioning, with no easy answers—only poetic observations.

Why It Belongs in Arizona’s Literary Canon

David Chorlton has lived in Phoenix since the late 1970s, and his poetry is deeply rooted in the desert Southwest. In “Land Alive,” his knowledge of the Sonoran landscape and his background in visual art converge to create a unique lyrical experience. This poem is not just about Arizona—it thinks like Arizona: expansive, enigmatic, and quietly profound.

Discover more about David Chorlton, his poetic vision, and his connection to Arizona’s desert landscapes by visiting his poet bio page on AZPoetry.com.