Tag: Slam poetry

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

Burn Wall Street Burn Artwork Poem AZpoetry.com The Klute

Burn Wall Street Burn by The Klute

January 12, 2026

Read the poem “Burn Wall Street Burn”

I watch CNBC.
I read the Wall Street Journal.
I check stock tickers,
Study insider reports,
Consult my broker on a daily basis.
After careful deliberation,
I have decided to empty my bank account,
Convert it to unmarked twenty-dollar bills,
Go directly to Las Vegas,
Put it all on black.
When the ball drops in my favor,
I could use those liquid assests to diversify my portfolio,
Invest heavily in pencils and apples,
And for once, be on the ground floor –
That place where all the stock brokers will land
When they finally succumb to mantra of doom…
The endless repetition of “Buy! Sell! Buy! Sell!”
That turn becomes “JUMP!!! JUMP!!! JUMP!!!”,
Playing on an infinite loop in the back of their mind
When they look out their office windows
And imagine the sweet release of death
Waiting for them on pavement below.
Good.
Give in to it, Wall Street,
Embrace your destiny.

I want my 401K back.
I’m not getting it back.
I’ve been advised it resides at the First Bank of the Land of Imagination,
Currently being managed by a crack team of leprechauns and unicorns,
Being leveraged into moon beams and fairy dust.
I shouldn’t worry though.
I’ll get my disbursement check as soon as I begin collecting Social Security.
This just in…
I’m not getting Social Security either!
So the time has come
To beat our shares into pitchforks,
Set our stock portfolios alight to guide our way,
To storm the castle
And kill the monster.
Now, I’m not suggesting you head to the headquarters of Goldman Sachs
With a pistol-grip pump shotgun,
Kick down the door,
Shout “I am the Angel of Death – the time of purification is at hand!”
Then start paying out double-barrel killshot bonuses
With a gleam in your eye and a song in your heart.
Oh wait, that’s exactly what I’m suggesting!
Because there will be a reckoning,
A tallying of names and a cracking of skulls,
And it will be easier for a camel to thread the eye of a needle
Then it will be for a fat-cat to avoid my lead.
Praise the Lord and pass the ammunition!

Who is John Galt?
Who cares.
He’s dead.
I killed him and he’s buried in a shallow, unmarked grave outside of town
Next to the bodies of Adam Smith and Horatio Alger.
Stop asking questions.
Because it’s time for action.
Swift, brutal, unthinking mob action.
Let’s head to Wall Street
Block all the exits at the New York Stock Exchange.
Let’s give these American heroes the reward they so richly deserve.
Let loose rabid bulls and bears as an appetizer of destruction,
Rain down burning ticker tape like the wrath of God from the gallery,
Sing “Auld Lang Zyme ” with the vengeful ghost of George Bailey, Sr.
Then roast marshmallows on the smoking ruin,
Toasting our lost fortunes as we drink from the skulls of Morgan Stanley and Charles Schawb.
Because I watch CNBC and read the Wall Street Journal.
I now know the true meaning of class warfare.
The horror…
The horror…
Burn, Wall Street, Burn

Summary of “Burn Wall Street Burn”

“Burn Wall Street Burn” by slam poet The Klute is a blistering, darkly comic spoken-word poem that channels post-crash economic rage into a surreal monologue of disillusionment. The speaker begins by mimicking the rituals of financial responsibility—watching CNBC, reading The Wall Street Journal, consulting brokers—only to conclude that rational participation in the system is meaningless.

From there, the poem spirals into increasingly absurd and violent imagery. Retirement funds vanish into fantasy; institutions collapse into farce; economic language mutates into the language of revolt. Cultural and ideological icons—John Galt, Adam Smith, Horatio Alger—are symbolically declared dead. The poem culminates in an apocalyptic vision of Wall Street consumed by fire, spectacle, and bitter celebration.

The closing lines echo Heart of Darkness’s famous refrain—“The horror, the horror”—recasting financial capitalism itself as the unspeakable atrocity.

Analysis of “Burn Wall Street Burn” by The Klute

Satire as a Weapon of Class Anger

At its core, “Burn Wall Street Burn” is not a literal call to violence but a satirical pressure valve. Slam poetry often amplifies emotion to the point of excess, and The Klute leans fully into hyperbole to express what polite economic language cannot: rage, betrayal, and helplessness. The outrageous threats and cartoonish bloodlust function as metaphor, exposing how systemic violence (lost pensions, vanished futures) breeds fantasies of retribution.

The Collapse of Financial Language

One of the poem’s sharpest techniques is its corruption of financial jargon. “Diversify my portfolio” becomes an investment in “pencils and apples.” “Liquid assets” lead not to stability, but to a roulette table in Las Vegas. These moments underscore the speaker’s realization that the system is already a gamble, rigged in favor of those who never touch the ground floor—except when they fall.

The repeated fixation on “the ground floor” works double duty: it is both the entry point denied to ordinary people and the literal pavement awaiting brokers who internalize the manic chant of “Buy! Sell! Buy! Sell!”

Myth-Busting American Ideology

By symbolically killing figures like Adam Smith and Horatio Alger, the poem rejects foundational myths of American capitalism: rational markets and merit-based success. The dismissive “Who cares” aimed at John Galt is especially telling—it mocks libertarian exceptionalism as irrelevant in the face of mass economic suffering.

The appearance of George Bailey, Sr. (from It’s a Wonderful Life) as a “vengeful ghost” flips a classic tale of community banking into an indictment of modern finance, where the Bailey Building & Loan has long since lost to the megabanks.

Carnival, Apocalypse, and Catharsis

The poem’s final vision—burning ticker tape, hydrogen-filled bulls and bears, marshmallows roasted on the ruins of the NYSE—is grotesque but deliberately carnivalesque. It resembles a medieval inversion festival, where power is mocked, desecrated, and briefly overturned. Naming corporations like Morgan Stanley and Charles Schwab as skulls to drink from transforms faceless institutions into mortal bodies, finally subject to consequence.

Why the Poem Still Resonates

“Burn Wall Street Burn” captures a moment—and a mood—that extends far beyond its immediate context. It speaks for those who did everything “right” and still lost everything. Its excess is intentional, its anger performative, and its violence symbolic. The poem’s power lies not in its literal imagery, but in its refusal to be calm, reasonable, or grateful in the face of systemic failure.

In that sense, the poem is less a manifesto than a scream—raw, undiplomatic, and impossible to ignore. Burn, Wall Street, Burn is not about destruction for its own sake. It is about being heard when the numbers say you no longer matter.

Read more poetry inspired by the state of Arizona HERE.

‘Hooked Claus’ by The Klute

December 22, 2025

For the longest time,
no one remembered how we were partners,
the Good Cop and Bad Cop of Yuletide,
a symphony of jingle bells and rattling chains
‘ere we drove out of sight.
How disturbed must they have been by the thought of me
looking over your shoulder and salivating
as you added children to the naughty list
for transgressions great and small.
You were the carrot,
oranges in the stocking,
presents under the tree,
half-eaten cookies as a reminder that you were there.
I was the stick,
birch branches in hand,
bathtub on my back,
my stew-pot bubbling in anticipation of fresh meat.
You were the red and green of holly and mistletoe,
I was the poison.

From the first,
I have been with them.
Born of the sands of Egpyt,
I was Abo Ragl Ma Slokha,
Man with the Burnt Leg,
bane of wicked tots.
Parents around the world would conjure me in story,
the Namahage,
le Croque-mitten,
Baba Yaga,
El Coco,
to keep their brats in line.
In their stories,
they always gave me horns,
yellow eyes,
a cloven hoof at the end of one leg,
a misshapen foot on the other,
my teeth sharp,
tongue so long it could reach them from under the bed
to taste their nightmares.
When I crossed the Alps, followed the Danube,
I found a new home under the Solstice moon.
As the fires of Yule cheer burned in the village squares,
I shouted my name so loud that every child would remember it,
whisper it to each other between shudders:
I
AM
THE
KRAMPUS!!!
When the willful boy or indolent girl came to a bad end
parents would remind the kinder:
Behave or the Krampus will come for you too.

When we first met, Santa Claus,
I thought you were there to kill me.
You came to my cave in regal glory.
Father Christmas! Jolly Old Saint Nick!
Your light washed away the darkness so I had no place to hide.
Trapped, I thought you were there to finally bring a gift
to those excluded as an annual tradition.
You cannot imagine my surprise when you extended your hand,
asked “won’t you ride my sleigh tonight?”.
You put me in chains as a precaution,
you still felt my wicked heart beat beneath my goatish chest,
but left me my bundle of sticks
because as you said: spare the rod, spoil the child.
Why does no one ever see the shadow behind your rosy cheeks?
Over the years, we brought so many children to goodness,
I rarely ate.
I did not mind,
I was able to drink in their fear like an elixir.

Then one foggy Christmas eve,
I noticed your sleigh was now driven by a broken buck with a freakish nose, your retinue filled out with polar bears drinking caramel-colored sugar water, the sack was filled with things never seen in your workshop before.
My eyes full of terrible wonder,
you leaned in,
smiled,
said one word: “Plastics“.
I did not like the sound of it.
As we flew over the city and marched down the streets,
your image was everywhere.
On billboards, in newspaper ads, on TV, in shopping malls.
I would have no part of this,
with sadness in your voice, you agreed: I would have no part of this.
You banished me back to the cave,
exiled into fading memory.

But I feel them pulling me back,
through of the Black Forest,
past the gingerbread house,
out of the fairy tales,
and into a cage.
They are corking my teeth,
dumping out my stew-pot,
reeling my tongue back in,
making me safe,
making me fun,
making me marketable.
It will not be long before I star in the limelight of cartoons,
baked into the shape of cookies,
imprisoned within wrapping paper.
When I am a triumph marched down 5th Avenue on Thanksgiving,
I will know they have checked me off their list,
now as gelded as Donner and Blitzen.
I see you up there on your sleigh,
and for the first time since we first met, Santa Claus,
the Krampus is afraid.

About the poem “Hooked Klaus” by The Klute

The Klute was arguably the most recognizable voice from Arizona during the poetry slam movement of the 1990’s – 2000’s. His early work is often humorous. Later in life, The Klute’s poetry took on a more serious tone, with the poet’s primary focus on increased awareness of ocean life. Today’s poem is a humorous poem, a parody of a serious poem by a slam poet from Utah, Jesse Parent.

Summary of “Hooked Klaus” by The Klute

“Hooked Klaus” is a dramatic monologue spoken from the perspective of Krampus, the dark folkloric companion to Santa Claus. The poem reimagines the traditional Good Cop/Bad Cop relationship between Santa and Krampus, portraying them as once-equal partners in shaping children’s behavior through reward and fear. Santa represents generosity, warmth, and moral incentive, while Krampus embodies punishment, terror, and consequence.

The speaker traces his ancient origins across cultures—Egyptian, European, and global—emphasizing that fear has always been a tool adults use to enforce obedience. When Santa enters his life, Krampus expects destruction but instead is recruited, chained but included, as part of a moral system that balances kindness with discipline.

The relationship fractures with the rise of modern consumer culture. Santa becomes a corporate icon, his sleigh filled with mass-produced goods and advertising slogans. Krampus refuses to participate and is exiled into obscurity. In the poem’s final movement, Krampus senses his return—not as a feared enforcer, but as a sanitized, commercial mascot. Stripped of menace and agency, he ends the poem afraid for the first time, watching Santa preside over a world where even fear itself has been domesticated and sold.

Analysis of “Hooked Klaus” by The Klute

At its core, “Hooked Klaus” is a critique of commercialization and cultural sanitization. The poem contrasts ancient, communal storytelling—where fear, consequence, and morality were intertwined—with modern consumer capitalism, which repackages even monsters into safe, profitable images. Krampus is not defeated by goodness but by branding.

The Good Cop/Bad Cop framing establishes a moral economy: children are shaped by both reward and punishment. The poem argues that Santa’s modern incarnation has abandoned balance in favor of endless indulgence, transforming morality into consumption. The chilling one-word revelation—“Plastics”—serves as a turning point, symbolizing artificiality, disposability, and the loss of craftsmanship, tradition, and meaning.
Krampus’s long catalog of global names and monstrous traits underscores his universality. He is not merely a villain but a necessary cultural function: the embodiment of consequence. His fear at the poem’s end is especially powerful because it reverses expectations. What terrifies Krampus is not eradication, but domestication—being rendered “safe,” “fun,” and “marketable.”

The poem’s final image, of Krampus gelded and paraded like Santa’s reindeer, delivers its sharpest indictment. Even rebellion, darkness, and myth are absorbed into spectacle. In this world, nothing remains sacred or dangerous; everything can be packaged.

Conclusion

“Hooked Klaus” blends folklore, satire, and cultural criticism into a darkly lyrical meditation on modern Christmas. By giving Krampus a voice, The Klute reframes him not as a monster, but as a casualty of consumerism. The poem suggests that when fear, discipline, and myth are stripped of their teeth, society may gain comfort—but lose depth, accountability, and meaning.

Discover more poetry inspired by Arizona HERE.

Lydia Gates

November 20, 2025

Lydia Gates — Queer Autistic Performance Poet from Flagstaff, Arizona

Lydia Gates is a queer autistic performance poet and crochet artist based in Flagstaff, Arizona, where she lives with her wife, Lucy, and their “three adorable feline monster children.” Known for her dynamic stage presence, emotionally incisive writing, and creative interdisciplinary work, Gates has become a powerful and beloved voice in Arizona’s contemporary poetry scene.

Explore more Arizona performance poets.

A Leader in the Northern Arizona Poetry Community

Gates is the managing organizer of FlagSlam, the long-running poetry slam of Northern Arizona established in 2000. Under her leadership, FlagSlam has grown into a vibrant hub for poets, performers, and spoken-word enthusiasts across the region.

Her work in the community reflects a deep commitment to accessibility, queer visibility, neurodivergent expression, and the transformative power of performance poetry.

Learn about poets in Flagstaff.

Accolades, Features & Recognition

Lydia Gates has been recognized widely for her contribution to arts and culture in Arizona. Highlights include:

Featured by the Arizona Republic
2024 Viola Awards finalist, one of Northern Arizona’s most prestigious arts honors
Frequent featured poet across festivals, showcases, and arts events

Her 2024 featured performances include:

Discover Flagstaff
Art X Festival
Poet Brews
Harvest
MOCAF (Museum of Contemporary Art Flagstaff)
Off the Rails

These appearances reflect her growing profile as both a regional and national performance poet.

Competitive Slam Poetry Career

Gates has competed at regional and national poetry slams, earning a strong reputation for her bold delivery, emotional clarity, and storytelling craft.

Major competitions include:

2017 & 2018 National Poetry Slams
2019 Southwest Shootout
2023 Beyond the Neon Regional
2023 & 2024 Bigfoot Poetry Slam
2024 Chicharra Poetry Slam

Her performance style blends vulnerability, humor, and fierce social insight—qualities that continue to resonate with audiences across the country.

Published Poetry Collections

Lydia Gates is the author of four poetry collections, each reflecting a distinct chapter of her creative evolution:

I Was an Empire (2017)
She Dreams the Moon (2018)
Changeling (2021)
Algorithmancer (2024)

Her books explore themes such as identity, transformation, queerness, mythology, neurodivergence, and the magic hidden within everyday life. All four titles are currently available on Amazon.

Artistic Focus: Poetry, Performance & Crochet

While performance poetry is her primary genre, Gates is also an accomplished crochet artist, merging fiber arts with narrative expression. Her multidisciplinary practice gives her work a tactile, imaginative dimension—one that blurs the line between handmade craft, personal mythology, and embodied storytelling.

Presence in Flagstaff’s Creative Culture

As a Flagstaff-based artist, Gates plays an essential role in the city’s growing arts community. Her ongoing contributions to local events, youth slams, regional showcases, and creative festivals help foster an inclusive environment where emerging voices feel empowered to speak, perform, and create.

Why Lydia Gates Matters to Arizona Poetry

Lydia Gates represents the energy and evolution of modern Arizona spoken word. Her work as a poet, performer, organizer, educator, and queer autistic artist expands the landscape of what poetry can be—and who poetry can belong to.

Through her writing, her stage performances, and her leadership at FlagSlam, she continues to shape the future of Arizona literature with authenticity, courage, and an unmistakable artistic voice.

Discover more poets of Arizona HERE. Learning about Lydia Gates made you want to see poetry performed? Check out our Events Listings HERE. Are you a poet and want to take advantage of all of the opportunities in the Grand Canyon State? Check out our Arizona Poetry Resources page. Lastly, peruse, explore, read, and interpret hundreds of poems written or inspired about the landscape, culture, politics, and people in the great state of Arizona, from the southern city of Tucson to the Grand Canyon in the north, our collection of poetry is available for you.

B-Jam (Ben Gardea)

October 22, 2025

Arizona Slam Poet, Performer, and Community Builder

Ben Gardea, known throughout the Southwest poetry scene as B-Jam, is a nationally recognized slam poet, performer, and workshop leader based in Phoenix, Arizona. A driving force in the Arizona spoken word community, Gardea blends personal vulnerability, rhythmic delivery, and social awareness into performances that resonate across audiences and generations.

B-Jam’s journey to poetry began not in a classroom, but through recovery, resilience, and self-reinvention. After facing a life-altering struggle with avascular necrosis and undergoing multiple hip replacements, Gardea found his voice in the rhythms of spoken word at venues like Lawn Gnome Publishing and The Lost Leaf— using poetry as both healing and rebellion. His work stands as an invitation for others to speak their truths aloud, transforming pain into presence and survival into art.

As Arizona State Champion of the Arizona State Poetry Society (ASPS) and a Top 10 nationally ranked slam poet at the National Poetry Slam hosted by New Mexico’s Blackberry Peach, B-Jam’s performances are known for their precision, musical cadence, and emotional intensity. His work combines the personal and the political, the raw and the redemptive — embodying the ethos of a poet who lives what he writes.

Poetic Style & Themes

B-Jam’s poetry thrives in the space between rhythm and revelation. His performances draw from the oral tradition of hip-hop and slam poetry, carrying the same pulse as a drumbeat or heartbeat — honest, urgent, and unapologetically human.

Themes of recovery, faith, fatherhood, disability, and identity appear throughout his work. Rather than offering polished conclusions, his poems stay in motion, revealing the daily process of becoming. Whether he’s unpacking the weight of survival, the ache of transformation, or the joy of community, B-Jam writes with a voice that feels lived-in, deeply empathetic, and grounded in Arizona’s desert landscapes.

He has said that poetry, for him, is “not a performance but a conversation with every version of myself that made it here.” That intimacy defines his work — connecting audiences not just to his story, but to their own.

Community Work & Performance

Beyond the stage, B-Jam is one of Arizona’s most active poetry organizers and mentors. He serves as the Spoken Word and Slam Coordinator for the Arizona State Poetry Society, where he helps bridge page and stage, guiding poets toward both competitive and collaborative spaces.

He also hosts the monthly Phoenix Poetry Slam, held at The Lost Leaf and Heritage HQ, two long-running hubs for Arizona’s creative community. Under his leadership, the Phoenix Slam has become a cornerstone of the Arizona spoken word scene, offering open mics, featured readings, and safe spaces for emerging artists to test and share new work.

B-Jam’s commitment to community extends statewide — he regularly travels to Prescott, Tucson, and Flagstaff to perform, judge, and host workshops, helping build a connected network of poets throughout the state. His mentorship of younger performers and first-time poets has helped dozens find confidence in their own voices, creating ripple effects that continue to strengthen Arizona’s literary landscape.

Recognition & Awards

In addition to his Arizona State Championship, B-Jam has represented the state on national stages, including the BlackBerry Peach National Poetry Slam and other regional showcases. His performance work has been featured on stages and digital platforms alike, recognized for its authenticity, musical timing, and emotional range.

Media outlets and organizations including the Arizona State Poetry Society, Prescott Poetry Series, and Fountain Hills Times have highlighted Gardea’s contributions as a performer, teacher, and advocate for accessible art.

Workshops & Mentorship

As a teaching artist, B-Jam leads “Page to Stage: The Journey,” a workshop designed to help writers transform written poems into performance-ready pieces. The series walks poets through the entire process — from crafting honest drafts to finding breath, tone, and rhythm onstage. His workshops often blend elements of mindfulness, movement, and performance technique, helping participants not only strengthen their craft but also deepen their relationship with their voice.

Students consistently describe his mentorship as empowering and deeply human — a space where laughter, tears, and growth share the same breath.

Legacy & Influence in Arizona Poetry

In an era where poetry often lives fleetingly online, B-Jam’s work reclaims poetry as a living act — a gathering, a pulse, a community. His influence in Arizona’s spoken word revival is felt not only in his own performances but in the countless poets he’s coached, encouraged, and celebrated.

Through his leadership with the Arizona State Poetry Society, his hosting of live slams, and his teaching practice, Ben Gardea continues to elevate the art form throughout the Southwest. His poetry reminds audiences that voice is a form of survival and that every poem spoken aloud plants a seed for someone else’s courage.

Today, whether onstage in downtown Phoenix or leading a workshop in a small Arizona town, B-Jam stands as one of the state’s most powerful examples of poetry in motion — living proof that storytelling, when rooted in truth, can heal and transform both the writer and the world around them.

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

‘Alas Poor Yorick’ by The Klute

October 4, 2025

Alas, Poor Yorick

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

No.
No I wouldn’t.

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

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

Alas poor Yorick.
I knew him Horatio.

About the poem “Alas Poor Yorick” by The Klute

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

Summary of “Alas, Poor Yorick” by The Klute

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

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

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

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

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

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

Language, Rhythm, and Tone

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

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

Themes: Performance, Identity, and Disillusionment

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

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

The Klute’s Arizona Legacy and Performance Style

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

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

Learn More About The Klute

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

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

Chelsea Guevara

September 16, 2025

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

From Utah Roots to National Slam Triumph

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

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

Academic Life & Creative Inquiry

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

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

Published Works & Recognition

Chelsea’s published work includes:

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

Performance, Identity & Community

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

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

Themes, Style & Influence

Chelsea’s poetic style is marked by:

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

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

Key Milestones & Why Chelsea Matters in Arizona Poetry

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

Ain't I An American by Jeremiah Blue Poem AZpoetry.com

And Ain’t I An American by Jeremiah Blue

July 4, 2025

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

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

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

And ain’t I an American?

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

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

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

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

And ain’t I an American?

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

And ain’t I an American?

Fox: not my primary source of news.

Reality TV doesn’t look anything like my reality.

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

I am drinking Guinness over Bud Light every time

I prefer salsa and flamenco to Garth Brooks

I think hot dogs are immoral

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

And ain’t I an American?

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

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

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

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

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

And ain’t I an American?

About the poet Jeremiah Blue

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

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

Summary of “And Ain’t I An American”

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

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

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

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

Analysis of Themes and Techniques

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

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

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

Discover More About Jeremiah Blue

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

Gary Every

May 15, 2025

Sedona’s Storyteller, Poet Laureate, and Genre-Bending Wordsmith

Gary Every, the Poet Laureate of Sedona, Arizona, is a literary force known for his genre-defying style, energetic performances, and profound connection to the American Southwest. With over 1,300 publications and nine books to his name, Every has earned recognition in poetry, fiction, journalism, and speculative literature, carving out a unique space where the natural world, science fiction, and spoken word converge.

A Career of Boundless Expression

Gary Every’s expansive body of work reflects his commitment to telling stories that blur traditional boundaries. Whether delivering beat-inspired spoken word, penning sharp science fiction narratives, or crafting intimate essays grounded in Arizona’s diverse landscape, his voice remains uniquely his own. Every’s storytelling ranges from rock concerts and Earth Day celebrations to poetry slams and resort bonfires—wherever there is a microphone or a willing audience, Gary Every brings his signature style.

Prose, Poetry, and the Imaginative Frontier

Every describes his creative output as equally divided between prose, poetry, and fiction—or, in his own words: “journalism, science fiction, and beatnik.” This balance allows him to explore the human condition through both the lens of grounded reality and the infinite possibilities of speculative thought. His journalistic work has been honored by the Arizona Newspaper Association, earning consecutive Best Lifestyle Feature awards.

Honors and Recognition

Gary Every’s commitment to language has garnered critical acclaim across multiple disciplines. He is a four-time nominee for the prestigious Rhysling Award, which honors the best science fiction poetry of the year, and he has received numerous Pushcart Prize nominations for both his fiction and verse. His poetry regularly appears in journals and anthologies dedicated to speculative and literary writing alike.

Introducing The Mighty Minstrels: Poetry Meets Jazz

In addition to his solo work, Gary Every joined forces with a collective of musicians to produce the jazz-poetry fusion album Introducing The Mighty Minstrels. The project underscores Every’s musicality and his roots in performance poetry, showcasing the rhythm and improvisational spark that animate his live readings.

Voice of the Verde Valley

Though originally from outside Sedona, Every is deeply rooted in Northern Arizona’s landscape, folklore, and history. As Sedona’s Poet Laureate, he elevates regional voices and natural wonders through public readings, workshops, and cultural events that blend performance with environmental awareness. His work frequently draws from desert canyons, red rock formations, and the mythic aura of the Verde Valley region.

From Bonfire to Slam Stage

Before his poet laureate appointment, Every honed his storytelling chops as a bonfire storyteller at a luxury resort near Tucson. This period instilled in him a passion for live performance, which continues to inform his presence at poetry slams and community events across Arizona. Whether riffing at a jazz set or engaging audiences at literary festivals, his delivery is dynamic and unforgettable.

A Literary Bridge Across Genres

Gary Every’s writing challenges and expands our understanding of what poetry can be. By weaving together beat aesthetics, desert ecology, interstellar imagination, and sharp journalistic observation, he crafts work that resonates across audiences and disciplines. His ability to shift seamlessly between the page and the stage, the traditional and the speculative, places him among Arizona’s most versatile and visionary literary figures.

Want to read Gary Every’s books? Check out his official website HERE.

Joseph Nieves

May 2, 2025

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.

14 Lines from Love Letters or Suicide Notes Doc Luben Poem Artwork

14 Lines From Love Letters Or Suicide Notes by Doc Luben

April 24, 2025

“14 Lines From Love Letters Or Suicide Notes” by Doc Luben

I
Don’t freak out

II
We both know this has been coming for a long time.

III
I’ve been staying awake at night, wondering if I should tell you.

IV
I bought the kind of crackers you can eat, they are in the hall cupboard.

V
Now that we have watched all the episodes of True Blood, I do not know what else to do next.

VI
I always imagined this would happen without warning and like suddenly on an ocean cliff side
But this is the kind of thing where waiting for the time to be right, would just mean waiting forever.

VII
I’ve just been too afraid for too long.

VIII
I came home on Tuesday and found all of the chairs that I owned stacked in a tower in the center of my kitchen.
I don’t know how long they have been like that,
but it can only be me that did it.
It’s the kind of thing a ghost might do to prove to the living that he is still there.
I am haunting my own apartment.

VIIII
My grandmother was still alive when I was five years old and she asked me to check and see
if the iron was hot enough yet. So I pressed my hand against it and it was red
and screaming for hours.
Twenty-five years later she would still sometimes
apologize, in the middle of conversations,
“I feel so bad about making you touch the iron” she’d say, as though it had just happened.
I cannot imagine how we forgive ourselves for all the things we didn’t say until it was too late.
But how else do you tell if something is hot but to touch it?

X
I keep imagining my furniture in your
apartment.

XI
I wonder how many likes this will get on Facebook.

XII
My dad always used to tell the same joke, but I can’t remember the punchline.

XIII
I was eight years old and it took three weeks, three eight-year-old weeks, imagine! To gather
everything that I would need to be Batman.
Rope.
Boomerangs.
A Mardi Gras mask with the beads cut off.
I couldn’t find a cave near my house,
so I buried them all in a bundle under the ivy.
For years after, I tried to find that spot again.
The ivy grew too fast.
I searched in so many spots it seemed impossible that I had missed one, but I never found it.
How can something be there and then not be there?
How do we forgive ourselves for all the things we did not become?

XIV
I never had the courage to buy bright green sheets.
I wanted them but thought they were too brash, even with no one but me to see them.
I bought a set yesterday and put them on the bed.
I knew that you would like them.

Transcribed from the video 14 Lines From Love Letters Or Suicide Notes by Button Poetry and Doc Luben.

Watch Doc Luben perform “14 Lines From Love Letters Or Suicide Notes” at the 2014 Individual World Poetry Slam in Phoenix, AZ

About the poet Doc Luben

Doc Luben’s poem “14 Lines from Love Letters or Suicide Notes” is a poignant exploration of the blurred lines between affection and despair, capturing the complexities of human emotion in a series of evocative statements. Each line stands alone yet contributes to a cohesive narrative that delves into themes of love, loss, mental health, and self-reflection.

Summary of “14 Lines From Love Letters Or Suicide Notes”

The poem is structured as fourteen standalone lines, each resembling a sentence that could be found in either a love letter or a suicide note. This duality creates a powerful tension, as readers are invited to interpret each line through the lens of both deep affection and profound despair.

Some lines convey mundane details, such as, “I bought the kind of crackers you like. They are in the hall cupboard,” while others delve into more introspective territory, like, “I cannot imagine how we forgive ourselves for all of the things we didn’t say until it was too late.” This juxtaposition highlights the coexistence of everyday life and inner turmoil.

Analysis: Navigating the Intersection of Love and Despair

Luben’s poem masterfully captures the ambiguity and complexity of human emotions. By presenting lines that could belong to either a love letter or a suicide note, he underscores how expressions of love and cries for help can often be indistinguishable.

The poem also touches on the theme of memory and the passage of time. Lines referencing childhood experiences and forgotten jokes suggest a longing for connection and understanding. The final line, “I bought a set yesterday and put them on the bed. I knew that you would like them,” implies a gesture of love that may also be a farewell.

Overall, “14 Lines From Love Letters Or Suicide Notes” challenges readers to consider the nuances of communication and the importance of empathy, especially in recognizing the signs of mental health struggles.

Discover More About Doc Luben

Doc Luben is a renowned poet and performer known for his emotionally charged and thought-provoking work. His poetry often explores themes of love, identity, and mental health, resonating with audiences across the country. To learn more about Doc Luben’s life, career, and contributions to the world of poetry, visit his poet bio page on AZPoetry.com.