Tag: Women Voices

itll take the edge off they say natasha murdock poem artwork pregnancy

it’ll take the edge off they say by Natasha Murdock

May 9, 2025

“it’ll take the edge off they say” by Natasha Murdock

but I am made of edges
edges of elbows & guilt & feet & baby
edges staring me in the face—pain
managed through natural techniques—
as if these edges that rip up my spine
& ribs & lungs are natural
as if disappointment isn’t just
another edge to jump off
as if lifting one thing doesn’t
expose one other thing to pain
as if preparing to be split into two
is as easy as scribbling down
a wish to be whole

About the poet Natasha Murdock

In her visceral and introspective poem “it’ll take the edge off they say,” Natasha Murdock confronts the complexities of womanhood, pain, and the contradictory expectations surrounding childbirth and the female body. The poem is part of her powerful collection sign on the dotted line to release the record, a 2017 National Poetry Series winner that investigates the terrain of motherhood, sexuality, and identity with both lyrical precision and unflinching honesty.

Summary

The speaker begins by identifying herself not as a cohesive whole but as “made of edges”—physical, emotional, maternal, and psychological. These edges include elbows, feet, guilt, and the omnipresent baby. From the outset, Murdock positions her body and experience within a framework of fragmentation and pain. The poem takes aim at the idea that pain can be managed with “natural techniques,” exposing the absurdity of pretending that such suffering is easily soothed or inherently noble.

She interrogates the romanticization of “natural” pain and questions societal platitudes about endurance and sacrifice. The poem’s imagery is sharp and layered: edges “rip up” the spine and ribs, and disappointment is just “another edge to jump off.” The final lines crystallize the central tension—how the act of preparing to be “split into two” during childbirth is anything but natural, or easy. The wish to be whole stands in stark contrast to the reality of being divided, physically and emotionally.

Analysis

Murdock’s use of enjambment and line breaks creates a sense of breathlessness and fragmentation, echoing the speaker’s bodily and psychological experience. The repeated invocation of “edges” reflects both the literal sensations of pain and the metaphorical contours of a life being reshaped by motherhood. Each edge carries weight—some cutting, some unavoidable, some anticipated but still overwhelming.

The poem critiques the cultural narrative that positions maternal suffering as noble or desirable. In doing so, it pushes back against both traditional and modern expectations placed on women: to endure, to perform, to manage pain gracefully, and to emerge from childbirth somehow stronger or fulfilled. Murdock turns the medical and cultural jargon of childbirth—“natural techniques,” “pain management”—into sources of irony and critique, revealing how language itself can obscure the brutal truths of embodied experience.

There’s a quiet rage beneath the surface of this poem, a defiant refusal to accept pain as virtue or silence as strength. And yet, the final line—“a wish to be whole”—offers a glimmer of longing, if not hope. It’s a wish that resonates with anyone who has felt the world’s expectations carve into their identity.

Murdock’s poetic voice is sharp, intimate, and undeniably essential in the contemporary conversation on gender, motherhood, and bodily autonomy.

Want to learn more about Natasha Murdock’s work and poetic journey?
Click here to visit her poet bio page on AZPoetry.com »

Natasha Murdock

May 9, 2025

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.

Niccolea Miou Nance

May 9, 2025

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.

Libby Rooney

April 9, 2025

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

From Israel to Arizona: A Journey Fueled by Creativity

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

A Voice for Women and the World

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

Performing Across Arizona’s Spoken Word Scene

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

Writing for the Globe Miami Times

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

Celebrating Small-Town Arizona Through Art

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

Valerie Martínez

April 2, 2025

Valerie Martínez: Poet, Educator, and Advocate for Art, History, and Healing

Valerie Martínez is a celebrated American poet, writer, educator, translator, and arts administrator whose work transcends the boundaries of genre and discipline. Born and raised in Santa Fe, New Mexico, Martínez’s poetry is deeply rooted in the cultural, historical, and ecological landscape of the American Southwest. A descendant of both Spanish colonizers and Indigenous peoples, she brings a rich ancestral perspective to her writing—an intersection of memory, identity, and place.

From Santa Fe to the World: Life, Education, and Travel

Valerie Martínez left Santa Fe in 1979 to attend Vassar College, earning her A.B. in English and American Literature. She later pursued an MFA in Creative Writing/Poetry at the University of Arizona. Her life and poetry have been shaped by extensive travels across the United States and around the globe—including long stays in Swaziland (now Eswatini), Israel, Japan, South Africa, and Latin America.

Martínez’s time abroad, especially her years teaching English in Southern Africa, gave her a broad cultural perspective that informs the themes of empathy, environmental stewardship, and social justice that permeate her work.

A Distinguished Career in Education and Literary Arts

Before returning to New Mexico permanently in 2003, Martínez served as a college professor for more than 23 years, teaching courses in poetry, American literature, women’s literature, Latino/a literature, and Native American literature. From 2018 to 2021, she served as Director of History and Literary Arts at the National Hispanic Cultural Center in Albuquerque.

Her dedication to the intersection of art and community also led her to co-found Littleglobe, Inc., and later, the nonprofit arts and social change organization Artful Life. Most recently, she led the groundbreaking CHART project (Culture, History, Art, Reconciliation, and Truth), facilitating a year-long community engagement process addressing the complex cultural history of Santa Fe through inclusive storytelling and healing.

A Legacy of Poetry That Speaks to the World

Valerie Martínez is the author of six poetry collections, two chapbooks, and a book of translations. Her groundbreaking poetry blends lyricism with political and ecological awareness, giving voice to the voiceless and illuminating histories too often overlooked.

Notable Poetry Collections:

Count (University of Arizona Press, 2021)
A hybrid book-length poem that examines climate change through myth, personal memory, environmental data, and global storytelling. Count was adapted into a choral composition titled As the Waters Began to Rise by composer Peter Gilbert.
Each and Her (University of Arizona Press, 2010)
A powerful meditation on femicide and violence against women, particularly the murdered and disappeared women of Juárez, Mexico. The book was nominated for a Pulitzer Prize and received the 2011 Arizona Book Award.
Absence, Luminescent (Four Way Books, 1999; reissued 2010)
Her debut collection, which won the Larry Levis Prize and a Greenwall Grant from the Academy of American Poets. Jean Valentine praised it as “expansive, surprising, intelligent… filled with compassion.”
World to World (University of Arizona Press, 2004)
A collection that continues Martínez’s exploration of identity, ancestry, and spiritual inheritance.
And They Called it Horizon (Sunstone Press, 2010)
Written during her tenure as Poet Laureate of Santa Fe, this collection reflects her deep connection to place and community.

Publications, Honors, and Influence

Martínez’s poetry has been widely published in esteemed literary journals such as Poetry, American Poetry Review, AGNI, The Colorado Review, and Mandorla. Her work also appears in more than 30 anthologies including The Best American Poetry.

A frequent guest speaker and reader at national literary festivals and universities, Martínez continues to inspire a new generation of poets with her genre-blending work and community-focused approach to art.

Her poem “Bowl” was featured in the PBS/Poetry Foundation “Poetry Everywhere” series and was also set to music by composer Glen Roven and performed by soprano Talise Trevigne. Another poem, “September, 2001,” was featured in The Washington Post‘s “Poet’s Choice” column.

Poetry as Artful Action

What sets Valerie Martínez apart is her unwavering belief in the power of poetry as a tool for transformation—not just personal, but communal and ecological. Her work invites readers to bear witness, to reflect, and to act.

Whether she’s writing about climate change, cultural memory, femicide, or the beauty of New Mexico’s landscape, her poems ask us to reconsider the stories we tell and the silences we keep.

Desert Rain by Mary Hunter Austin

March 8, 2025

“Desert Rain” by Mary Hunter Austin

High in the sierras,
All the smouldering summer,
Sudden the thunder!
Rain on the mountains,
Rain on the dry hills,
Spate in the gullies.

Manna of heaven
That lays the dust of the valleys,
Manna of heaven,
Working a miracle.

Rain on the desert,
Meagre and moldy,
Kissed into blossom;
Nourished to comfort
My heart and my valley’s
After the thunder.

About the poet Mary Hunter Austin

Mary Hunter Austin’s poem Desert Rain captures the transformative power of rain in arid landscapes, both literal and metaphorical. Set against the backdrop of the Sierras and the dry, desolate hills, the poem unfolds with the sudden arrival of a storm, breaking the long, smoldering summer with thunder and torrents of rain. The contrast between drought and renewal is at the heart of the poem, as the rain becomes a divine force—described as “manna of heaven”— bringing relief, nourishment, and even miracles to the parched land.

Austin’s imagery is strikingly vivid, depicting how the rain quenches the valleys, washes away dust, and revives the desert’s fragile ecosystem. She emphasizes how even “meagre and moldy” rain is enough to “kiss” the land into blossom, suggesting that even the smallest offering of sustenance can lead to profound renewal. On a deeper level, the poem speaks to human resilience and emotional restoration, as the rain’s “comfort” mirrors the way hope can emerge from hardship, much like the desert’s revival after the storm.

Austin’s Desert Rain is a celebration of nature’s delicate balance, a recognition of life’s cyclical struggles, and a reminder that even in the harshest environments, renewal is possible.

Learn more about Mary Hunter Austin and her literary legacy here on her poet bio page.

Linda Ronstadt

March 7, 2025

Linda Ronstadt: Arizona’s Legendary Voice of Music and Poetry

Early Life and Arizona Roots

Born on July 15, 1946, in Tucson, Arizona, Linda Maria Ronstadt grew up surrounded by the vast landscapes and rich cultural heritage of the Sonoran Desert. Raised on a 10-acre ranch, she came from a family deeply rooted in Arizona’s pioneering history. Her father, Gilbert Ronstadt, was a businessman whose German-Mexican heritage connected him to Tucson’s early days, while her mother, Ruth Mary Ronstadt, was of German, English, and Dutch descent.

Music was a vital part of Ronstadt’s childhood. Her father was an avid singer, and her grandfather, Fred Ronstadt, was a wagon maker and musician who played a key role in Tucson’s early cultural scene. The Ronstadt family would often gather to sing traditional Mexican folk songs, exposing young Linda to the vibrant rhythms of rancheras, mariachi, and corridos. This influence would later become a defining element of her musical identity, particularly in her celebrated Spanish-language albums.

Ronstadt’s hometown of Tucson shaped her artistic sensibilities. She grew up hearing a blend of genres, from Mexican ballads to country-western tunes and early rock ‘n’ roll, which fueled her love for music. This deep connection to Arizona’s cultural diversity made her one of the most unique and influential voices in American music history.

Musical Beginnings and the Rise to Fame

Ronstadt’s professional career began in the mid-1960s when she moved to Los Angeles to pursue her musical dreams. She formed the folk-rock trio the Stone Poneys, alongside Bobby Kimmel and Kenny Edwards, both of whom she had met in Tucson. The band’s 1967 hit song, “Different Drum”, written by Michael Nesmith of The Monkees, became Ronstadt’s first major breakthrough, showcasing her powerful yet emotive voice.

Following the Stone Poneys’ success, Ronstadt launched her solo career with her 1969 album, Hand Sown… Home Grown, often cited as the first alternative country album by a female artist. However, it was in the 1970s that she dominated the music industry, earning the title of “The Queen of Rock”.

With hits like “You’re No Good,” “When Will I Be Loved,” “Blue Bayou,” and “It’s So Easy”, Ronstadt became one of the biggest-selling female artists of the decade. She was the first woman in rock to achieve multi-platinum success and was frequently featured on the covers of major music magazines, including Rolling Stone and Time. Her versatility in blending rock, country, folk, and pop set her apart from her contemporaries.

Arizona’s Influence on Her Music

Despite her immense success, Ronstadt’s heart remained in Arizona. She frequently spoke about her Southwestern upbringing and how it shaped her artistic vision. Tucson’s rich musical landscape, from Mexican rancheras to country-western ballads, directly influenced her musical style and song choices.

Her landmark 1987 album, Canciones de Mi Padre, paid tribute to her Mexican heritage and became the best-selling non-English-language album in American history. The album featured traditional Mexican folk songs that she grew up listening to on her family’s ranch in Tucson. The title, Canciones de Mi Padre (Songs of My Father), was a tribute to her father’s influence on her musical upbringing.

Songs like “La Charreada” and “Dos Arbolitos” showcased her ability to interpret traditional Mexican music with authenticity, earning her a Grammy Award for Best Mexican-American Album. She followed up this success with two more Spanish-language albums, Mas Canciones (1991) and Frenesí (1992), further cementing her status as a cultural bridge between American and Mexican musical traditions.

Storytelling Through Music and Lyrics

Ronstadt was more than just a singer—she was a storyteller. Her songs, much like poetry, captured raw emotion, personal reflection, and vivid imagery. Whether singing about heartbreak, resilience, or the beauty of the desert, her lyrics painted a picture of the human experience.

Her signature song, “Blue Bayou,” tells the melancholic tale of longing for home, a theme that resonated deeply with Arizona’s wide-open landscapes and the feeling of nostalgia for familiar places. Similarly, “El Camino” and “Los Laureles” from Canciones de Mi Padre echoed the stories of love and loss in the Mexican-American experience, passed down through generations.

Her 1975 album, Prisoner in Disguise, included folk and country-infused ballads that read like poetic narratives, exploring themes of loneliness, hope, and self-discovery. Whether interpreting classic rock songs or traditional ballads, Ronstadt infused them with poetic depth, making her music not just a listening experience but an emotional journey.

Breaking Barriers and Musical Experimentation

Ronstadt’s career was marked by bold experimentation. She didn’t just stick to one genre—she explored rock, pop, country, opera, jazz, and Latin music, making her one of the most versatile artists of all time.

In the 1980s, she shocked the music world by recording a trilogy of traditional pop albums with Nelson Riddle, breathing new life into the Great American Songbook. Her albums What’s New (1983), Lush Life (1984), and For Sentimental Reasons (1986) introduced classic jazz standards to a new generation, proving that great music transcends time.

She also ventured into Broadway and film, starring in The Pirates of Penzance, which earned her a Tony Award nomination. In 1996, she recorded Dedicated to the One I Love, a collection of rock songs reimagined as lullabies, showcasing yet another facet of her artistic genius.

Honoring Her Legacy in Arizona

Even in retirement, Ronstadt’s Arizona connection remains strong. In 2022, the Tucson Music Hall was renamed The Linda Ronstadt Music Hall in her honor, recognizing her lifelong contributions to music and culture.

Though she retired from singing due to progressive supranuclear palsy, a neurological disorder initially diagnosed as Parkinson’s, she remains a powerful voice in the music industry. She has published memoirs, including Simple Dreams: A Musical Memoir and Feels Like Home: A Song for the Sonoran Borderlands, reflecting on her Arizona roots, music career, and cultural heritage.

Ronstadt’s Influence on Today’s Music Scene

Linda Ronstadt’s poetic approach to songwriting continues to influence new generations of musicians and poets. Her ability to convey deep emotions through song lyrics has inspired countless artists across multiple genres.

Her music is still widely recognized, appearing in films, television, and even video games. Songs like “Big Iron” and “El Paso” (which she famously covered) have been rediscovered by younger audiences, proving that her legacy is timeless.

Ronstadt’s impact on music, culture, and Arizona’s artistic identity cannot be overstated. She was more than just a singer—she was a poet of the desert, a voice of the Southwest, and an icon of musical storytelling.