12 November 2011

Review of Mike Palecek's Johnny Moon

Mixing absurdist flights of fancy with poignant memories of a time that was never as innocent as we pretend, Mike Palecek has crafted a free-wheeling novel of the adventures of Johnny Moon, a young Catholic boy who strives to live up to the idealistic credo of his hero President John F. Kennedy: “A strong boy makes a strong man makes a strong nation.” A chubby, pants-wetting target for bullies and strict authority figures, Johnny chants this mantra while walking to school to lose weight, struggling to complete a push-up or stoically coping with everything from icy puddles to attacking S.W.A.T. teams.

When his hero is suddenly gone, Johnny finds himself the unlikely leader of a league of truth-seekers made up of classmates, nuns (who just might really be space aliens), and the coach and janitor (who just might believe that the school boiler is a time-travel machine – and they just might be right). Through darkly hilarious twists and turns, intriguing mysteries and downright oddball WTFs, Palecek leads us into the JFK conspiracy, anti-communist paranoia, and the myriad eccentricities of Church and State. And, as in all of the writings of this Dali-Vonnegut-Chomsky conglomeration of a novelist/activist, the path by which he leads us is unlike anything we could imagine.

But beyond the surrealistic wildness that always marks a Palecek romp, what’s truly best in this novel is its profound empathy. We fall for Johnny Moon because we are Johnny Moon. Palecek remembers details of our childhood that we’ve long forgotten, and when we see (and feel, taste and smell) these minutiae of adolescence being lived by Johnny Moon we wonder how he was able to get into our heads and hearts unnoticed. In this most-enjoyable of his novels to date, Palecek shows himself to be a skilled cartographer of our collective dreams, fears and memories.

And if you don’t remember what you were doing when you heard Kennedy was shot, don’t worry; read this book, and you’ll always remember exactly what Johnny Moon was doing.
~by Marc Beaudin

04 July 2011

Blue Slipper Theatre Hosts Theatre Workshop Series


The Blue Slipper Theatre, 113 E. Callender, Livingston, will host workshops in acting, set-building and play directing this July and August. The workshops, facilitated by director/designer/playwright Marc Beaudin, are open to those of any experience level (including none), ages 15 and up.  Cost is $25 per session.  Registration is required and can be made at info@crowvoice.com or by leaving a message at (406) 222-7720.

The series kicks off with a two-session Acting Workshop on Saturday, July 23 and Sunday, July 24, from 1:00 to 5:00 pm.  The July 23 session focuses on the audition; offering tips and techniques to give more successful readings and taking the mystery and fear out of the process.  It will also cover the basics of the stage from directions, terminology and personnel to blocking, vocal projection and pacing.

The July 24 session builds upon the concepts learned the day before; focusing on fleshing out a character and living the scene.  It covers discovering a character's personality, motivations, subtext and path, as well as identifying beats, arcs and dramatic units.  It then examines the concept of The Moment: what it is, why it's absolutely vital, and (most importantly) how to find it, create it and stay in it.

Next in the series is a Set-Building Workshop on Saturday, August 6, 1:00 – 4:00 pm.  Participants will learn the basics of set design, tool use, stage carpentry, and scenic painting.   Safety and terminology will also be covered.

The series will end with a Directing Workshop on Saturday, August 13, 1:00 – 4:00 pm.  This session will cover script analysis, research and developing a production vision. Participants will learn techniques for building a rehearsal schedule, managing the production team, casting, blocking and guiding actors toward a successful and artistically rewarding experience.

Those interested may sign up for any sessions, or all four. It is encouraged; however, that those planning to take the directing workshop first attend both acting workshops.

Teaching the series is Marc Beaudin, a director, designer, playwright and educator who has directed and/or designed over 40 stage productions and has taught artistic workshops to hundreds of students for many years.  Six of his shows have been named to the Top 10 Arts Events of the Year by Michigan’s Saginaw News.  This fall, he will be directing his play Frankenstein, Inc., a modern adaptation of the Mary Shelly classic, at the Blue Slipper.  More information can be found at Crowoice.com/theatre.htm.

04 April 2011

The Jump Club, Chapter One

Below is chapter one of my novel-in-progress, The Jump Club.  For full details on how to subscribe to receive a chapter-a-week directly to your inbox, CLICK HERE.

----------------------------


THE JUMP CLUB

by

Marc Beaudin




[NOTE:  This work is fully copyrighted and intended for the private use of subscribers. Please do not post it online or print more than one personal reading copy. Feel free to share your copy with friends and family, but if they enjoy it, please encourage them to buy a subscription. Write info@crowvoice.com for details. Thanks and enjoy. ~mb]
 



“If it’s not love
then it’s the bomb
that will bring us together.”
                                                                           –The Smiths

 

 

 

 

Chapter One


On the short list of things Heron hated, which included smooth jazz, religious hypocrisy and pickled beets, more than anything, he hated the smell of hospitals.
            That stale, metallic, chlorinated death smell. It reminded him of jail, but that wasn’t why he hated it. His aversion to this smell started years before that first night he collapsed into the bunk of his cell, and the hopeless steel of the frame, the anonymous history of sweat & urine & blood of the mattress filled his nostrils and sent him reeling to the stainless steel toilet in the corner of the cell to vomit again and again. Perhaps then, it was the smell of jail that reminded him of hospitals, or perhaps the similarity was just a coincidence; if there were any such thing. He no longer believed in coincidence; then again, he no longer believed in much of anything. But he knew one thing for sure: he had hated the smell of hospitals ever since the train accident.
            Nicholas Heron sat enveloped within this hated smell, enveloped within the steam rising lonely from his cup of cafeteria coffee, waiting. His eyes flashed back and forth across the half-empty room. They were the kind of eyes you though twice about. Dark brown that seemed to plummet toward black. Eyes that struck one as friendly and honest, but suddenly a shift would reveal some dangerous mystery. It was, in fact, their honestly: too deep and demanding for most people. It was a brutal honestly that cut out as deeply as it cut in. It was terrifying.
            He sipped a little too loudly from his wax paper cup; too loudly for one needing to “keep a low profile.” This is what he had said to Dora when he told her that he was coming down to the hospital. She said, “You can’t Nicky, they’ll be looking for you.”
            “Don’t worry, I’ll keep a low profile.”
            Dora, his best friend’s wife, was the only person who called him Nicky. He would hate it from anyone but her. She was the only person that Heron allowed to play the role of older sister, or even sometimes mother, to him. Even when they had been lovers for that short, disastrous time a decade ago, she had been his elder, his protector, his worrying advisor. “Nicky.” How it sounded so reassuring, but only in her voice. To most in his close circle, he was simply “Heron.” To those who knew him less, he was “Nicholas.” Nobody ever called him “Nick.”
            He had been waiting now for almost an hour, with his beard shaved and his long, light brown hair tucked under a baseball hat, waiting for word from Dora about Martin.
            He wished he could be up there with them. He cared more about those two people than he did for anyone. But he couldn’t risk it; it was dangerous enough for him to have even come to the hospital. His escape from the courthouse was big local news, and with all the flag-waving fear mongering going on these days, many patriotic citizens were on the lookout for the “terrorist-at-large.” On top of that was the fact that the cops would suspect him of trying to contact Martin –  it was learning of his best friend’s worsening condition that precipitated the escape in the first place. Actually Heron had been looking forward to the rest of his trial. In his mind it wasn’t him, but the government, that was on trial, and he was ready to lay out its guilt for all to see. In a way, it would be his greatest act of what they define as terrorism, but to him was merely following the advice of two of his heroes: Edward Abbey’s “Sentiment without action is the ruin of the soul” and Thomas Jefferson’s “I have sworn upon the altar of God eternal hostility against every form of tyranny.”
            Heron slurped his coffee again, then noticed that a group of nurses at a nearby table had paused in their conversation and were stealing furtive looks at him.
            “Shit,” he thought, “low profile.”
            A sudden eruption of laughter at the cafeteria entrance pulled the nurses’ attention away from Heron. A group of teenage girls bounced in, seeming to all talk at once, all in the same voice, all with the same boundless energy. They bought tall Styrofoam cups of fountain pop and sat around the table next to Heron’s, chewing on straws, giggling, and carrying on a conversation generally unintelligible to anyone over twenty.
Through the steam of his coffee, Heron watched the girls. One of them; lanky and freckled, fiery hair and eyes, reminded him of someone he knew long ago. Someone he had thought he’d forgotten entirely, but that was probably only wishful thinking – Anna would forever by lurking somewhere in his heart, waiting to gently stab it again when he least expected it. He wondered where she was now. Certainly married. Kids. A house on the outskirts of some city. Somewhere far, far from those days in Ann Arbor; even farther from those nights.
A voice from one of the girls pulled Heron from his reverie. It somehow cut above the birdlike chatter of the group. “What was that thing, that happened in Russia, you know, that was bad?”
“The Cold War?”
“Yeah. We had a test on it the other day, and…”
Heron stared into his coffee. He stared at his hands which, he noticed for the first time, looked like his father’s. Could it be true that he was this old? That they could be this young? That something as ever-present and looming, scarring and life-defining, as the Cold War could now be nothing more than a misunderstood topic on a high school history test. That nightmare of paranoia and hatred. That national death-wish. That vividly-imagined red button that made the entire world disposable. Heron was suddenly struck by just how long a road it was that separated who he was now and the boy he once had been.
 He thought of that boy, and it occurred to him that his earliest childhood memory, before the people and places, before the sights and sounds, his earliest memory, was the smell of rain.

28 January 2011

Acting Workshop at Pit and Balcony


Pit & Balcony Hosts Acting Workshop

Pit and Balcony Community Theatre, 805 N. Hamilton, Saginaw, will host a two-session acting workshop on Saturdays, February 12 and 19, from 1:00 to 5:00 pm.  The workshop, facilitated by director/playwright Marc Beaudin, is open to those of any experience level (including none), ages 16 and up.  Cost is $25 per session.  Registration is required and can be made by calling 754-6587.

The February 12 session focuses on the audition; offering tips and techniques to give more successful readings and taking the mystery and fear out of the process.  It will also cover the basics of the stage from directions, terminology and personnel to blocking, vocal projection and pacing.  Finally, it will explore the beginnings of building a character, creating relationship and finding motivation.  This session lays the foundation for what's covered in the next one.

The February 19 session focuses on fleshing out a character and living the scene.  It details how to analyze a script to discover a character's personality, motivations, subtext and path, as well as identifying beats, arcs and dramatic units.  It then examines the concept of The Moment: what it is, why it's absolutely vital, and (most importantly) how to find it, create it and stay in it.

Marc Beaudin is a director, designer and educator who has directed numerous productions at six different venues and has taught artistic workshops to hundreds of students for many years.  Four of his shows have been named to the Top 10 Arts Events of the Year by The Saginaw News.  Originally from Michigan, he now lives in southwest Montana, and is temporarily back in the area, directing The Woman in Black at Pit and Balcony.  More information can be found at CrowVoice.com/theatre.htm.

05 December 2010

Facebook Poetry Page

I now have a Facebook Page for my poetry & spoken word. Check it out and "Like" it. Thanks!

http://www.facebook.com/pages/Marc-Beaudin-Poetry/114416355287745?v=app_2405167945&ref=ts

19 October 2010

Director's Note for "Dracula"

From the program for the Blue Slipper Production of Dracula ...


Like Count Dracula himself, the appeal of the Vampire legend seems to be immortal. Ever since Bram Stoker popularized the eastern European myth with his 1897 novel, we’ve been fascinated by the mysterious stranger who comes in the night. Each new generation adds its own twist on the motif, and each generation is again mesmerized by the Vampire’s spell.

I think the enduring quality of this myth lies in the gifts that the Vampire offers. Unlike most monsters and creatures of the night, who merely want to kill and eat us, Dracula brings the boons of immortality, power and sexual abandon – the very things that many of us seek or yearn for through the avenues of religion, money, and lewd entertainment. But unlike those opiates that make seldom-kept promises, the Vampire fulfills his commitment to us with a sensual bite to the neck. Yet, the cost is the same: our soul.

This play, true to Stoker’s novel, takes us into the heart of this myth, exploring the complexities and contradictions of good and evil, as well as raising complex questions: Does society teach morality or demand repression of our natural selves? Does Dracula, as society’s opposite offer depravity or freedom? Like all great art, Dietz’s play doesn’t give the answers. Rather it holds up a mirror and forces us to search for those answers within ourselves. Hopefully, what we see reflected in that mirror (if anything) doesn’t terrify us … too much.

17 October 2010

Dracula at the Blue Slipper, Livingston, MT

Dracula Haunts Blue Slipper

This Halloween season, Livingston’s Blue Slipper Theatre will offer a terrifying and erotically-charged production of Steven Dietz’s Dracula, directed by Marc Beaudin, from October 8 through 30, at 113 E. Callender Street, downtown Livingston. Performances will be Fridays and Saturdays at 8:00 pm, with Sunday matinees on October 17 and 24, at 3:00 pm. Tickets are $12 ($10 for students and seniors) and may be reserved by calling the Blue Slipper Box Office at 222-7720.

Dietz’s Dracula, based closely on the iconic Bram Stoker novel, takes the audience on an exhilarating and frightful journey through the dark and mysterious world of Count Dracula. With powerful delving into the complexities of good and evil, as well as un-nerving effects and music, director Beaudin hopes to give Livingston a show to remember (and be haunted by) for a long, long time.

Beaudin, who has directed numerous shows in Michigan, including acclaimed productions of Amadeus, The Exonerated, Macbeth, and The Women of Lockerbie, as well as several plays written by him, most notably Frankenstein, Inc., makes his Montana debut with this production. He reports, “It’s exciting to finally have the chance to work with the talented people of the Blue Slipper, and inspiring to dig into such a challenging script with such an adept and hard-working cast.” In addition to his theatre work, Beaudin is also a poet who performs his work at venues around the country and often at the Pine Creek CafĂ©. His website is www.crowvoice.com.

The cast features veterans of Livingston and Bozeman stages, as well as exciting newcomers. James Guglielmo is “Dracula,” the mesmerizing count newly arrived from Transylvania. Aaron Scheurr is “Renfield,” an incarcerated lunatic who has a mysterious connection to Dracula. Alexis Weinkauf and Larissa Holdorf play “Lucy” and “Mina” respectively, young women who are drawn into the vampire’s deadly power. “Dr. Seward,” the head of a lunatic asylum, is played by Bret Kinslow, and Chris DeJohn plays “Harker” a lawyer lured into the horrible secrets of Castle Dracula. Rebecca Thomas, Justin Weisgerber, Scott Romsos, Rose Boyer and Jenny Jo Allen round out the cast, playing a collection of asylum attendants, servants and undead vixens under the control of Count Dracula.

Parents should be warned that this production contains scenes of a graphic and terrifying nature that may not be suitable for all ages. Reservations are highly encouraged and more information can be found by visiting www.blueslipper.com.

31 May 2010

Memorial Day

It’s another Memorial Day. The annual chance for everyone to post some sentiment about honoring those who died “protecting our freedom.” Really? Do people actually believe that the soldiers who’ve died since 1945 were protecting our freedom?

I don’t in any way mean to disparage those who suffered and/or died while wearing a uniform. I am saddened and sickened at such a waste of life and potential, and for all the suffering endured by their families. But I have to be honest: These are victims of the corporate military-industrial complex. They are victims of propaganda and jingoism (i.e. patriotism). Their deaths are tragic, but have nothing to do with protecting our freedoms.

Vietnam, Korea, Nicaragua, Lebanon, Grenada, Libya, Panama, Iraq, Afghanistan, Yemen, The Philippines, Columbia, Syria, etc. have never been a threat to our freedom. They have only, if at all, been a threat to some U.S. corporation’s freedom to make a profit. The only attacks that have been made on our freedoms have come from our government and our corporations, and often these attacks are backed up by someone wearing a uniform with an American flag on the sleeve, rather than the flag of one of our so-called enemies.

The reason I’m writing this (and taking the risk of offending some people) is that I believe until we observe this holiday with honesty; that is to say, until we use it to mourn the tragic and avoidable loss to the youth of our nation, to recognize (however painful it may be) that these soldiers are not heroes but victims, we will only be making it easier to send off a new generation to kill and die for causes which have nothing to do with democracy and freedom.

Today is not an occasion to wave a flag and perpetuate empty rhetoric about freedom and glory. It’s a day to mourn and to dedicate ourselves to stopping such horrid madness from continuing.

Love and peace to my friends (and to those we’re told are our enemies).

~Marc

(P.S. – I know some who are reading this will be angered and offended and may leave comments reflecting such. That’s okay. That’s one of the freedoms that you have because you’re a human. No one gives you that freedom. No one protects that freedom for you. No one can take it away. But if you find yourself angry, take a moment to ask yourself why. Could it be that you have bought into the propaganda that uses Memorial Day to make us willing to allow killing in our name and with our money? Something to think about.)

06 May 2010

If I were a songwriter ...

There are no mountains in Montana today
This fog has washed them all away
And it seems this snow is here to stay
There are no mountains in Montana today.

28 March 2010

Notes from Forest House, SLC

A fantastic reading at Ken Sanders Rare Books down in Salt Lake. A delicious audience ranging from stoic cowboys to pierced ruffians, from desert rats to yoga-heads. "This Poem" seemed to be the crowd favorite with many asking if it was published anywhere. ... I can't imagine a typical poetry journal ever wanting it, and am not sure if I would include it in a book; however, it definitely will be on the CD I'm hoping to record soon.

After the gig, back to Ken's fantastic Forest House, a magical ship rising above the ocean of steel, brick and glass of SLC, riding the crest of the Wasatch Fault. Delightful violations of Morman Law in cold brown bottles. Tripping over stacks of great books and an endless feast of artwork on every wall.

In the morning, with strong coffee and a wide-eyed window. Watching clouds peeling away from the mountain slopes like burnt skin. leaving scars of luxury homes and radio towers. A brooding darkness pouring in from over the lake, swallowing the buildings of downtown one by one. A goshawk takes refuge in the backyard, silencing all other birds.

25 February 2010

The Rollo & Reba Dialogues, #1

Rollo: If God created everything, then who created God?

Reba: Humans did, as a way to explain how everything else was created.

Rollo: So, if God is just a human creation, then who did create everything else?

Reba: God, of course.

03 February 2010

Ten More Tips for Getting Your Poetry Published

Read the First 10 Tips Here.


11.
If you have a submission that is pending a response from a journal, don’t send more pieces until you receive a reply. If the stated response time has passed (for Poets’ Basement this is one month), it’s appropriate to send a polite note to inquire as to its status. As far as stated response times, give them some leeway: they may be swamped with more submissions than usual or your poems may be “on deck” for a later publication. But if it’s been a month or two after what’s listed, by all means send a query. If you don’t hear back from them after this, I would write them off as being unprofessional jerks and send my work elsewhere (but still send a still polite note letting them know you’re pulling your work from their consideration).

12.
Don’t send me your first draft. Don’t send me your second draft. Or your third, fourth, or fifth. Send me your final draft.

13.
Separate revision from editing. Editing is technical: proofread; make specific and meaningful decisions about punctuation, line breaks, capitalization, tense and style; cut the superfluous; etc. But revision should be literally “Re-Visioning.” See the work again from that original mind. Return to the heart of your creative spark and make sure that every word serves that vision.

14.
Find and read Writing Down the Bones by Natalie Goldberg and Pig Notes & Dumb Music by William Heyen. Re-read them both many times.

15.
Don’t resubmit a piece to a journal that’s already rejected it, even if you think current events make the piece more timely, or you’ve made a couple of minor changes. If the editors wanted it, they would have taken it the first time. If you’ve made a complete revision you might try sending it with an explanatory note, although this may merely give the editors the idea that you should have done the revisions before asking them to consider it the first time.

16.
Make good use of rejection notices. Most editors don’t have the time to send a personal note with your rejections, but when one does, take any comments or advice to heart. They wouldn’t spend the time unless they liked your writing and you were getting close. Honestly ask yourself if their suggestions could help your poem. If the answer is "possibly" or above, go back to work. See #13.

17.
Regarding political or “agenda-driven” verse: If your poem only exists to carry your message, it most likely will fail as a poem. You may be making the most vital and revolutionary point ever made, but that doesn’t in any way excuse a bad poem. Your poem must not be merely a subservient vehicle to your message, it must stand on its own. “No ideas but in things,” said W.C. Williams. Make sure your “thing” is authentic, vibrant and compelling, and then your idea will have the impact it deserves.

18.
If your poem includes an intentional misspelling or similar choice that could easily be considered a typo, include a note specifying your intent.

19.
In his book on directing, Creating Life on Stage, Marshall Mason quotes Jeff Daniels on how he views auditions: “The way I see it, the director has a problem, and I’m there to see if I can help him solve it.” Well, poetry editors have a problem. They need to find and publish the work that best matches their publication’s artistic vision. Help them out by first asking yourself if your work fits that vision, and then by sending them (in the required format) work that is at its best.

20.
Notice in that last tip I said, “work that is at its best” rather than “your best work.” Many journals will tell you to, “send us your best work,” which always bothers me because it implies that your less-than-best poems should be sent somewhere else. It’s not a question of a poem being your best, but its best. Until a poem has been crafted, revised, meditated on, listened to, etc. to the point that you’re sincerely positive (don’t lie to yourself here) that it has reached its full authenticity and music, you shouldn’t send it anywhere.



Poets' Basement on CounterPunch Guidelines & Call for Submissions
CounterPunch.org

26 November 2009

Ten Tips for Getting Published in CounterPunch/Poets’ Basement (or Anywhere Else)

1.
Read the Submission Guidelines and actually follow them. Poetry editors don’t set up guidelines just for kicks: there are specific reasons for each guideline. We receive a lot of submissions and having them formatted a certain way or delivered a certain way means less time making sense of things and more time reading your work. There’s a lot of great poets out there all trying to get published. Why blow your chances of being considered one of them by failing to take some simple steps that are clearly laid out for you? The guidelines are there to help you: use them!

2.
Use standard formatting. Basically this means Times New Roman 12pt. Font (maybe you can get away with Arial or Courier, but why test me?). You can put the title in 14 pt. and/or bold if you like. Single space your poem with one blank space between stanzas. And for gods' sake, don’t center it!


3.
Proofread, proofread, proofread. Have your friend proofread. Have your mom proofread. Have strangers on the bus proofread. Have your dog proofread! Typos tell an editor one thing (whether or not it's justified): you don’t take your work very seriously. If you don’t, why should anyone else? A couple techniques that might help: Read your work backwards. This will help you actually see each word rather than seeing what you think is there. Put your poem in a ridiculously big font. Previously hidden typos will jump out at you. (Just be sure to restore it to 12pt. before you send it.)

4.
This goes back to #2, but




that you think looks "poetic."

5.
This goes for using colors as well.

6.
Don’t tell me to Google you so I can be amazed with your online publishing credits. (Yes, someone did this.) I ask for a short bio. That’s where you can tell me your credentials. I don’t have time to Google you. I'd rather use my time to read your poem. Wouldn't you?

7.
Read your poem out loud and have others read it to you. Listen to the music of it. Are there “off notes”? Does it flow when it should flow and jar when it should jar?

8.
Read poetry. Read contemporary poetry. Read the classics. Read past installments of Poets’ Basement. Read other journals. Find poets who are better than you and learn from them. Read my poetry (this won't help you get published anywhere, but it will help me buy my next beer).

9.
Be specific. Your experience and insight is something that no other poet in the world can give me. Stanislavski wrote, "generality is the enemy of all art," and he was right. The universal is found in the particular.

10.
Beware of adjectives. They are almost always large, unwieldy children.

Read Tips 11 - 20 Here.

21 November 2009

To Tweet or Not to Tweet?

That seems to be the question I'm being forced to ask myself.
Whether tis nobler in the mind to suffer yet another techie, time-eating attempt at book promotion
Or to take arms 'gainst a sea of silliness and by going offline, end it.

In the last few days (my apologies if you were hoping for more mangled Shakespeare), I've read in if not a horde of blogs and articles, at least a plethora of them, that Twittering (or is the verb always Tweeting?) is an indispensable tool for a writer. Somehow, telling the world your pithy, little thoughts in 140 characters will sell books. I just don't get it. The tweeter doth protest too much, methinks.

I suppose, for some writers, there could be something to it all. If one is posting actually interesting and relevant messages, as opposed to "I think I'll eat a sandwich now" and "omg, wtf? lol."

Robert Lee Brewer at Writer's Digest offers some good tips to make it more effective. ... I'm sometimes tempted to give it a go. It might prove useful. Maybe. Possibly.

But then I think, it's most likely merely yet another way to avoid working on this new novel. Which is what I should be doing right now instead of writing this blog. I read once in a book I've forgotten, "Writer's write. Everyone else makes excuses." -- Which would make a great Tweet (or is it Twit?).

So please, anyone reading this, let me know what you think. Do you use Twitter? Do you follow others? Can it help build readership, etc. or is it just another fun thing to do with your thumbs? Convince me: should I become a Twit?

05 November 2009

Mickey Z. Wants Your Revolutionary Poetry

Here's something that showed up in my inbox recently:

Calling all feminists, wizards, Queer theorists, ex-Black Panthers,
Christians, Green activists, avant-gardists, Kabbalists, vegans, Hawaiian
nationalists, kickboxers, Punks, Hip Hop evangelists, New New Leftists,
pink-haired emo warriors, organic gardeners -- submit your work for "The Big
Book of Revolutionary Poetry," edited by Sparrow and Mickey Z. Send up to 3
poems to: sparrow44@juno.com or info@mickeyz.net

Also, please forward this announcement far and wide, post it on your website
or blog or Facebook page, and tweet it if you must. Thanks...

P.S. Please don't reply to find out what we mean by "revolutionary." As they
say, if you have to ask...