Brian McGuigan wears so many hats he could have been a milliner. He's done every job at Hugo House except run the place, he curates the renowned Cheap Wine and Poetry series, writes poetry and prose and comedy and funny e-mails, and I hear he's a champion Wii bowler.
From running “Cheap Wine and Poetry” and working at Hugo House, I know many people in the literary community, but there are few who I enjoy more than Elizabeth Austen. I first met Elizabeth four or five years ago when I enrolled in her class, “The Poet’s Toolbox,” at Hugo House, and after she skewered my use of gerunds in a certain, never-to-be-published poem, I knew she meant business.
In her review of Kevin Craft’s collection of poems, "Solar Prominence," in "Verse," Carrie Olivia Adams says of the local poet, “(Kevin) knows how to spin a metaphor and to disrupt what seems simple.” Case in point: any poet who compares their writing process with sculpting a beer stein from clay and filling it with ale has my immediate respect and admiration, both in terms of language and content.
I didn’t understand what Emily Dickinson meant when she said, “If I feel physically as if the top of my head were taken off, I know that is poetry,” until I stumbled on “Garcia Lorca.” It’s a poem that starts “Green I want you green” and loops between sense and sound and image so fast it made (still makes) my head spin. The author, Kary Wayson, was local—even better, she was teaching a class at Hugo House that quarter.
I came across an essay by the poet Kwame Dawes in which he talks about empathy as an act of the poetic imagination. “My commitment has always been to be able to pay enough attention to those I meet,” Dawes says, “to be able to feel what they are feeling, and to then be outside of the experience enough to offer a telling of that experience.”
The first time I heard Jack McCarthy was several years ago in Bellingham, Washington. Poetry Night was having their monthly slam, and there were an assortment of fairly well-versed performers, generally flashy, young things drawing heavily on pop culture, hip hop and the sort of sex-life revelations often saved for therapists.
If you happened to be on Capitol Hill a few weeks back and witnessed a band of lovable misfits bouncing down Pike singing selections from various pop stars, led by accordion and banjo, you probably saw Sara Brickman out in front, leading the merriment. You may have also caught her earlier that evening at Bluebird Café giving a rousing performance of spoken word.
As I poked my head into a classroom at Hugo House last Saturday, I didn’t even have to ask if I had found the Emily Dickinson class yet. I knew I had to keep moving because I didn’t recognize anyone from my previous courses with Deborah Woodard (Walt Whitman and Generating Prose Poems), even though it was the first day of class. I finally found my room by the pleasant look of familiar faces alone.
My first introduction to Jeremy Richards was via YouTube, where I watched a video of him rap about T.S Elliot at the 2002 National Poetry Slam. The performance and poem were incredible, but found myself a little confused. Who is this guy?
We’ve tallied it all up; thank you for helping us raise $49,864 to close out 2011 and start 2012 strong! And remember, you can always donate and become a member here.