Michael Sagum is a Daly City-based Filipinx poet who writes about Filipino and queer identity. He is a current Skyline College student and hopes to transfer to SF state and be part of their ethnic studies degree program.
AS DIVERSE AS THE UNIVERSE (Presented at San Mateo Pride 2021)
Randy James received an MFA in Writing from the University of San Francisco. He has also studied at UCLA. His work has been published in Myriad, Westwind, Red Cedar Review, Palette, FEM Newsmagazine and The Rumpus. Randy has performed in venues across Los Angeles and The San Francisco Bay Area. His work was featured in Hayat Hyatt’s “Villanelle,” which has been archived by Collectif Jeune Cinema. He is also a co-founder of At the Door, a monthly reading series that uplifts and features Black and Brown voices. James’ debut chapbook, Shifters, is now available on Nomadic Press.
Presented at San Mateo Pride 2021
Mimi Tempestt (she/they) is a multidisciplinary artist, poet, and daughter of California. She has a MA in Literature from Mills College, and is currently a doctoral student in the Creative/Critical PhD in Literature at UC Santa Cruz. Her debut collection of poems, the monumental misrememberings, is published with Co-Conspirator Press (2020). She was chosen as a finalist in the Creative Nonfiction Prize for Indiana Review in 2020, and is a creative fellow at The Ruby in San Francisco. She was selected for participation in the Lambda Literary Writers Retreat for Emerging LGBTQ Voices for poetry in 2021. Her works can be found in Foglifter, Apogee Journal, Interim Poetics, and The Studio Museum in Harlem.
Presented at San Mateo Pride 2021
Loa Niumeitolu is a Tongan poet, community organizer and farmer. Her work appears in Whetu Moana: Contemporary Polynesian Poems in English; Homelands: Women’s Journeys across Race, Place, and Time; Yellow Medicine Review: A Journal of Indigenous Literature, Art, and Thought; Muliwai: Hawai’i Review; and was featured on BBC Radio Scotland. As an educator and organizer, she has worked with(in) Mataliki: Tongan Writers Group in Tonga; Ex-Prisoners and Prisoners Organizing for Community Advancement in Worcester, Massashusetts; Pacific Islander women and men prisoners in Central California Women’s Facility in Chowchilla and California State Prison, Solano; and co-founded the Two Spirit Takataapui LGBTQ indigenous support groups: One Love Oceania, Oyate Tupu‘anga, and Spirit Root Medicine People.
Presented at San Mateo Pride 2021
“Growing up in New York City was a great experience and has influenced my outlook on art and life. There was amazing access to museums and other cultural institutions and the energy of the city was always present. I have lived in California for many years now where I am close to both a major urban area and the beautiful Pacific Ocean, surrounded by incredible natural beauty. I am able to draw from many cultures for inspiration that influences my creative efforts, such as the Japanese concepts of wabi sabi and notan.
“Although I have written some poetry and some haiku, I don’t consider myself a poet. My primary creative expression is through art. I am an abstract/mixed media painter and my resume is extensive. I have exhibited for many years in California, nationally and internationally, and my artwork is included in many private collections.
“For several years I was a member of Haiku Poets of Northern California and I served as President of the Peninsula Chapter of Women’s Caucus for Art, past President of the Art Guild, and was a founding member of Sanchez Art Center in Pacifica.”
writing haiku poetry seventeen syllables I can do that
POETRY LESSON
My poetry lesson is not about learning how to write poetry My poetry lesson is how to listen to poetry And the poetry that I hear teaches me not only about the names of birds and names of places where poets come from and where they have been but of their humor, resilience and their desire to share their gift so freely I am learning about those who have suffered great loss and struggled with their sadness, and about the small joys that poets record so eloquently, and how poets share intimate pieces of their lives My poetry lesson teaches me that the poet wants not much more than for the listener to listen and the reader to read My poetry lesson is not about learning how to write poetry
Copyright © 2012 by Marian Yap. This poem originally appeared in the anthology, Carry the Light. Used with permission of the author.
PC Muñoz is a recording artist, producer, and writer based in San Francisco. “Dark, sexual, sensual, confessional, and confrontational—all at the same time” (Performing Songwriter), Muñoz’s singular aesthetic bridges the gap between pop songcraft, free jazz, musique concréte, and the insistent rhythms of funk and hip-hop. An artist with a “deep social conscience…who uses music to connect cultures and communities together” (Anil Prasad, Innerviews), Muñoz’s body of work includes GRAMMY®-nominated contemporary classical music with composer/cellist Joan Jeanrenaud as well as projects with rock legend Jackson Browne, Dr. Fink of Prince and the Revolution, poet/chanteuse Ingrid Chavez, and more. A published poet since the 80s, Muñoz published two chapbooks in the 90s, The Daily Balance (Artlab, 1992), and Half-Truths (Artlab, 1995); his latest chapbook is Inside Pocket of a Houndstooth Blazer (2018). He is also one of the featured writers in the award-winning new collection from University of Hawai’i Press, Indigenous Literatures from Micronesia (2019). Read PC’s poem, “shelter.”
Annie Stenzel was born in Illinois, but has lived on both coasts of the U.S. and on other continents at various times in her life. Her book-length collection is The First Home Air After Absence (Big Table Publishing, 2017). Her poems appear in print and online journals in the U.S. and the U.K., from Ambit to Willawaw Journal with stops at Chestnut Review, Gargoyle, Negative Capability Press, On the Seawall, Psaltery & Lyre, SWWIM, Stirring, The Ekphrastic Review, and The Lake, among others. A poetry editor for the online journals Right Hand Pointing and West Trestle Review, she currently lives within sight of the San Francisco Bay. For more, see anniestenzel[dot]com.
EXCERPTS FROM MY DIARY OF PRESIDENTIAL ELECTIONS
Autumn, 1960
Scrubbed and unusually kempt, clad in my Girl Scout uniform, proud
to canvass the neighborhood with my Protestant-raised mother, who
with my German-born, half-Jewish father, wanted to see the first Catholic
elected President of this strange country. And it happened.
Autumn 1968
Still not old enough to vote, but savvy enough to be aghast
at the prospect of Richard Nixon being elected. It happened.
Autumn 1972
It was my wander-year, the one I spent blithely and safely traveling
Southeast Asia and the antipodes, lucky me, but I exerted myself,
paid a bunch of money at the post office in New Zealand to mail
my absentee ballot, vote against the re-election of that tricky creep.
It still happened.
Autumn 1984
Oooh! A woman on the ticket, albeit as V-P. I hardly knew
who she was, but what joy to be able to vote for someone
other than the usual two white men. It did not happen.
Long years, more white men, a schism growing
Autumn 2000
I was so naïve, I had no idea an election could be stolen.
And I wept when it happened.
Autumn 2008
Only the second woman ever on the ballot for the V-P spot. She’s
the wrong party for me. But look! A person of color is my option
for the first time ever. Impossible? Possible! I fell to my knees
in relief when it happened.
Autumn 2016
In text-speak I would say OMG … I can vote for a woman
at last? So happy! Surely every woman will leap
at this chance: Almost 100 years after gaining the right
to vote, we can vote for a woman to lead us. A miracle.
To live in this country with a woman at the helm, to witness
the difference, to be like other places in the civilized world
that have had woman as leaders for years and years?
It did not happen.
Four years of a shit-show, a nightmare, a steady series
of crimes against a country and its people. I could never
have pictured this. Four years, and now this country,
a place at times the envy of the world,
has become a laughing-stock.
Four long years.
Autumn 2020
For months I wrote postcards to voters, fretted, feared.
Worldwide, a pandemic rages. Elsewhere, leaders
leap into appropriate action, fend off disaster.
Not here, where numbers surge into the stratosphere.
My hair turned shaggy and grey. I voted early, as did many.
For days I held my breath, fearful for my country.
I crossed my fingers, fearful of my country. Our people’s feet
sliced to ribbons from standing on a razor’s edge, teetering.
Which way would the numbers topple?
(But how could this not be an open-and-shut case?
Unfathomable, the distance
between the choices.
Impossible, the gulf that divides us.
It gapes
even now, after what has happened, happened.)
A new president, one who invoked a poet when he won.
A woman of color as vice-president.
I will hold my breath until Inauguration Day.
THE LAST FOUR YEARS, EXPLAINED AS CHANGES IN THE BAROMETER
It was hard on everything, that sudden drop
in atmospheric pressure brought about by our burgeoning
dismay. Speechless creatures had no way to express
their confusion; many wanted to desert the planet.
I tried to tell the redwood, the hollyhock, and the house
finch, Listen, maybe it won’t be that bad, and we’ll get used
to it, all of us. Trouble is, the air around us always has weight
and presses greedily on everything it touches.
And no, it never did get better. It was like suffering through Wilma,
promptly followed by Gilbert, Rita, Camille, Katrina—the great
Atlantic hurricanes that top the list for power and destruction.
Some places, some people, have never bounced back; many never will.
I had to hide. The place I chose took care of me in some respects—
say what you will about my barricades, but isn’t protection
from scary monsters something we all need? Every time I peeked
out, the thing was still scaling skyscrapers, flinging innocents
into the street, sending flames and terror over the defenseless
landscape. The wreckage shoulder-high and climbing. No one foresaw
cyclogenesis of such duration. Historically, sweet airs
restore the glow to Nature’s face after a storm has passed…
cue the fifth movement of Beethoven’s Sixth. But not here.
A shocking truth: some members of my species genuinely relish
this weather. Either they’ve evolved to prefer the dark
and airless days, or their spirits yearn for chaos. These beings
don’t want to trade the cataclysm for anything temperate.
The rest of us strain our bleary eyes toward the horizon.
Perhaps the force of this swath of horror we’ve witnessed is spent
now, and its author has weakened. Please, oh please, oh please.
DURING THE PANDEMIC, I ONLY FRET ON DAYS WITH A “Y” IN THEIR NAME
“Nobody” saw this coming. Yet everyone knew
another flu-like phenomenon could play havoc
with the species. Inching beyond 7.8 billion bodies
on one small planet? How could a single cough
not reach us all? We live in one another’s pockets.
If we stood in a line with our arms extended, we could almost
encircle the globe.
One cage is made out of fear.
Another is made by wisdom.
A cage to protect you from me
and one to save me from all of you
even though your eyes scorch me.
How hard you stare if I dare to turn the key
and leave the cage.
Tables turned, and then my eyes
burn the clothes from your body and leave visible
the scars and marks you’ve earned
from living at large for all these years.
From the window I can see we’re naked
behind our precarious walls, reduced
to the necessities that prod existence along.
I finally mended several socks,
after I found the darning egg and slipped it
into a holey toe. The sewing basket’s always
around here somewhere. It can’t have gone far.
I have taken to crafting my own cards, using
old calendar photos, watercolor from decades ago,
double-sided tape. The one I sent to my Belgian
brother took forever to get there.
At odd hours of the interrupted
night, I shift from lying on the right
side to the left, listen to my heart insist:
more life! more life! more life!
Copyright © 2022 by Annie Stenzel. These poems originally appeared in MiGoZine Winter 2020. Used with permission of the author.
Claudia Monpere’s poems and fiction appear in such journals as New Ohio Review, Prairie Schooner, The Massachusetts Review, The Cincinnati Review, The Bellevue Review, Psaltery and Lyre, and in many anthologies, including California Fire and Water: a Climate Crisis Anthology. She recently completed a Hedgebrook residency in poetry, and teaches writing at Santa Clara University.
THE TIME YOU ARE REQUIRED TO SHELTER such as during your brother-in-law’s speeches about how he got rid of the aphids/ cutworms/ beetles. Endless stories of garlic repellent sprays and neem oil, tuna fish cans filled with beer. Lurking outside: viruses with low settling velocity. Airborn for hours. Inside you’ve got your hall of mirrors, labyrinth, maze. You’ve got your ball of yarn that the cat keeps stealing. Ripped shades. Be warned. Duct tape is not the answer. Stickyweed, cleavers, goosegrass—whatever gumminess you need is there—in your brother-in-law’s neglected side yard, far from his tidy rows of peppers, kale, carrots. You wander among his dahlias—elfin pompoms, fidalgo splash, crichton honey, duet. Happy single wink. (Who comes up with these names? How did you find yourself sheltering in place with your sister’s family?) Remember the last grocery store run. You and your brother-in-law in line outside the store at 5:00 am, and later the flash of grocery carts locusting bread, beans, whole-grain bulgur wheat. Swarming aisle 6. A cart topped by towers of toilet paper and still your brother-in-law reaches for more. Then a long, loud wail. An old woman dropping a pack of toilet paper, someone snatching it from the floor. You remember how your brother-in-law stops reaching for the highest shelf, turns to her, whispers something. And you follow the two carts, hers empty, and you have never seen anything as beautiful— no, not even his moonfire dahlias flecked with gold— as him emptying the white towers from his cart into hers.
Copyright © 2022 by Claudia Monpere. This poem originally appeared in Migozine Spring 2020.
Brian Komei Dempster‘s is an award-winning poet, editor, and teacher. His volumes of poetry, Seize (Four Way Books, 2020) and Topaz (Four Way Books, 2013), have received several honors, including the Julie Suk Award, an NCPA Gold Award in Poetry, and a Human Relations Indie Book Silver Winner award. He is the editor of From Our Side of the Fence: Growing Up in America’s Concentration Camps (Kearny Street Workshop, 2001), which received a Nisei Voices Award from the National Japanese American Historical Society, and Making Home from War: Stories of Japanese American Exile and Resettlement (Heyday, 2011). Dempster is a professor of rhetoric and language and Director of Administration for the Master’s in Asia Pacific Studies program at the University of San Francisco, where he was a recipient of the Distinguished Teaching Award. In addition, he teaches for the Colrain Poetry Manuscript Conference.
Read Brian’s poem, “Our Blood“.
Appointed by the Council of the City of Pacifica in 2003, Rod Clark served as Pacifica Poet Laureate until his death in 2013 at age 93.
He was involved in many aspects of the Pacifica community, serving on the Laguna Salada Union School Board and the Cultural Art Commission. As a lover of art and music, Rod was a longtime member of both the Art Guild of Pacifica and the Pacifica Spindrift Players where he directed several plays. He was the author of six volumes of poetry and continued to write poetry until just weeks before his death.
Source: Mercury News, April 9, 2013
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