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Focus on poetry: It’s the last hurrah for the Fresno Poets’ Association


For 15 years, C.G. Hanzlicek, pictured, has directed the Fresno Poets’ Association, which provides regular readings at the Fresno Art Museum of some of the nation’s most esteemed poets. Now he’s stepping down, and the FPA will be no more. (Unless, that is, someone volunteers to take over all the organizational minutiae of the event.) There’s one more reading at 7:30 p.m. Thursday night, and it’s sure to send the association out in style. Fresno’s own Peter Everwine is the featured poet, and music will be provided by man-about-town Glen Delpit.

I caught up with Hanzlicek for a Beehive interview. (You can also read excerpts in Thursday’s edition of The Bee.) Here goes:

Question: Why is the FPA disbanding?

Answer: When I took over the reading series, I thought it would just be for a couple of years. Then one day I looked up, and I’d been doing it for fifteen years, and then I looked at my hand, and it was holding a Medicare card. Running the series is pretty much a year-round job, even though there are readings only six months of the year. The off season is spent figuring out who to invite for the following season, writing grants, preparing publicity, etc. There’s a lot of fetching and hauling involved, and I simply wanted a rest.

What’s on tap for the final reading?

Peter Everwine, who taught for many years at CSUF, and who I think is America’s finest lyric poet, will be reading. Aside from being the loveliest of writers, he’s also one of the best readers around. After the reading, we’ll have music by the country blues artist Glen Delpit, a Fresno legend. Some of the early FPA readings featured local musicians along with the writers. I had dropped the ball on that, and I wanted to end with a tip of the hat to that tradition.

Talk a little about the history of the Fresno Poets Association: who founded it, significant milestones, etc.

Chuck Moulton, a Fresno poet and friend to all other Fresno poets, and a real character if there ever was one, started the series. Readings weren’t on a schedule. Mostly they featured local poets, but when poets happened to be in town–usually paying a visit to Philip Levine–Moulton would arrange to have them read, too. I should emphasize that Levine is a friend of the very best of American poets, so some of the readers in those days were people like Gerald Stern and C. K. Williams, definitely top drawer talent. . Later on, Jacquelin Pilar, the curator at the Fresno Art Museum, helped Moulton with the readings, and after Chuck’s untimely death, she ran the series herself until I came along.

I understand that the series went from casual readings in apartments to the old Wild Blue nightclub. How did it end up at the museum?

Yes, it was all very casual in the beginning. Moulton would line up four or five people to read at someone’s apartment. I don’t remember how he publicized these events, but the turn-out was usually quite good. After the Wild Blue Yonder night club opened in the Tower District, one of the owners, Jim Bixler asked me to read. It went over quite well, and Jim wanted more readings. I think I arranged one or two more, and then Moulton took over. Once Jacquelin Pilar had joined Chuck, she suggested that some of the readings could be held at the museum. The Wild Blue Yonder was a bit problematic in that minors couldn’t go to the readings. Gradually, we just moved everything to the museum, and around that time the Wild Blue Yonder changed hands, so everything worked out for the best.

Talk about the series’ relationship with the Fresno Art Museum.

The museum has been a wonderful and generous host. Although they’ve been through several directors during our tenure there, Jacquelin Pilar has been the constant and steady support of our being part of the museum’s schedule. It’s fair to say that she has had to educate some new directors as to why we should be at the museum, but they have all lent their support.

For you, what were some of the highlights at readings over the years?

One moment I’m particularly fond of occurred when William Matthews, who was a poet of considerable reputation, came here to read just months before he passed away. I asked him why he’d agreed to come to Fresno for a much smaller honorarium than he was accustomed to, and he said, “Fresno is part of the literary map, and I had to come and see it for myself.” Most of the poets I’ve invited to read are people I’d known only through their work, so it has been a continuing pleasure to meet people whose work I admire.

This is an obvious question for a poet, but why is it important to hear poetry read aloud?

I enjoy reading poems on the page, preferably at night, in my favorite chair, with the page lit by a single lamp, but there’s nothing quite like hearing the poems in the voice of the poet. In many ways it can be more nuanced than seeing the poem on the page. Unless the poet is a terrible reader, which certainly can happen, and then it’s a train wreck. But most poets read their poems well and make the listener feel at home in the language.

How is one of your group’s poetry readings different from the slam poetry scene? Do you think there’s a place for each?

Our board has a rule that all of our readers must have published at least one book by a reputable publisher. Since we receive grants from the organization Poets & Writers, we have to approach the series with a certain professionalism in order to maintain their interest in us. There seem to be more venues for slam poetry now than there are for literary poetry, so I never felt we were being exclusionary by cleaving to the literary. Certainly the culture, when it wants to, can make room for all kinds of expression.

Describe Fresno’s literary poetry scene for those who aren’t familiar with it. Is the general public aware of its strengths?

The fire-starter for the Fresno poetry scene was Philip Levine, our very own Pulitzer Prize winner. Phil was probably the most beloved teacher ever to teach at CSUF, and he made poets out of a stunning number of students, almost all of whom were born and raised in the valley. Peter Everwine came along a few years after Phil’s arrival, and then I came in 1966, to be followed by Connie Hales. The teaching of poetry and poetry writing has always been a strong suit of the English department. When you have a teaching staff that really cares about poetry, it contaminates everything with a lovely poison. So many Fresno students have gone on to make their own careers as poets that it’s difficult to keep track. I think I once counted over two hundred books of poems by our former students.

How do you think the end of the series will impact that scene?

People will be choking with panic.

Do you think someone else will step forward and try to keep something like the series going?

I don’t know. I’ve talked to several people about taking over from me, but it’s a big commitment. Not that many people are interested in hurting themselves intentionally, and it really is a job for a masochist.

Anything else you’d like people to know about the end of the FPA or about the last reading?

Be there. It will be fun, and it will be moving.

Responses to "Focus on poetry: It’s the last hurrah for the Fresno Poets’ Association"

wet towel says:

I have often wondered at how literary trends play out in the world. (You gotcher ‘Jams,’ yer ‘Slams,’ and your formal ‘reads.’)

And I’ve wondered how the ‘formal’ poetry beds were doing. Looks like we’re finding out.

I don’t know if this is just the ever changing face, if the rude-screen is simply being torn down with the congregation now taking the body out with them, (implimenting what they need, the ‘high-church’ going curbside service.)

But there’s something to be said for honest ta God poetry, that is written, well written, and conveys things that no other media can accomplish.

I’m (personally) not sure if I agree with what’s called ‘poetry’ when it goes to a rap-hip-hop style,
but by it’s very definition, it’s still poetry, (so I guess it’s a matter of personal taste.) Some of it is amazing, some of it sucks (so that’s just like regular poetry.)

And I think there needs to be a clear understanding (with bench-marks) so that the bright (temporal) flash of ‘the scene’ does not derail and override the traditional.

‘Formal Poetry’ has to exist, and so do ‘formal reads’ (no matter how stodgy feeling to some) (Despite Sing-Sing with a Swing being done at Carnegie Hall, they did not abandon Schubert, and Gene Krupa was not replaced by Neal Paert, (nor) synth drums.
-But at least all of these ‘shock of the new’ upstarts had somewhere to walk in and make the puritans nervous.

I hope this type of venue resurfaces.
It would be nice to attend, or at least know, that it exists and is seen as necessary.
(With it’s end, I have to confess a slightly gnawing feeling that civilization on some plain has been lost.)

blake says:

Thanks for the article Mr. Munro.
It’s great to be reminded of how these
teachers/performers/organizers/artists have
enriched our region and sent that local
flavor and talent out into the world.

Donald Munro says:

@Towel: You raise some interesting points. I don’t have much background in the poetry scene, so I’ve only been dimly aware of the divide between the literary and slam practitioners of the art. I learned a little about it with this story, however. I took a call this morning from a woman who’d read my article and wanted to know if she’d be able to give her own extemporaneous reading tonight at the last FPA event. When I told her that the event featured a poet reading from his published works, she was quite dismissive. Poetry is only viable when it comes spontaneously, she said. I don’t really understand this mindset. To me, great prose literature is carefully crafted, and while I guess it’s possible for a master storyteller to create tales on the spot, so often it’s the way the author uses words to convey image/mood/significance that is the art, not the storyline itself. Perhaps poetry is different. But at the very least, I don’t see why the literary/impromptu traditions of the genre can’t more peacefully coexist.

wet towel says:

May as well throw this answer in instead of the gihugic one…

It can be summed up with an explaination from Music.

Jazz is almost always done as improv. If you have a score in front of you? You’re not really composing on the spot, and not really ‘creating.’
-a lot of times poetry (or spoken word) was done in jazz clubs and has really been personified by the beats (who everybody thinks ‘spoke’ everything out of the air, (nope, lots of them —most of the greats, read their stuff that they had been working on for days or years.)
But people are more apt to believe the ‘legend,’ and ‘style’ than authentic reality.

On the other hand?
It’s fine for everybody to have scores in front of ‘em, (recommended in fact,) even when it’s just a solo performer.

It’s a fight of false premise, but even some of the best jazz players I know refer to classical players as ‘real players,’
–and classical players refer to Jazz players as being ‘real’ because they can spot-create.

In fact, a lot of the ‘improv’ stuff can degenerate into cliche’, riffing, and hystrionics or even bullying of an audience by the presence of the performer.

If it’s good?
It speaks for itself, it can speak from the paper, –and no real ‘poet’ is afraid to let their work stand naked on a page.

David W. Clary says:

Great. I finally start looking for a poetry group to share my work with, and they disband. Dang it.

Anyone know of any other poetry groups in town?

Larry Sheehy says:

Long time since being in Fresno. It was nice coming across this piece while searching for some of Chuck’s poems online, altho not so nice to hear about the FPA’s possible disbanding. I would love to find Chuck’s poetry online, esp. his wonderful “Casa de Fruta” poem, which I heard him read a number of times. I loved his readings. Poetry scene up here in Mendoland is active, I helped to organize the Watershed Poetry Mendocino festival, which is having it’s 2nd annual this Oct. Would be nice to hear from some Fresno poetry folks. Cheers, Larry Sheehy (Fresno: 1968-1983)