Chien-an Yuan is an evangelist.

Not the type who's selling you hope in exchange for a monthly tithe but the kind who just wants you to believe—in art and its healing powers; in music and its succor; in poetry and life-giving energy.

The Ann Arbor musician-photographer-curator works not just in words but in deeds—and sometimes, the deeds are words, carefully arranged and expertly recited as is the case with The Coolidge-Wagner Anthology of Recorded Poetry.

The project is a collaboration between Yuan's 1473 record label, Michigan poets, and Fifth Avenue Studios, the recordings division of the Ann Arbor District Library (AADL). 

Named after two high school teachers who inspired Yuan, The Coolidge-Wagner Anthology of Recorded Poetry is a collection of recited poems, documented at Fifth Avenue Studios, with covers created by local artists for each chapter in the series. (Shannon Rae Daniels' watercolors will adorn the first 10 sessions.) All the recordings can be listened to and downloaded free of charge whether or not you have a library card.

The anthology's construction is ongoing—you can listen to Ann Arbor poets Kyunghee Kim and Zilka Joseph so far—but there's an official launch for the project on Monday, December 9, at 6 pm at AADL's Downtown location. Kim will be joined by upcoming Coolidge-Wagner writers Sherina Rodriguez Sharpe, Chace Morris, and Emily Nick Howard, along with Yuan introducing the poets and talking about the project. (Joseph will be at a future Coolidge-Wagner event.)

I sent Yuan some queries about The Coolidge-Wagner Anthology of Recorded Poetry, and his answers were so passionate, revealing, and thorough that they stand alone without my framing questions.

Below is Yuan's testament to the power of art and a brief history of The Coolidge-Wagner Anthology of Recorded Poetry:

Jim Ottaviani has spent much of his career putting words into the mouths of physics geniuses. Sure, he also used the scientists' own words when penning scripts for graphic novels about Stephen Hawking, Albert Einstein, and Richard Feynman since Ottaviani's books are always deeply researched.

But for Last Summer, a new play by Ottaviani, he had to imagine the words exchanged during a summer 1939 private gathering at U-M physics professor Samuel Goudsmit's home following a physics symposium in Ann Arbor.

The Summer Symposia had been happening in Ann Arbor since the late 1920s, bringing together the greatest physicists to share ideas. Nobel laureates and nuclear pioneers Enrico Fermi and Werner Heisenberg were at Goudsmit's place that summer 1939 evening, with the former trying to convince the latter not to go back to his native Germany and help the Nazis with their nuclear program. It didn't work: Fermi went on to work for the Allies and Heisenberg returned to his homeland.

Their discussion is the basis for the 20-minute Last Summer, which will be staged by the Ann Arbor Civic Theatre (A2CT) on December 7 and 11 at the Downtown location of the Ann Arbor District Library (AADL).

Saba Keramati writes about the hopes, dreams, characteristics, and experiences that form the self but that also stir up more mysteries in her new poetry collection, Self-Mythology. 

Keramati, born in America, writes from the perspective of being an only child of political refugees, her Chinese mother and Iranian father. Her poems probe how holding many identities results in feeling not fully one of them. The first poem, “THERE IS NO OTHER WAY TO SAY THIS,” conveys the pang of these distinctions: “I have to write this poem in English / I do not speak my mother’s language / I do not speak my father’s language / I am not grateful for this country.” These circumstances and the desire to claim an identity, while at the same time chafing against the divisions of self, set the foundation for the collection that asks, “Who am I being today? / … / You’ll always be wrong, and I’ll always be / here, chameleoning myself / with every shift of the light.” 

Self-Mythology is forthright about its focus on the poet, but the poems also look outward. A series of centos, poems with all their lines borrowed from others, are sprinkled throughout the book, and each is called “Cento for Loneliness & Writer’s Block & the Fear of Never Being Enough, Despite Being Surrounded by Asian American Poets.” The third such poem contains lines like “I hold things I cannot say in my mouth—” and “There is mythology planted in my mouth which is like sin. / I cannot help but know the words.” In addition to these recurring centos, poems also reflect on attempts to learn a language, miscarriage, what it is like to be in a relationship, fire season in California, social media, astrology, and 9/11. 

Moments of revelation emerge in Self-Mythology. In “Chimera,” the speaker listens to the radio and hears lyrics conveying a thought that had earlier seemed original to the poet: 

U-M basketball fans will get to hear perspectives about the team’s past and its present at 6:30 pm Monday at Literati Bookstore, when sports writer Mike Rosenbaum will talk about his book University of Michigan Basketball, 1960-1989: From Cazzie Russell to the NCAA Title alongside past U-M players Tom Staton and Antoine Joubert, and current U-M basketball play-by-play radio personality Brian Boesch.

“I’m leading the event,” said Rosenbaum, who grew up in Oak Park, and graduated from U-M with a communications degree in 1980. “So I’ll probably go over a few stories that [Staton and Joubert] talked about for the book … and then we’ll probably have a discussion about this year’s team. Brian’s close to the team. He’s interviewed all the coaches, and he can give us some insight on what’s going on … and talk about what to expect with the new coach [Dusty May].”

Staton and Joubert are just two of the more than 40 people Rosenbaum interviewed for his book, which has been years in the making.

Whether it’s a picture book, a poetry collection, or a fantasy novel, Fifth Avenue Press is ready to share a compelling array of new releases from local authors.

The Ann Arbor District Library’s imprint is launching nine new publications across several genres during a November 3 book-release reception at the Downtown location.

As part of A2 Community Bookfest, the Fifth Avenue Press reception will include author readings and meet-and-greets along with opportunities to purchase books and get them signed by the authors.

Started in 2017, Fifth Avenue Press assists local authors with creating print-ready books at no cost and ensures they retain all of their rights.

As part of that partnership, the library distributes ebooks of the authors’ works to patrons without paying royalties. The authors also can sell their books in various formats and keep all of the proceeds.

Since relocating from Southern California to Southeast Michigan for school, multi-instrumentalist Kenji Lee has quickly become a mainstay in the local jazz and improvisational music scene, while also making a name for himself nationally. 

Whether leading a trio on sax, holding down the rhythm on double bass, curating an open jam, or teaching private lessons, Lee is immersed in performing, curating, and educating, connecting with audiences on tour throughout the Midwest and locally at the Blue Llama, Ziggy's, and the Detroit International Jazz Festival.

We caught up with the busy Ypsilanti musician by email to talk about his musical roots, the challenge of organizing inclusive performances, and the personal importance of Edgefest, which returns to Kerrytown Concert House for its 28th year, October 16-19, and where he's performing Saturday with his Fortune Teller Trio.

This story originally ran September 28, 2022. We're republishing it because Mercury Salad is performing on Friday, October 25, 9 pm at the Ann Arbor District Library, 343 South Fifth Avenue.

Brooke Ratliff says she’s no good at writing traditional love songs because “they’re either really mushy, or they’re really sad”—so she doesn’t even try on Volume 3, Mercury Salad’s latest EP.

Instead, the Ypsilanti folk-rock trio of Ratliff (vocals, guitar, percussion), Kurt Bonnell (guitar, harmonica), and Kyle Kipp (bass) explores the uncertainties of a promising relationship on “Best Guess,” the EP’s spirited opener.

“To me, this song could go either way. It could be that it’s unexpected, or it could be that the person is being overly optimistic,” said Ratliff with a laugh. “I wanted to do something sweet-natured and slightly romantic, but I couldn’t go all the way there. That’s why it’s my ‘Best Guess’ this is gonna work out great.”

This story originally ran on July 31, 2024.

Keith Taylor is launching two new books this year.

The University of Michigan lecturer emeritus and former bookseller offers 40 years of poetry in All the Time You Want: Selected Poems 1977-2017, which was published in January. Then he studies the natural and human world through his poetry collection What Can the Matter Be?, which debuts in August. 

Taylor will read from What Can the Matter Be? at Schuler Books in Ann Arbor on Saturday, August 10, at 3 pm.

Taylor will discuss What Can the Matter Be? with Monica Rico at Literati Bookstore on Wednesday, October 16, at 6:30 pm.

All the Time You Want begins with dancing and concludes with painting. A note to the reader informs us that the poems appear “in roughly chronological order.” These poems map the formative places in Taylor’s life by traveling through Canada and to Ireland, Detroit, Ann Arbor, Isle Royale, Paris, Big Sur, South Bend, North Fishtail Bay, and other places.

Another throughline of the poems is the birds—the crested shelduck, snowy egret, pigeon, cerulean warbler, great horned owl, and ancient murrelet. Or you can follow the art and see “the gaze out past the painting / to all the other stories / no one else could ever understand.” 

These selected poems encounter the ups and downs of the poet’s life and experiences. One day there is “a momentary sense / of the utter loveliness of things” and another day brings “nothing but the clear, sour odor of skunk.”

Musical theater has always been inclusive. Sometimes it broadcasts the message, the way Oscar Hammerstein II did in South Pacific: ”You’ve got to be taught to hate and fear.” Mostly, it simply has been a welcoming home for artists, characters, and spectators of different races, religions, sexual orientations, and gender identities.

Now along comes a musical reimagining of Shakespeare’s Twelfth Night at the University of Michigan, which runs for four performances October 10-13 at Lydia Mendelssohn Theatre. Inclusion is a key theme here, and unlike most musicals that we can label—classic American musicals, rock musicals, opera-style musicals, for instance—it includes just about every kind of music and dance style, too.  

The musical begins as the Shakespeare play does. Viola is shipwrecked on the coast of Illyria and disguises herself as a Cesario, a man, so she can gain employment with Duke Orsino. She falls in love with Orsino, who yearns for Olivia, who in turn loves “Cesario.” 

Director Jessica Bogart says this Twelfth Night is not set in one specific era or locale but “in an imagined city we call ‘the magical now' ... an abstract location that allows characters to discover their true selves and true strengths. The source material itself has this gorgeous exploration of gender and identity.”   

How closely does it follow that source material?

The Fall spooky season is always a great time to revisit the macabre stories of Edgar Allan Poe, and this October the Penny Seats Theatre Company brings to life a stage adaptation of one of the author's most haunting tales.

Based loosely on The Fall of the House of Usher, Michigan playwright John Sousanis's Usher finds the last two heirs of a once-great family reunited with an old friend within their crumbling mansion. Penny Seats' production is directed by company Artistic Director Julia Garlotte, and stars Brittany Batell as Madeline Usher, David Collins as Roderick Usher, and Jonathan Davidson as the unnamed Visitor.

This year marks Garlotte's first season as artistic director of Penny Seats, though she has previously worked with the company as an actor and sound designer. Staging Usher, as with the other Penny Seats performances for 2024, was selected by previous artistic director Joseph Zettelmaier, though Garlotte was in conversation with him throughout the decision-making process. "We both decided that it would be a cool addition to the season," Garlotte says. Zettelmaier had seen Usher during its original run in 2007, and Michigan playwright John Sousanis rewrote the script for Penny Seats. 

"We had some stuff we wanted fleshed out and questions answered," Garlotte says, "and he was willing to take another stab at it. So we have a really great script."

As to what appeals to her about Usher, Garlotte says she is "always a sucker for drama and tragedy, which is a strange thing to say when sometimes the state of the world calls for something a little more light-hearted."