How do libraries and the quality of humility go together?

Really well, it turns out.

Jamie Vander Broek unveils this connection in her essay, “A Library Is for You” in Radical Humility, a recent book she co-edited with Rebekah Modrak, a professor in the Stamps School of Art and Design at the University of Michigan.

The Librarian for Art and Design at the University of Michigan Library, Vander Broek outlines how the permission to read whatever you’d like contributes to the humble nature of libraries. In contrast to museums, the people are primary: 

Libraries, instead, devote relatively little real estate and resources toward interpreting their collections, instead foregrounding the individual’s experience with the materials. Another person’s ego doesn’t stand in the way of your access to, at our library, a letter handwritten by Galileo and the first cookbook published by an African American. That’s how important you are to us.

Libraries, Vander Broek observes, don’t impose themselves on one’s intellectual adventure or entertainment but rather offer their collections up to people who want to interact with them. There are many ways Vander Broek illustrates this humility, such as noting, “We think of libraries as being about books or even literacy. But they’re really about sharing. They’re about recognizing the value of saving, sharing, and access to society.”

Sharing is caring, many of us have learned from a young age. 

April marks the 25th year of National Poetry Month and Crazy Wisdom Poetry Circle will mark the tradition during their monthly reading on April 28 at 7 pm via Zoom (email cwpoetrycircle@gmail.com for the Zoom link).

Poets Shutta Crum, Dana Dever, David Jibson, Joseph Kelty, Loraine Lamey, Gregory Mahr, Edward Morin, and Lissa Perrin will read. An open mic will follow and participants may read their own poem or a favorite poem by another poet. 

The Crazy Wisdom Poetry Circle has become a home for writers in the greater Ann Arbor area and has been meeting at the Crazy Wisdom Bookstore and Tea Room for about 10 years. The Poetry Circle offers workshops on the second Wednesday of the month and readings on the fourth Wednesday of most months. Currently, several poets, including Jibson, Morin, and Perrin, co-host the group. 

Morin is the author of a recent poetry collection, The Bold News of Birdcalls, and gains inspiration from the monthly readings.

The Bold News of Birdcalls by Ed Morin is not just about birds. Stories about people, relationships, work, and news occupy his poems. In “Moments Musicaux,” with a dedication to “my sister Audrey,” we read about her birth, marriages, and children. We learn that “Her last words to me were, ‘You’ll look younger if you get your hair cut more often.’ ” Morin sees both the gravity and the humor in his subjects. 

Morin’s poems that do focus on nature or birds are not without the poet’s opinion. The poem “Icicles” says, “February is a sallow miser who hoards / what little daylight is left in the world.” Yet the collection is also not without appreciation for the natural world. We see how industrious birds can be, as “Housing for Wrens” offers the lines “along comes the plain-brown-wrappered wren, focused as a meter reader, from yard / to yard appraising birdhouses for nesting.” This poet not only observes the wren but also admits in another poem that: 

University of Michigan lecturer Julie Babcock’s recent poetry collection, Rules for Rearrangement, offers a journey to discover what those rules are. The book charts a thorough and far-reaching path through memories and ways to persist when someone has disappeared from one’s life. 

The Ann Arbor poet writes, “Everyone is filled with a heavy combination / of blockage and sun.” The obstruction and brightness feel relatable. People have their burdens and their joys. 

How might someone go about rearranging both what weighs them down and what buoys them? A stanza in a section called “Arson” asks for the following: 

Introduce your new self and explain your need. For instance: I need rules for
           rearrangement. For instance: I need to box memories. I need to let my 
           objects know it’s not them.

For Babcock, it can be a matter of space and objects. That same poem goes on to discuss how “Empty space you uncover will be awkward and shy.” Yet, “Former free space you cover will be angry.” This negotiation illuminates the effort it takes to design spaces, things, and even life differently than what they were before. The poet both rails against and is curious about the things around them and what happens to them. 

At the end of the collection when “He returns from the dead so they can discuss Bob Dylan who won the Nobel / prize for literature,” it becomes clear that the rules may be malleable and dependent on how someone approaches them because "'My love,' he says, 'nothing is every one thing.'" Allowing for this multiplicity offers permission for whatever way a person moves forward in the wake of a traumatic event. 

I interviewed Babcock about her new book, writing, and novel in the works.  

The Quite Scientific record label began out of failure.

In 2005, Justin Spindler and brothers Brian and Jeremy Peters had the idea to shed more light on their local Lansing music scene. Justin and Brian gathered songs for a compilation album that they’d release under a yet-to-be-determined name, and in the process, they met members of the band Canada.

Canada had self-released the How Dare You EP and had the song "Hexenhaus" on another compilation, which is what caught the ear of Justin and Brian. They were so impressed with that tune they struck a deal with the band to release a full album.

The compilation record never came together, but Canada's debut album did.

Brian Peters recorded, engineered, and mixed what became This Cursed House in his bedroom/living room in Lansing during the fall and winter of 2005 using a soundboard used to mix portions of The Empire Strikes Back and Return of the Jedi.

“I bought it from a studio in Kentucky,” says Brian. “It was used by a studio that Industrial Light & Magic outsourced work to. It made for a good thing to catch people’s attention in the press release.”

It’s well-known that the life of a poet often means being attentive to the world around oneself, seeing parallels between things or living beings and their thoughts, actions, ideas, and values. David Jibson, co-host of the Crazy Wisdom Poetry Circle, uncovers these connections throughout the poems in his latest book, Protective Coloration. 

The collection’s title is made clear by the poem of the same name, in which a restaurant scene unfolds "with the poet of a certain age, hidden in a corner booth / at the back of the cafe, as quiet as any snowshoe hare, / as still as a heron among the reeds.” There, we see the poet blending in while also taking in the view. Jibson welcomes the reader to join him in seeing striking insights through straightforward language, like the person in “Amy’s Diner” who, while studying the group of men in baseball caps eating the senior special, gets the invitation to “Pull up a chair.”

As people in another poem speculate while preparing and waiting for the arrival of guests, they are “as ready as we’ll ever be, / realizing, now, how much time has passed / since we last dusted in the corners of our lives.” The poems encourage readers to wonder at such things in their own lives. 

Time is a flat circle.

Kwame Sakyi Jr. is a man out of time. 

Or rather, his musical alter ego, Kawsaki, is a composer out of time.

Or maybe Kwame Sakyi and Kawsaki are right on time.

That's the thing about modern music that draws deeply from the past: what at first sounds retro gets reclaimed as futuristic.

Or an imagined future.

Or an alternate contemporary reality.

Retrowave evaporates into vaporwave and shapeshifts into future funk.

All of this to same Kwame "Kawsaki" Sakyi Jr. makes contemporary retrowave that looks forward to future funk misted with vaporwave to create a sound that encompasses the past 45 years of synthesizer music.

And he's a master at doing it.

But for Sakyi, an Ann Arbor native in his late 30s who now calls Detroit home, a different genre of music first turned him onto retro styles.

When Nickie P is on the mic, she commands a room.

The hip-hop artist also known as Nicole Price Smith stalks the stage with supreme confidence, projecting joy as she rips through speedy rhymes with the confidence of a Formula 1 car hugging the pavement.

But when she was younger, the 36-year-old Smith wanted to belt out tunes, not rap them.

"When I first started performing, I wanted to be a pop singer," she said in an email interview. "I took vocal lessons as a kid and studied genres like Italian opera and Broadway, which is what they had me perform at local music events. But at the time, I really wanted to be a big pop singer like Britney Spears or Christina Aguilera, who were very popular at the time."

It was her brother and Seven Chakraz bandmate Kevin, aka Esque, who shifted Smith's attention to hip-hop.

"He would pull me in his room and play me tracks by Wu-Tang Clan, KRS-One, Mobb Deep, early Eminem, and the like," Smith said. "From there I started listening to artists such as Bahamadia, Lil Kim, Jean Gray, and Lauren Hill ... [whose] vocal stylings paired with her colossal rhyme style is unforgettable and it has driven me for many years. More recently, I have really been influenced by artists like Atmosphere, Sa-Roc, and Brother Ali on the Rhymesayers record label."

Like Hill, Smith blends her rapping and singing talents into a compelling whole on a new EP, The Collective Thought. The record was a long-time coming, too: It's been five years since Smith's last single, "Soma," which was more of a soulful singer-songwriter tune, and eight years since her album, the rap-based The Triumphant Rise & Tragic Existence of Sick Nick.

The answer to why there's been big a gap between releases is layered and complicated.

Detroit is many things to many people. Ken Meisel’s poetry collection Our Common Souls: New & Selected Poems of Detroit outlines these many views through substantial narrative poems that tell stories about the city. The wide-ranging poems examine specific places in the city, people such as its famous musicians, and historical events, including riots, the World Series, and Devil’s Night.

The collection opens with a poem called “Detroit River, January, 1996” that sets the scene for both the book and its perspectives of the city: “River on this coal-blasted shore, / River whose name now starts with a fist, / ends its knees in St. Lawrence.” The poem concludes with an emphasis on the river’s persistence, “River of sunken beer bottles, churn on,” just as the place will carry on through time and everything that has happened there. 

The poet peers at the various scenes and underbelly of the city, not overlooking the rough edges, as the poem, “The Gift of the ‘Gratia Creata,’” with a note setting its location in “Hamtramck, MI” declares:

In the neighborhoods, streets, homes, rooms, and basements of author Jeff Vande Zande’s new short story collection, The Neighborhood Division, people live out their lives, their relationships, and their struggles. 

Yet, something is always a little unsettled. A car that follows a character on his run, with threats emerging from the driver. The paranoia of being mugged haunts a female character. A man lives shackled in the basement, unbeknownst to the residents. A neighborhood, where no outsiders are supposed to come in, restricts its residents under the guise of making lives better for them.  

These stories peer into the disarray of lives behind the four walls that they call home and also question the character’s choices. In the story called “That Which We Are,” a widower reflects on his marriage. His wife used to save money during the year so that she could give it to people in need during the holidays. Yet, he coveted the money for household expenses and splurges, like a television. He reconsiders: