Steve Cannon Heckled Because He Cared

I heard Steve Cannon’s voice before I met him. “Read the poem! READ THE GODDAM POEM!” His heckles were a key ingredient of the brand-new slams at the Nuyorican Poets Café in 1989. They sounded like the disgruntled, impatient curses of a drunk – which, okay, they were – but they were also so much more. Steve did not suffer fools silently. He shouted at hapless literary wannabes stumbling over lengthy introductions to their work not to silence them, but to remind them why we were all here — to hasten them to their point: poetry. It was all about the goddam poem.

Steve played the part of the crank, the jester, the barfly. He used his growing blindness as a mask; there was a sort of barbed minstrelsy to his jeers. But he was actually a deep, generous spirit. He heckled because he cared. His lasting legacy is the way he opened his mind, his home, his heart, his wallet to all creative spirits who joined him on The Stoop. The Stoop was exactly what it sounds like: the steps up to his brownstone building in New York’s Lower East Side. Every New York denizen knows the culture of the stoop: the passageway in and out that becomes a hang, especially on days when either the sun beckons you out, or the heat inside is so oppressive you have to get out.

Steve was all about community: He had a permanent stool amid the collaborative space of the cooperatively run Nuyorican. He gently pushed and prodded the think tanks of the salons Stray Dog and the Stoop. The name of the magazine he founded and edited and the gallery that subsequently took over his home says it all: A Gathering of the Tribes. (A poster of the first cover, featuring art work by David Hammons, hangs on my office wall.) In the midst of the heyday of identity politics, Steve wanted us to all to think outside of our boxes.

Sadly Steve is not remembered as much for his own fiction, plays, and criticism, though his 1969 novel Groove, Bang and Jive Around is a cult classic. Once he lost his vision to glaucoma, it was hard for him to write. He relied on others to transcribe and edit his dictations, which were necessarily freeflowing and rambling. How else was a blind, elderly artist supposed to compose? Many people generously donated their time and energy to help him with his scripts, his gallery, his publication, his finances, his health, his life. It was no easy task. Steve always seemed to be on the brink of disaster, of losing his home (which he did, eventually, despite numerous individual and collective efforts to save Tribes), his sanity, his life. He lost the last battle July 7, at age 84.

Steve appreciated creativity and identified and nurtured talent. He was an explorer who encouraged the experiments of fellow black outsiders such as his friends and colleagues Ishmael Reed, Hammons, David Henderson, and Butch Morris. A then unknown poet who spoke directly to Steve’s sensibilities by not messing around with intros or theatrics and just plain-speaking his dense, punning verses won that first series of slams at the Nuyorican, and I can’t help but think that Steve’s heckles somehow, subtly, influenced the judges. Steve became one of future Booker Prize winner Paul Beatty’s first mentors and publishers. Paul was one of many writers and artists Steve pushed and prodded, including Willie Perdomo, Carl Hancock Rux, Sarah Ferguson, and myself.

I was with Paul when I last visited Steve at Tribes about six years ago. It had been several years since I moved away from Loisaida and the literary scene I was once immersed in, but he greeted me like I had never left. He held my hand tightly, introducing me to all the friends and interns and hangers-on and proppers-up in the room – Steve always traveled in a pack – asking me many questions about my work, my husband, my son, my life. He was the most kind and caring heckler you could ever know. The poet Bob Holman has called him, aptly, “the great connector.” For Steve, it was about the work, not the personal trappings. He wanted everyone to cut the crap and just speak their poem, their truth.

How I Found My Voice

I first became aware of The Village Voice in high school, when my older brother, Brett, used to go the Beloit, Wisconsin, public library to peruse its political investigations and music coverage. We were both discovering punk rock, watching Patti Smith on Saturday Night Live, and we could read about the newest bands from CBGB’s in the Voice. Later, in college, I got assigned to write about it in my one and only journalism class. Within a few years, I was copy editing and writing there, ultimately becoming a senior editor in charge of music. It was a crazy, difficult, exciting place, and the work I did for them — “discovering” Paul Beatty and the rest of the ’90s NYC lit scene bubbling around the incredible Nuyorican Poets Cafe, traveling to New Zealand to write about music, covering Rent as it moved from Downtown to Broadway and beyond, interviewing John Cameron Mitchell and Stephen Trask, the creators of a new musical called Hedwig and the Angry Inch; writing about punk drag artists such as Justin Bond and Miss Guy — still defines me. And then there was my one and only cover story, the first major interview with Patti Smith after her husband Fred died and she returned to the stage — an incredible encounter with the woman who made me want to be a rock’n’roll critic, and move to New York, and dive into the sea of possibilities. RIP Voice. Say hi to Aretha.

Paul Beatty, 1990

In honor of America’s first Man Booker Prize winner, I’m reposting my 1990 Village Voice feature on Paul Beatty, back when he was still a poet.

A Career in Cassettes

 

I’m trying to find a tape of my circa 1990 interview with Ellen Willis. Haven’t found it yet, but here’s some of what I unearthed: interviews with the entire original cast of Rent, Paul Beatty, Patti Smith, Kathleen Hanna, Mary J. Blige, Stephen Trask, Carrie Brownstein, Bjork — the list goes on and on. One cassette is labeled “Missy/Moby.” Is this my legacy?

Paul Beatty, 1990

In honor of his win of the National Book Critics Circle Award and Throwback Thursday, here’s my 1990 Village Voice story on Paul Beatty. We had dinner last night and I’m happy to report he’s as modest and flat-footed as ever.Paul Beatty 1990

“The Sellout” Makes NYT List

It was great to see Paul Beatty’s novel The Sellout in the New York Times’s list of the 10 best books of 2015. They called it “this year’s most cheerfully outrageous satire.” Tell Santa you want it, now.

Paul Beatty, LA’s Best Bard?

When I opened my browned Paul Beatty manila file folder to prepare to interview the writer once again, I realized that it had been 25 years since I first introduced myself to him after seeing him read at the Poetry Project in the East Village. He was a great writer then, albeit of poetry rather than prose. He’s a brilliant novelist now. I caught up with Paul again to discuss the ribald satire of his latest book, The Sellout, for the Los Angeles Review of Books.