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    First Saturday of every month

    Of Poets and Politicians: Mayor Annise Parker launches Public Poetry series withher own poem

    Tarra Gaines
    Apr 3, 2011 | 10:24 pm
    • Mayor Annise Parker, right, and Guadalupe Hernandez
      Photo by Tarra Gaines
    • From left, Martha Serpas, Deborah Wiggins, Annise Parker, Eva Skrande, GuadalupeHernandez, Rhea Brown Lawson, Jennifer Schwartz, Rich Levy, Fran Sanders.
      Photo by Tarra Gaines

    On Saturday, Mayor Annise Parker revealed her semi-secret identity: She's a poet.

    The mayor was at the Central Houston Public Library on the second day of National Poetry Month to launch Public Poetry, a new poetry reading series. Public Poetry is also the name of the organization that began the monthly series to create buzz about poetry.

    Parker said she was ecstatic at the sizeable turnout of more than 60 poetry lovers and then spoke, well, poetically about the value of poetry in our lives, insisting it causes the “synapses to fire in new ways.” She believes poetry can cause a spark and help us make connections we wouldn’t have made on our own.

    Her chosen poem was “My Parents Watch the July Fourth Parade” by Richard Beban. After finishing, she said “and one more” and began to read a short but humorous poem entitled “A Different Theory of Relativity,” which describes a small moment of different cultural values colliding.

    When she ended the poem, Parker merely said, “That one’s mine,” an admission that was met with rousing applause.

    Public Poetry founder Fran Sanders introduced featured poets Rich Levy, executive director of Inprint and author of the poetry collection Why Me?; Cuban-born Eva Skrande, author of My Mother’s Cuba; Deborah D.E.E.P. Wiggins, who was ranked the No. 2 female poet in the world at the Women of the World National poetry slam in 2008; and UH creating writing professor and poet Martha Serpas.

    The event was organized not as a traditional reading nor as a competitive poetry slam; instead, each of the four poets was given seven minutes to read as many of their poems as time allowed. At the end of the first round a Writers in the Schools student read a poem and then a second round began.

    The time limit and two-round aspect of the reading highlighted the eclectic and dramatic mix of both the subject matter and styles of the readings.

    • In the first round, Levy turned personal shame into a funny and attractive companion.
    • Skrande added her own contribution to the world’s canon of onion poetry.
    • Wiggins admited that her performance poetry may scare the audience “but that’s O.K” and didn't read or recite her work as much as thunder it into the room.
    • Serpas, a hospital trauma chaplain, offered a poem portrait of a mother receiving news of her child in a hospital hallway.

    The structure of the event also allowed the poets to respond to each other in supportive ways, making those connections that Parker spoke about. Several times during the second round, one poet would pick up and run with a theme or subject from the last poet's work by choosing a poem to read that contained some similar image or tone.

    Perhaps it was the mayor’s presence, but the form reminded me somewhat of political debate. Instead of sound bites and canned responses, the poets wove together their different perspectives of the world.

    Each round ended with a work by the afternoon’s littlest poet, Guadalupe Hernandez, a fourth grader at E. O. Smith Education Center. She read two poems, “My World” and “Diamond.”

    After the readings, several members of the audience congratulated Poet Parker. She explained that she doesn’t write that much poetry now because it needs “a quiet mind,” something that running the fourth largest city in American doesn’t often afford her. She wrote “A Different Theory of Relativity” 12 years ago after a trip to South America.

    When I asked her if she ever considered posting her poetry online she laughed and replied no because it invites people to become critics. Perhaps policy critics are one thing but online poetry criticism would be something else.

    Yet Parker’s belief that poetry fires synapses in new ways is true for me, as the afternoon left me with the idea that poetry and politicians should meet more often. In fact, instead of letting candidates parrot well-rehearsed focus-group-polished slogans during political debates, let’s make them recite their favorite poem or write their own.

    In partnership with the Houston Public Library, Public Poetry will give Houstonians the opportunity to hear local as well as national and international poets the first Saturday of each month. The readings will begin at the Central Library and then move to the Kendall, Discovery Green, and Park Place libraries with the change of seasons.

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    Movie Review

    Avatar: Fire and Ash returns to Pandora with big action and bold visuals

    Alex Bentley
    Dec 18, 2025 | 5:00 pm
    Oona Chaplin in Avatar: Fire and Ash
    Photo courtesy of 20th Century Studios
    Oona Chaplin in Avatar: Fire and Ash.

    For a series whose first two films made over $5 billion combined worldwide, Avatar has a curious lack of widespread cultural impact. The films seem to exist in a sort of vacuum, popping up for their run in theaters and then almost as quickly disappearing from the larger movie landscape. The third of five planned movies, Avatar: Fire and Ash, is finally being released three years after its predecessor, Avatar: The Way of Water.

    The new film finds the main duo, human-turned-Na’vi Jake Sully (Sam Worthington) and his native Na’vi wife, Neytiri (Zoë Saldaña), still living with the water-loving Metkayina clan led by Ronal (Kate Winslet) and Tonowari (Cliff Curtis). While Jake and Neytiri still play a big part, the focus shifts significantly to their two surviving children, Lo’ak (Britain Dalton) and Tuk (Trinity Jo-Li Bliss), as well as two they’ve essentially adopted, Kiri (Sigourney Weaver) and Spider (Jack Champion).

    Miles Quaritch (Stephen Lang), who lives on in a fabricated Na’vi body, is still looking for revenge on Jake, and he finds help in the form of the Mangkwan Clan (aka the Ash People), led by Varang (Oona Chaplin). Quaritch’s access to human weapons and the Mangkwan’s desire for more power on the moon known as Pandora make them a nice match, and they team up to try to dominate the other tribes.

    Aside from the story, the main point of making the films for writer/director James Cameron is showing off his considerable technical filmmaking prowess, and that is on full display right from the start. The characters zoom around both the air and sea on various creatures with which they’ve bonded, providing Cameron and his team with plenty of opportunities to put the audience right there with them. Cameron’s preferred viewing method of 3D makes the experience even more immersive, even if the high frame rate he uses makes some scenes look too realistic for their own good.

    The story, as it has been in the first two films, is a mixed bag. Cameron and co-writers Rick Jaffa and Amanda Silver start off well, having Jake, Neytiri, and their kids continue mourning the death of Neteyam (Jamie Flatters) in the previous film. The struggle for power provides an interesting setup, but Cameron and his team seem to drag out the conflict for much too long. This is the longest Avatar film yet, and you really start to feel it in the back half as the filmmakers add on a bunch of unnecessary elements.

    Worse than the elongated story, though, is the hackneyed dialogue that Cameron, Jaffa, and Silver have come up with. Almost every main character is forced to spout lines that diminish the importance of the events around them. The writers seemingly couldn’t resist trying to throw in jokes despite them clashing with the tone of the scenes in which they’re said. Combined with the somewhat goofy nature of the Na’vi themselves (not to mention talking whales), the eye-rolling words detract from any excitement or emotion the story builds up.

    A pre-movie behind-the-scenes short film shows how the actors act out every scene in performance capture suits, lending an authenticity to their performances. Still, some performers are better than others, with Saldaña, Worthington, and Lang standing out. It’s more than a little weird having Weaver play a 14-year-old girl, but it works relatively well. Those who actually get to show their real faces are collectively fine, but none of them elevate the film overall.

    There are undoubtedly some Avatar superfans for which Fire and Ash will move the larger story forward in significant ways. For anyone else, though, the film is a demonstration of both the good and bad sides of Cameron. As he’s proven for 40 years, his visuals are (almost) beyond reproach, but the lack of a story that sticks with you long after you’ve left the theater keeps the film from being truly memorable.

    ---

    Avatar: Fire and Ash opens in theaters on December 19.

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