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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

    The Mandalorian and Grogu lacks the cinematic magic of a true Star Wars movie

    Alex Bentley
    May 21, 2026 | 1:30 pm
    The Mandalorian (Pedro Pascal) and Grogu in The Mandalorian and Grogu
    Photo courtesy of Lucasfilm
    The Mandalorian (Pedro Pascal) and Grogu in The Mandalorian and Grogu.

    At one point in the 2010s, Disney planned to release a different Star Wars movie every year, with an “Episode” film (like The Rise of Skywalker) alternating with anthology movies like Rogue One. But when 2018’s Solo underperformed, those plans changed, and the pandemic made any Star Wars movie less appealing, with Lucasfilm shifting heavily toward TV shows like The Mandalorian.

    The popularity of that show in particular has led to the return of Star Wars to the theaters in the form of Star Wars: The Mandalorian and Grogu. The film follows the bounty hunter (Pedro Pascal) and his Force-sensitive adopted child as they travel around the universe, hunting down the remaining members of the Galactic Empire (the film, like the series, is set in the years following The Return of the Jedi).

    The main thrust of the film has the duo, at the behest of Colonel Ward (Sigourney Weaver) of the New Republic, trying to track down Rotta the Hutt (voiced by Jeremy Allen White), the son of the late Jabba the Hutt, who’s supposedly been kidnapped. The discovery of the ultra-buff Rotta sets them down a different path than they thought, one that puts Mando and Grogu in the crosshairs of Rotta’s twin cousins.

    Directed by Jon Favreau and written by Favreau, Dave Filoni, and Noah Kloor, the film is perfectly fine if you consider it to be an extended Mandalorian episode, but at no point does it rise to the level of a great movie experience.

    The film, like the show, is defined by the Mandalorian’s unflappable nature and strict code, as well as Grogu’s mischievousness and unquenchable appetite. Right from the start, the Mandalorian has a “take no prisoners” approach, laying waste to all comers in a PG-13 sort of way. Grogu is mostly along for the ride, occasionally breaking out the Force to help out, but mostly serving as the comic sidekick. Their relationship keeps the film watchable, but only just barely.

    The biggest issue, one which was starting to affect the Disney+ show as well, is that the story never seems to go anywhere despite the fact that its two main characters are constantly on the move. No matter how big or ferocious the opponent they face, the overall stakes are so low as to almost be nonexistent. If Favreau and Filoni (who has a small part in the film) are trying to build toward some larger story, it doesn’t come through on screen.

    The film’s action fits in well with sequences that have been put forth in previous Star Wars films, but to call them “cinematic” would be stretching things. There are all manner of monstrous creatures that the duo comes across in their adventures, but only a few of them are memorable. The most interesting sequence features a snake/dragon hybrid that Mando fights in a watery pit that is reminiscent of the trash compactor scene in the original Star Wars. Much of the rest of the film blends together in a mish-mash of uninteresting opponents.

    For a live action film, there are precious few actors who actually show their faces. The Mandalorian removes his helmet exactly once, making it clear that Pascal is merely providing the voice for the character. White affects a tough voice for Rotta that may be canon, but frankly sounds ridiculous coming from the character’s body and in no way resembles White’s actual voice, which negates his casting altogether. Weaver is close to a non-factor in her small role, but Martin Scorsese is kind of fun voicing a four-armed fry cook/informant.

    The cachet of Star Wars and the fun of The Mandalorian series may be enough for many to enjoy the inoffensive lark that is The Mandalorian and Grogu. But the film does not come close to reaching the heights of the best Star Wars movies, and does nothing to indicate what to expect from the valuable intellectual property going forward.

    ---

    Star Wars: The Mandalorian and Grogu opens in theaters on May 22.

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