Professional Documents
Culture Documents
http://www.e-poets.net/library/slam/
By Tim W. Brown
Getting lost in the hoopla surrounding the PBS series “United States of Poetry”
behind the program, Bob Holman, admits he owes much of his success to a handful of
Chicagoans, Marc Smith in particular. It was Smith, of course, who first coined the phrase
Fortunately, there is a spot on the World Wide Web which fills some gaps in the
story, “An Incomplete History of Slam Poetry,” by videographer Kurt Heintz. About forty
double-spaced pages when printed, “An Incomplete History” is the most complete history
Heintz traces the slam’s origins to the late 1970s, when poetry, performance art
and punk rock converged in Chicago, mainly in the persons of Jerome Sala and Elaine
Equi. During the early 1980s, several poets impatient with the academic scene, including
Smith, bounced from venue to venue experimenting with ways of popularizing poetry.
Then the Green Mill Jazz Club offered them a regular gig.
Heintz gives a date of July 20, 1986 for the first poetry slam. It became an instant
success with poets, and, judging by the large audiences attending, with the general public.
Slam poetry had its detractors, too, whom Heintz lumps into the academic category (an
over-simplification -- others besides poetry teachers were critical). The dispute, played out
in the pages of Letter eX, Chicago’s poetry newsmagazine, pitted poets who valued craft
in writing against slam poets who defended a bardic stance. It was a bitter feud, lasting
until 1994, when Smith declared it over at the Asheville Poetry Festival.
The slam quickly spread to other cities. By 1989, Holman was featuring slams at
the Nuyorican Poets’ Café in New York, and in 1990 the National Poetry Society held the
first National Slam in San Francisco. (The Chicago team, featuring Marc Smith, Patricia
Smith, Cindy Salach and Dean Hacker, won.) Nowadays, Heintz observes, poetry slams
are held regularly “in better than twenty North American cities,” plus England, Australia
and Europe.
In his introduction, Heintz explains the rationale for publishing his findings on the
World Wide Web rather than in print: “As the threads to the story fanned out … the story
grew too large and branching for me to conveniently publish through any means but the
Web.” The medium serves him very well -- the photos and hypertext links reproduce the
connections among places and personalities much better than linear text.
Heintz acknowledges that after experiencing a poetry boom, the Chicago scene is
showing signs of running out of gas. However, you can expect renewed interest in poetry
here, given the recent tenth anniversary of the Uptown Poetry Slam. In his conclusion
Heintz assesses the slam’s considerable legacy: “it gave poets everywhere in the 1990s
something to talk about, and that dialogue has since spread to what was otherwise