Professor Susan Elizabeth Sweeney, left, with students, left to right, Madeline (Tessa) Zafón-Whalen ’26 (seated), Anna Claire Pritchett ’26 and Amanda Sopchockchai ’27 at the Museum of Worcester.

A life-size reproduction of a dentist’s office accompanies Elizabeth Bishop’s poem “In the Waiting Room” at the Museum of Worcester.

Booklovers’ Gourmet, located at 72 East Main Street in Webster, MA, is hosting a photo exhibit October 1st-31st by Metro West Paranormal Investigators. The public is invited to a meet & greet with Ray Arnold, president of the group since 2018, on Saturday, October 4th, 2-4 p.m. The show may be viewed during regular business hours: Tuesday-Saturday 10-5, Wednesday 10-6. For more information call 508-949-6232 or visit bookloversgourmet.com/events

Since the late 80’s, Ray Arnold has investigated numerous locations throughout New England including the Lizzy Borden House and the Conjuring House. He has also participated in a number of podcasts like “Mostly Ghostly” from the Boston area and “Paranormal Access and Radio” from the UK.

“I would like to stay in one place with you for a very long time.” – Hanif Abdurraqib at The Prior

Before attending his lecture at The Prior, College of the Holy Cross’ arts center, I hadn’t heard of Hanif Abdurraqib. Despite my deep pleasure in reading and writing poetry, I still believe I am behind on all the best contemporary poets of our time. Going into this lecture blind, I learned, was also an opportunity to be open to surprise. And surprised I was in this new space, with this writer who was new to me, inviting me into the home of his archival memory practice. 

“To watch their memory begin to fail them in a manner where they are looking in bewilderment to the world is heartbreaking … but it reminds me that memory is a privilege … that memory offers us a responsibility.”

After Abdurraqib opened the lecture with a poem, we very quickly got accustomed to who he is and where his practice lies. He emphasizes the archive of memory he created within himself and the deep responsibility he felt toward memory and place. He is fast, funny, quick on his feet, both conversational and deeply rooted in his practice. He even pauses to tell us about the intense carbonation of Polar seltzer, something he hasn’t had in ages. His surprise causes laughter for himself and the audience, yet another feeling to notice and appreciate. It is easy to follow his train of thought despite his speed; I did not feel lost in the description of his practice because of how well he saddled it between our tangible shared experience, like the Polar water, and what his archive strived for him to do: constantly notice, appreciate, and document. His excitement regarding memory and place makes me want to listen to him talk about it more, for the whole 45 minutes, despite his assertion that no one would want to hear him speak at them for the whole 45 minutes. With memory and place, he also wants to talk to us about poetry. He explains to the crowd that he spends a considerable amount of time around Black elders in nursing homes, delightfully listening to their gossip. It is in this anecdote that he tells us their memories are beginning to get lost, and that there is a considerable amount of heartbreak in knowing that the expanse of your life has led to here, to the years, months, or days these elders have left. It is from these experiences, this deep community he seeks to build, that he tells us that memory offers us a responsibility as writers. We must create what he calls “the archive,” a repeated, long list of experiences, feelings, places, that create our deep human understanding. It is a calling to both slow down and take notice, as well as one to long for what is in front of us already. 

“Building an archive of memory is, I think, is to take what I’m looking at, look closely at it, and stay close to it for a long time.”

Abdurraqib shows us a Nike commercial from a few years ago, sometime after the Cleveland Cavaliers won an important game. In the commercial, it begins with Lebron giving a motivational speech to his team on top of a melodic droning, accompanied by shots of residents throughout Cleveland, engaging in the same huddle up speech, all strangers, working together. It ends with everyone’s fists in the air, shouting, “together!” As Abdurraqib reads his poem about watching the commercial for the first time, he does so quickly, like he is showing us pictures of his memories. He frequently repeats “I remember,” always desiring to go back to a place, each one as if it is a proper noun instead of an ambiguous setting. He interrupts his own reading to give us a funny and grounding aside. Seemingly, he wants us to live in his memory, live in the Cleveland that he is not in, live in the huddle with Lebron James, all together. Soon, we are Lebron, we’re Abdurraqib again, the people, the commercial, Cleveland, a flock of birds, Nike shoes, commercial, Abdurraqib on the floor, leaning against his couch, crying. The back and forth creates a strong intensity I couldn’t help but immerse myself in. 

“I’m gonna learn you.”

The next two videos Abdurraqib shows us are of Soul Train, a 1970s musical variety show that began airing locally in Chicago on a channel Abdurraqib had access to. The video is a compilation of dancers, all young Black people, showing off their moves to a crowd on both sides. The crowd creates a runway for the dancers to strut on, all to the song “Let It Whip” by Dazz Band. Abdurraqib tells us vulnerably that, because he was the youngest in a small family, he would pretend the dancers were his long lost cousins in an attempt to create connections and community with cool Black folks. In the second video, we watch two dancers at a time instead of one make their way down the catwalk. Abdurraqib explains that the dancers in the video didn’t know each other before their turns and had to quickly figure out what both of them were capable of to create a cohesive dance. Abdurraqib describes this act as the most true form of love: the choice to learn another person and to give that learning a chance to come alive together. 

“I have claimed the fantasy of kinship with you.”

Abdurraqib reads us a poem in conversation with the Soul Train clips shown. This time, we are in the construction of a memory – more of an imagination. Abdurraqib imagines his small family in the wide cast of Soul Train. In describing the cast, he emphasizes their clothes, their movements, how beautiful they were. He creates stories for the cast, all imaginary. In this imagination, he constructs the cast as fully human, beyond the screen, how they live day to day. In this beyond he also sees himself, and hopes that one day, when he joins the dancing catwalk, they’ll cheer for him too. It is earnestly sweet and has a deep characteristic of longing, especially now that we are situated in the beauty-filled holes of his desires and memory. Abdurraqib has a way of making his audience believe as deeply in him as he does in himself, in the moves and love as learning in Soul Train. I found myself in the shoes as that kid sitting in front of the TV, eyes wide and full of hope, saying, “I can be that!” and really believing it. 

“I’mma just jump and see what happens when I’m up there.”

In the Q&A section, Abdurraqib is asked how description and feeling differs in the types of writing he engages in. He asserts that they are not all that different at all, and instead, everything he writes and notices is rooted in feeling. He ends the answer to this question by rhetorically asking, “what can you extract, make a feeling, and ask an audience, ‘can you feel it too?’” I think this quote is the best example of how it feels to experience Abdurraqib’s work. As much as he is sharing his archive, his thread in collective memory with us, he is also asking us a very exposed question, himself defenseless. In the question, “can you feel it too?” we are asked to be truthful in our own emotional response. We are asked to share his experience, to admire Soul Train, to be on his couch watching the Nike commercial, to listen to his mother sing “I Wanna Dance With Somebody,” to watch his brother clean his Jordans with a toothbrush. We are, in many ways, asked, “isn’t this special?” In Abdurraqib’s work, which I am excited to explore on my own, I am eager to respond, “yes, I feel it too.”

Poet and WSU professor Heather Treseler wins 2025 Mass Book Award for Poetry

Worcester County Poetry Association names Irena Kaçi as its first executive director

FOR IMMEDIATE RELEASE: August 26, 2025
For more information, contact: bacon64@charter.net

WORCESTER COUNTY POETRY ASSOCIATION NAMES EXECUTIVE DIRECTOR

WORCESTER, MA, August 26, 2025 – Worcester County Poetry Association Promotes Irena Kaçi to Executive Director.

The Worcester County Poetry Association (www.worcestercountypoetry.org) is excited to announce that Public Program Manager/Outreach Coordinator, Irena Kaçi, has been promoted to Executive Director beginning on August 1, 2025. Irena will be steering our organization’s efforts to reach goals set forth in our Strategic Plan, which includes showcasing creative writing of all kinds.

“The Board of Directors of WCPA applauds this well-deserved promotion. Irena is a resolute problem solver with an unwavering eye on the long term,” said Elizabeth Bacon, WCPA’s president. “Irena has served for the past three years as WCPA’s first salaried administrator, and over that time she has proved herself capable of taking on expanded managerial duties. She was instrumental in developing WCPA’s long-term strategic plan that the Board approved in Fall 2024. Her dedication and strong skill set have been invaluable as the WCPA has sought to grow its membership and expand its offerings,” she added. For example, Irena serves as the poetry workshop leader at the weekly meetings of the Worcester Writers’ Collective, an exciting new effort fiscally sponsored by the WCPA. 

Irena’s love for poetry blossomed in her native Albania, where she first encountered the literary form. After immigrating to the US, Irena attended Clark University, where she graduated with a BA in Philosophy. After many years in Boston, she moved back to Worcester in 2014 to raise her two children. Her background includes Hospitality, Event Planning, and Publishing. She brings an eclectic and wide- ranging set of skills as well as tremendous thoughtfulness to her work. The WCPA is eager to expand our community engagement and looks forward to working with Irena in this new and exciting capacity.  To learn more about Irena, check out her most recent interview with Doherty’s Highlander Herald!

About Worcester County Poetry Association – The Worcester County Poetry Association is a 501(c)(3) organization funded through membership fees, publication sales, grants and donations. WCPA receives organizational support from the Greater Worcester Community Foundation and has received generous programming support from the National Endowment for the Arts, Massachusetts Foundation for the Humanities, Massachusetts Cultural Council and The Worcester Cultural Commission, among other organizations and private donors. 

Visit worcestercountypoetry.org for news about upcoming events, poetry readings, open mic opportunities, and publications including The Worcester Review and our newest publication, Three Decker (threedecker.org)

is finally here. Please watch at your convenience!

FITCHBURG, MA – August 21, 2025 – The Fourth Annual River City Rhythm and Rock Festival (RCRRF) returns to Fitchburg this year with its most ambitious lineup yet, featuring vibrant talent, expanded vendor offerings, and increased support from sponsors and community partners. The beloved festival continues its mission to celebrate diverse musical genres while providing a platform for underrepresented creatives in North Central Massachusetts.

TL;DR: RCRRF 2025 expands to two days with a new Friday showcase at Canvas, featuring both veteran festival founders and emerging talent, plus enhanced programming across Mill Street and Riverfront Park.
NEW FOR 2025: Friday Showcase at Canvas Creative Hub

For the first time in the festival’s history, RCRRF extends to include a Friday showcase at Canvas, the new creative hub located on Main Street in the former Tryst location. The showcase runs from 6 to 10 PM and will feature a unique “reverse cover” with the first 50 attendees receiving $5 upon entry.

Hosted by Yo Daddy Doe and headlined by Joe Grizzly, both founding members of RCRRF, the Friday showcase provides a platform for emerging artists including ProZach, Versatille, and BigBoss alongside the festival’s veteran performers. This expansion reflects the festival’s growth and commitment to nurturing up-and-coming voices in the local music scene.

Canvas’s prime location next to Cushing Street and Mill Street Stage, directly across from Riverfront Park, positions it perfectly to kickstart a weekend celebrating the creative energy surrounding the Dickinson building and Downtown Fitchburg.

Mill Street Integration: The Openest Mic Partnership

RCRRF 2025 marks the first integration of an open mic component through a partnership with The Openest Mic, a traveling third place led by poet Laura DiCaronimo and Tyler Hopp that has been transforming the North Central MA scene. “The Openest Mic Presents: The Festivalest Mic” begins at 2:15 PM on Mill Street with host Laura, featuring headliner Logan Rau (comedian) and Worcester based hip-hop acts Death Over Simplicity and Weapon ESP (4:00 PM), followed by the continuation of The Cellar Mill Street music series with One Headlight. The Cellar outdoor beer garden opens at 5 PM.

Musical Lineup Highlights
The festival opens with K Fingers (2:00 PM) with jazz, followed by the traditional Thurston Consort Duo (2:30 PM), who played an instrumental role in the festival’s inception, providing chamber music for early risers and classical music fans. The day builds in energy and diversity from there.

Returning favorites include Tasteless Jack (3:45 PM), Merrick Henry (4:40 PM), Provenance (6:05 PM), NEWCENTURY (7:10 PM), AV-8 (8:25 PM), Q-Furb (8:05 PM), and Freddy Stone (9:20 PM). New highlights feature Troubles with Parachutes (3:05 PM), Vile Impulse (5:20 PM), Brandie Blaze (7:40 PM), and Fewch & Dinero Lifestyle (8:45 PM).

Community Attractions & Activities

The festival maintains its beloved community features, including the Nick Nogueira Beer Garden and food trucks. Fidelity Bank’s Frosty Flyer returns with free ice cream for attendees, while two bouncy houses for children will be staffed by Youth Innovation Center peer mentors and staff, who are also celebrating their first anniversary.

Great Wolf Lodge provides an exciting raffle opportunity – all attendees receive a raffle ticket for a chance to win four waterpark passes to the resort.The Youth Innovation Center provides additional activities aligned with their mission, creating intergenerational engagement throughout the festival grounds. A diverse Vendor Village offers shopping and food options, expanding on previous years’ offerings.

Vendor Village Expansion

This year’s vendor lineup includes established local businesses and emerging entrepreneurs. Highlights include choripan and beverages by Centro Celeste, a nonprofit strengthening the Latino community, Gems & Jewels, a BI-POC/Queer-led radical arts initiative, and mini escape game by Curious Escape Rooms, North Central Mass’s first immersive escape room company. Food vendors include El Punto Latino and DAT’S FIRE BBQ, alongside creative entrepreneurs ranging from 18-year-old sound engineering student Kats Kreations, cotton candy by Monte’s Candy Clouds to multi-generational businesses like Henna Artistry.

Sponsor Recognition
RCRRF gratefully acknowledges support from our Gold Level Sponsors: MassDevelopment/TDI, Mass Cultural Council, Nick Noguiera Photos, and Fidelity Bank. Silver Level Sponsors include The Openest Mic, Enterprise Bank, and Great Wolf Lodge. Bronze Level Sponsors include Fitchburg Fiber, NewVue Communities Inc, Three Pyramids Inc, The Cellar, and Making Opportunities Count Inc. Event Background

River City Rhythm and Rock Festival was created to address the lack of music festivals supporting arts and culture from underrepresented creatives. The festival provides a platform for multi-genre artists, particularly hip-hop performers, to showcase their talents within their community while promoting creative placemaking and accessible live performances in Fitchburg.

Since its grassroots inception, RCRRF has grown through community support and strategic partnerships, including grants from the Fitchburg Creative City Partnership and the Center for Community Progress.

Event Details:
● Date: August 30-31, 2025
● Friday Showcase: Canvas Creative Hub, 6-9 PM (326 Main Street, former Tryst
location)
● Saturday Main Event: Riverfront Park and Mill Street, Fitchburg, MA, 2-10 PM
● Admission: Friday showcase offers $5 to first 50 attendees; Saturday event details TBA
● Info: Visit www.coff33corp.org/rcrrf or follow Coff33Corp on social media
For more information, contact:
Derek Craig
Chief Visionary Officer, CoFF33 Corp
Email: Derek@coff33corp.org
Website: www.coff33corp.org

Summer greetings from Northampton, and I hope this message finds you well. I hope too that you saw the announcement last week regarding the new literary prize from Nine Syllables Press. The Tammis Day Poetry Prize will be awarded for a debut full-length collection by a woman poet over the age of forty, with the press accepting submissions for its inaugural prize beginning in the spring of 2026. I couldn’t be happier about this news. No such literary prize yet exists in America, and it’s especially moving and gratifying to name this award after Tammis Day, a Smith College student who developed a love of poetry as an Ada Comstock Scholar under the mentorship of Annie Boutelle, the founder of The Poetry Center. During her time at Smith, Tammis herself was a founding editor of the campus literary journal Labrys, and it’s wonderful to know that her legacy will continue to create new space for the voices of historically excluded writers, as well as robust professional practice opportunities for Smith College students. Moreover, in alignment with Tammis’ passionate work as a patron of the arts, each recipient of the prize will also be awarded a two-week artist residency at the Vermont Studio Center. This expansion of Nine Syllables Press (9SP) also means an expanded role for Adrie Rose (Ada Comstock ’22), the editor of Nine Syllables Press. Adrie is the recipient of numerous literary awards, and the acclaimed author of the chapbooks Rupture (Gold Line Press, 2024) and I Will Write a Love Poem (Porkbelly Press, 2023). She’s been utterly exemplary in her work as the 9SP editor, as well as teaching the affiliated editing and book design courses and, moving forward, Adrie will also be exploring new outreach efforts aimed to help local high school students realize their own literary goals. As if all of this wasn’t enough, the first Tammis Day Poetry Prize will be selected by Pulitzer Prize-winning poet Diane Seuss, and the inaugural collection will be published in the Fall of 2027, when we’ll be celebrating the 30th anniversary of the founding of the Poetry Center. I hope you’ll consider supporting the Boutelle-Day Poetry Center as a means of directly supporting this new prize, and 9SP’s critical mission of addressing ongoing inequity in the publishing world by providing a new platform for the systematically excluded voices of women, BIPOC, and LGBTQIA+ poets. If you’d like to personally contribute to the work of Nine Syllables Press, please use the donate button included below. I hope you will join me in celebrating this incredible news and everything it will afford the literary community, as well as our Smith College students. Sincerely,

Matt Donovan, Director of the Boutelle-Day Poetry Center

Submit your creative take on a Dropkick Murphys song by Friday, September 5th, to meet Ken Kesey and share your work on stage.

Ken Casey is no stranger to telling a good story. From smash hits like “I’m Shipping Up to Boston” to deep cuts like “Boys on the Docks,” chances are he’s written a song about Massachusetts that resonates with you in some way.

Leading up to our event honoring Ken on September 25, we’re launching a contest to see what YOU find inspiring about Ken and Dropkick Murphys. We’re inviting you to pick any Dropkick Murphys song and creatively respond to it. This could include:

• Doing a cover of a song
• Making a painting inspired by song lyrics
• Writing a short essay about seeing the band perform live
• Creating an original dance
• Writing a poem

The list is endless. As long as it’s original, creative, and uses the humanities to talk about the band, it counts!

Rules At A Glance:

• The deadline to submit your entry is Friday, September 5, 11:59 pm EST.
• Mass Humanities will select a winner in early September.
• The winner will receive two tickets for themselves and a friend to attend our event on September 25 in Boston.
• The winner will have a chance to share their work on stage and meet Ken.
• Contestants must be 18 years old or older and be a “full-year resident” of Massachusetts.
• Limit one entry per contestant.
• Use of artificial intelligence (AI) software and tools is not permitted.
• Works must be able to be presented or explained in under 3 minutes.

For a complete list of rules, click here.