Published November 16, 2005

Hewitt’s Guide to Slam Poetry and Poetry Slam; by Geof Hewitt with illustrations by Tim Newcomb; published by Discover Writing Press in 2005 in Shoreham; 87 pages; softcover; $19.95; includes DVD.

Reviewed by Jennifer Hersey

Some people just can’t overcome their urge to perform in front of other people, to be the center of attention.  Others shiver and convulse at the thought of being in front of a crowd of people sharing their innermost thoughts.  Hewitt’s Guide to Slam Poetry and Poetry Slam is useful to both types of people.

Poet Geof Hewitt has created a guide that covers everything from choosing a “slam master” to scoring, from picking a poem to competing at the nationals. The book is intended for teachers and performers to give them an idea of how to set up a slam and pull it off without a hitch.

In his first chapter, Mr. Hewitt asks “why slam?”  He writes, “Often described as a cross between mud wrestling and a literary tea, slam invites participation on all levels.”

The drama queens in each classroom are likely to express themselves freely, but what about the kid in the back who can barely muster the courage required to ask for a bathroom break?  Poetry slams encourage people who don’t consider themselves poets to express ideas in ways that would be scoffed at in most “serious” poetry circles.

And therein lies the beauty of the poetry slam — it is about authentic expression and not iambic pentameter.

Mr. Hewitt makes clear from the beginning of the book that a school-sponsored slam should belong to the students.  He suggests choosing a motivated student to act as slam master and choose the location, time length, and judges.  The judges, in slam format, must convince the slam master that they know nothing of poetry, that is, give their uncredentials.

Judges must understand that they, too, will be put on the spot. Slam audiences are encouraged to let the judges know what they think of scores, including anything from raucous applause to rancorous booing.  They are also privileged, however, in that they may use one decimal point in their scoring.

He explains phenomena of slams, one of which he calls “score creep,” meaning that the first performer will probably get ripped off as judges tend to give higher scores later in the event.

There are many variations on the traditional slam that Mr. Hewitt outlines in his book, including everything from prop slams to theme slams.

The first hurdle for teachers may be getting students to write slam poems in the first place.  He gives several ideas to get students writing while not worrying about the finished product.  In fact, Mr. Hewitt confesses that 95 percent of what he writes never sees the light outside his notebook.  He says on the DVD that accompanies the book, “Not every poem is going to be a masterpiece.”

He suggests giving students formulas to start with, such as writing “Then I….” and going to “Now I….”  Reading the newspaper or thinking of one’s fears might give students ideas with which to begin.  He also suggests writing races, where students have a few minutes to write as much as they possibly can.

Mr. Hewitt also explores performance techniques.  He writes that a pause can be just as effective as a word in certain places and that gestures should add to a performance and look intentional.

He discourages memorizing poems as opposed to learning them by heart. He writes, “The semantic difference between memorize, struggling to imprint the brain with a discrete sequence of many, many words, and learn by heart mirrors the difference between painful, perfectionist mental struggle and the ease of carrying the spirit of a poem within, so that the work is always accessible, even when the performer has momentarily lost his or her place.”

The DVD, with music by Chuck Meese, is just as helpful as the book itself in teaching or performing slam poetry.  It includes bits of student performances as well as a few by Mr. Hewitt himself.  About slam poetry, one young man says, “As a male I view it as a way to show my more emotional side.”

And this gem, from one young poet, certainly warrants repeating, “He took her breath away, and she wanted it back.”

Hewitt’s Guide to Slam Poetry and Poetry Slam is a valuable tool for teachers and performers alike.  It offers real suggestions to get students to write, to perform, and to love, or at least enjoy, doing both.