Thursday, September 30, 2021

HEY, THIS STUFF IS REALLY HAPPENING!


HEY, THIS STUFF IS REALLY HAPPENING!

 An excerpt from my novel in progress, "The Burden Keeper," has been selected as a finalist in the San Francisco Writer's Conference 2021 writing contest. The excerpt, along with all of the finalist's entries as well as the winners, will be published in the SFWriter's inaugural anthology, slated for publication in November 2021.  


More at: www.sfwriters.org


My short story, "Plateau," has been nominated for "Best of the Net" for 2021 by Synchronized Chaos International Magazine.

Read the story here:

http://synchchaos.com/short-story-from-sheryl-bize-boutte-6/

COMING UP:

OCTOBER 15, 2021: WRITER'S LUNCH-ALL ABOUT BETA READERS

https://www.milibrary.org/events/writers-lunch-all-about-beta-readers-oct-15-2021

NOVEMBER 8, 2021: NO POETRY NO PEACE

https://www.milibrary.org/events/no-poetry-no-peace-reading-and-celebration-human-expression-and-peace-nov-08-2021

Friday, September 24, 2021

NO POETRY NO PEACE SERIES AT THE MECHANICS INSTITUTE NOVEMBER 8, 2021

PLEASE JOIN ME AT THE MECHANICS INSTITUTE LIBRARY OF SAN FRANCISCO

 FOR 

NO POETRY NO PEACE 

AN M. I. L. POETRY SERIES

ON 

NOVEMBER 8, 2021

6:00 PM-7:00 PM

This event is produced in partnership with the San Francisco Writers Conference.

Please register via Eventbrite and the Zoom credentials will be sent to you when you register and a few days prior to the event.

REGISTER HEREhttps://www.milibrary.org/events/no-poetry-no-peace-reading-and-celebration-human-expression-and-peace-nov-08-2021#tickets

Join us and a selection of poets – some local, some far flung - to explore how "poetry provides pathways for creative and cathartic human expression and peace." The No Poetry No Peace series happens twice a year and the title comes from a collection written by Sheryl Bize-Boutte and her daughter Dr. Angela Boutte.


About our poets:

 

Pushcart Prize nominee Sheryl J. Bize-Boutte is an Oakland multidisciplinary writer whose autobiographical and fictional short story collections, along with her lyrical and stunning poetry, artfully succeed in getting across deeper meanings about the politics of race and economics without breaking out of the narrative.  Her writing has been variously described as "rich in vivid imagery," "incredible," and "great contributions to literature." Her first novel, Betrayal on the Bayou, was published in June 2020 and a poetry collection she has written with her daughter Dr. Angela M. Boutte, titled No Poetry No Peace, was published in August 2020.  She is also a popular literary reader, presenter, storyteller, curator, and emcee for local events.


Mahnaz Badihian is an Iranian/American Poet, painter, and translator whose work has been published in several languages worldwide. Her work has appeared in many literary magazines, including Exiled ink!, International Poetry Magazine, and Marin Poetry Center Anthology. Mahnaz runs the Literary magazine MahMag.org to bring the poetry of the world together. She finished the translation of a book called Spaldings Arise (2014) with Jack Hirschman. Her latest poetry collection is Raven Of Isfahan (2019) and she has edited Plague 2020 an anthology of COVID related art and poetry from around the world. Her new collection of poems, Ask The Wind, will be published by Vagabond Press this year. She is a member of the San Francisco RPB (Revolutionary Poet Brigade).


Dr. Angela M. Boutte is a biochemist, neuroscientist, and avid recreational indoor climber who loves the tranquility and peace found in writing the occasional poem.


Author of three poetry collections, Joan Gelfand’s reviews, stories, essays and poetry have appeared in national and international literary journals and magazines. The recipient of twenty writing awards including the Effie Lee Morris Prize for Poetry and the Cervena Barva Prize for Short Fiction, Joan taught for California Poets in the Schools and currently for The Writing Salon.  Joan’s poem, “The Ferlinghetti School of Poetics” was made into a short film that showed in 20 international film festivals. Joan’s debut novel, Extreme was named New Fiction Finalist in the 2020 International Book Awards.


John Rowe has been active in the Bay Area poetry community for 25 years, especially with the Bay Area Poets Coalition, a non-profit, volunteer-run organization. He currently hosts a monthly open poetry reading on Zoom for BAPC. His poems have appeared in numerous small press journals and anthologies, and he has authored several poetry chapbooks including Beyond Perspective (Finishing Line Press). His poems reflect an array of styles and themes, and he has an affinity for writing short-form poems such as 5-line tanka.


Michael Warr is a 2021 San Francisco Artist Grant and 2020 Berkeley Lifetime Achievement Award recipient. His books include Of Poetry & Protest: From Emmett Till to Trayvon Martin (W.W. Norton), The Armageddon of Funk and We Are All The Black Boy.  Recognition for his writing and literary activity includes the San Francisco Library Laureate, Creative Work Fund award for his multimedia project Tracing Poetic Memory, PEN Oakland Josephine Miles Award for Excellence in Literature, Black Caucus of the American Library Association Award, Gwendolyn Brooks Significant Illinois Poets Award, and a National Endowment for the Arts Fellowship. For more see https://michaelwarr-creativework.tumblr.com/


Maw Shein Win’s poetry chapbooks are Ruins of a glittering palace (SPA/Commonwealth Projects) and Score and Bone (Nomadic Press). Invisible Gifts: Poems was published by Manic D Press in 2018. Win is the first poet laureate of El Cerrito, California (2016 - 2018). Her full-length poetry collection Storage Unit for the Spirit House (Omnidawn) was longlisted for the PEN America Open Book Award, nominated for a Northern California Book Award for Poetry, and longlisted for the California Independent Booksellers Alliance’s Golden Poppy Award for Poetry for 2021. 

More here:

https://www.milibrary.org/events/no-poetry-no-peace-reading-and-celebration-human-expression-and-peace-nov-08-2021


REGISTER HERE: https://www.milibrary.org/events/no-poetry-no-peace-reading-and-celebration-human-expression-and-peace-nov-08-2021#tickets

Questions?

Taryn Edwards - 415-393-0103


Saturday, September 4, 2021

Tuesday, August 24, 2021

LAINEY CAMERON PODCAST SEPTEMBER 3-5

 I WILL BE CHATTING WITH AWARD WINNING AUTHOR LAINEY CAMERON 

ABOUT MY NOVEL 

BETRAYAL ON THE BAYOU

ON HER PODCAST

THE BEST OF WOMEN'S FICTION

SEPTEMBER 3-5  2021

https://www.bestofwomensfiction.com/

HERE IS AN EXCERPT FROM LAINEY'S 5-STAR REVIEW OF BETRAYAL ON THE BAYOU FROM AMAZON AND GOODREADS:

"Set in a race-divided community and full of murder and mayhem, the true spirit of this novel is in how it builds an entire fictional universe set on the Louisiana Bayou.

With the immersive spirit of a fairytale, that universe pulls you in. A tale of women trying to do their best in a time that offered fewer choices and was significantly worse for women of color or mixed race. But this is not a novel drenched in pity; the female characters have agency, and self-awareness, and are well-written and credible."

JOIN US ON THE PODCAST TO HEAR MORE ABOUT THE BOOK, WRITING AND FORMULATING FICTION

AIRING SEPTEMBER 3-5

https://www.bestofwomensfiction.com/

get your copy here:

https://www.amazon.com/Betrayal-Bayou-Sheryl-J-Bize-Boutte/dp/B089M615NT/ref=tmm_pap_swatch_0?_encoding=UTF8&qid=&sr=

Friday, July 2, 2021

sIX FINGERs a love story

Poetry from Sheryl Bize-Boutte

Published on 07/01/2021 by Synchronized Chaos International Magazine

  

 

 sIX FINGERs 

 a love story

   

 He was born with six fingers 

 on each hand

 scalpel applied in a secret room

 Precision clean cut no trace

 Only a few knew 

  Cautioned not to reproduce

 He was fine with that

 A captain of industry

 A hellion

 A brute

 An unrepentant supply of evil

 A success

 Five remaining fingers

 On each hand

  Vice grips on all there was to have

 They named him man of the year

 In his private garden

 Of forever green grass

 And the blue eye sky

 He prospered

  

  

 She was born with six fingers 

 on each hand

 They tied them off with dirty string 

 let them fall back into origin

 Scars of protruding keloid

 Are even darker than her total gold

 Everyone knew

 Everyone whispered

 She was a hellion

 A brute

 An unrepentant supply of evil

 A bad mother

 A failed woman

 They named her witch

 Assigned designations without power to change

 Five remaining fingers on each hand

 barley clinging 

 to that thirsty branch

 Of the diseased tree

 She struggled

  

  

 They came upon each other one day.  It was a chance meeting, another arrangement of the universe.  After all, their worlds were separated, divergent, inequivalent yet equally actual.

  

 She was weary yet determined, walking slowly, the sidewalk seeming to grab at her steps as if to stop her progress.  This was nothing new.  Everything in life seemed to do that to her.  Yet she continued.

  

 He was on the same sidewalk, head in the air, walking briskly.  Too briskly to notice the woman he was heading toward. 

  

 And then they collided.  He was beyond angry that she had interfered with his forward progress. No one had ever done that before. No one. He instinctively pushed her to the ground.  That was his nature.

  

 She knew she had to protect herself.  She knew immediately she was on her own. If she had to fight, that was what she would do.  He would not be the first she had to battle. He would not be the last she would best.

  

 She lay there looking up at him, one of her hands shielding her eyes from his blue glare.

  

 And that is when he saw the scar on her hand.

  

 He immediately knew what it was and what it meant.

  

 He reached down to help her up.

  

 She wondered why and did not trust.

  

 Jarring clarity took him to his knees.

  

 He took her hand and ran his fingers across the scar.

  

 She embraced the bond of blue sky and golden sun.

  

 They knew their real names.

  

 Holding hands and rising together to their feet,

  

 Now beyond circumstance

  

 Strength and Hope walked on.

  

 copyright ©2021 by Sheryl J. Bize-Boutte

  

Tuesday, June 15, 2021

JOIN ME AT THE MECHANICS INSTITUTE ON JULY 17!

THE MECHANICS INSTITUTE LIBRARY-SAN FRANCISCO

PRESENTS

From Storyboard to Narrative

with Sheryl J. Bize-Boutte

Saturday, July 17, 2021 - 12:00pm to 1:30pm

This event is presented in partnership with the San Francisco Writers Conference


It will take place via Zoom. Please register via Eventbrite and the Zoom credentials will be sent to you a few days before the class starts.

REGISTER NOW:

https://www.milibrary.org/events/storyboard-narrative-jul-17-2021#tickets

MI MEMBERS: $15.00

PUBLIC: $25.00


In this workshop, author Sheryl J. Bize-Boutte will guide you from storyboard creation to story narrative.  You will become familiar with the process of storyboarding, how it helps and guides the writer, how Sheryl uses her own unique storyboarding techniques to create narrative for her writing projects, and a fun storyboarding exercise for class participants.  

 




Pushcart Prize nominee Sheryl J. Bize-Boutte is an Oakland multidisciplinary writer whose autobiographical and fictional short story collections, along with her lyrical and stunning poetry, artfully succeed in getting across deeper meanings about the politics of race and economics without breaking out of the narrative.  Her writing has been variously described as "rich in vivid imagery," "incredible," and "great contributions to literature." Her first novel, Betrayal on the Bayou, was published in June 2020 and a poetry collection she has written with her daughter Dr. Angela M. Boutte, titled No Poetry No Peace, was published in August 2020.  She is also a popular literary reader, presenter, storyteller, curator, and emcee for local events.

For each class, we reserve the right to cancel at any time and issue a full refund. If you are unable to attend your class, please email tedwards@milibrary.org at least 10 days prior to the class to receive a full refund. All fees must be paid at the time of registration.

Admission: 
MI Members $15
Public $25

Register now ›

 QUESTIONS? Contact Taryn Edwards, tedwards@milibrary.org


Thursday, June 10, 2021

MAMA DUNN RETURNS FOR JUNETEENTH 2022

FOR JUNETEENTH 2022-MAMA DUNN RETURNS

First shared in 2021, the story of Mama Dunn is a combination of the history of Black people in America, a young man's coming of age, and Juneteenth legacies shared.  Certainly, we know from history, both written and spoken, the year 1865 and the years preceding it were not all about the celebrations we engage in today. As always, other things were in play even back then.  The story I present to you today is a true depiction of those times, passed down by my husband and his family.  

Mama Dunn, is about the other stuff going on at the time and how a young teenager’s picture tells a story that continues to inform, rile, resonate, anger, and inspire today, in so many, many ways.




MAMA DUNN

Sheryl J. Bize-Boutte

Copyright © 2021 by Sheryl J. Bize-Boutte


As teenagers in the 1970’s, my then future husband and I often spent time with each other’s families. We thrived on bar-b-que’s with live music, extended family birthday celebrations, wonderful holiday dinners, car trips, and plenty of impromptu visits that turned into full-blown parties. It was during one of his family’s epic card playing parties that I first saw the photograph.

A bit grainy and slightly creased, the sepia toned image was still clear enough to see the two people standing in the foreground of a lush grassy pasture somewhere in Louisiana. Although the exact year and place had long been lost to family memory, the images seemed to jump off the yellowed scalloped edged 3X5 photo paper of the day.

On the left of the picture stood a thin, brown-skinned girl who looked to be about thirteen or fourteen. Her hair was styled into two loosely braided shoulder length pigtails, her arms pinned uncomfortably at her sides as she focused on the camera lens. The stare she gave was drained of affect, hauntingly unreadable. Although it was not possible to discern what her feelings may have been at that moment, the lack of expression on her young smooth face revealed that she had already been through the unimaginable. Even more than a century later, the forces inside her core being traversed the faux tranquility of that photograph to send the lasting message to anyone who would ever see it, that until that point in her life, or one very close to it, she was, or had been, a slave.

Standing on the right side of the photograph was a very tall, achingly thin bearded White man.  His body was slightly turned toward her, and his left hand was outstretched as he posed while in the process of handing something to her. In the photograph, one could barely still make out the faded sunlight glinting off the of the shiny object he held.  It turned out to be a twenty-dollar gold piece. A reward or acknowledgement of some sort from him to this young Black girl.  Even through the haze and creases of the old photograph, he was immediately recognizable.

The young, brown-skinned girl in the photo would become my husband’s great-grandmother and would be known to him as Mama Dunn. 

The thin White man in the photograph was Abraham Lincoln, then President of the United States.

But how did this photo and unlikely meeting come to pass? It may have been that Abraham Lincoln was doing public relations and photo ops in between the signing of the Emancipation Proclamation in 1863, and his tragic assassination in 1865.  With the freeing of the slaves, the institution of slavery and its forced labor was shattered.  By the end of the Civil War in 1865, 620,000 soldiers had perished and much of the Southern U.S. was in shambles.  Damage estimates of physical destruction alone hovered around $1.5 billion.  With almost 2% of the U.S. population killed in the Civil War, more than any other war in U.S. history, there was a dire need for workers to meet the challenges of Reconstruction and to maintain the U.S. economy.  There may have been many reasons for this type of visit by the President, but I suspect that it had to do less with freeing the slaves, and more with efforts to end the war while motivating former slaves to stay, join the Union Army to increase the Union’s forces, and help rebuild the country.  

Although most slaves were not freed by the Emancipation Proclamation of 1863, which specifically excluded most slave-holding states, Mama Dunn may have been living in one of the Louisiana parishes that were included. In fact, the Emancipation Proclamation states in part,

“Arkansas, Texas, Louisiana, (except the Parishes of St. Bernard, Plaquemines, Jefferson, St. John, St. Charles, St. James Ascension, Assumption, Terrebonne, Lafourche, St. Mary, St. Martin, and Orleans, including the City of New Orleans) Mississippi, Alabama, Florida, Georgia, South Carolina, North Carolina, and Virginia, (except the forty-eight counties designated as West Virginia, and also the counties of Berkley, Accomac, Northampton, Elizabeth City, York, Princess Ann, and Norfolk, including the cities of Norfolk and Portsmouth[)], and which excepted parts, are for the present, left precisely as if this proclamation were not issued.” /1

 It was not until the ratification of the Thirteenth Amendment in 1865 that all slaves were freed.  So in between all of that, with the country still at war, in economic peril, and the unfathomable human loss, Lincoln knew he had work to do.

My suspicions about the Lincoln “photo op” are further buoyed by the rest of the story from that picture day.  After the photo was taken, and there may have been others, Lincoln did indeed hand the young Mama Dunn the gold piece. But as soon as the photo session ended, he asked her to give the coin back.  As family lore tells it, someone in the crowd that day shouted, “Let the little gal keep it!” and an embarrassed Lincoln did just that.

Mama Dunn held on to that twenty-dollar gold piece, and the story of her meeting with Lincoln became a major part of family history with the valuable artifact serving as demonstration of fact. By the time my husband came into this world, Mama Dunn had reached 100 years of age and was living with extended family in Oakland.  


He became aware of her early on.  Even as a toddler, as Mama Dunn sat back in her dark green chenille covered chair, he sat at her feet on the matching ottoman and listened to every word she had to say. He listened to her hum. He kept watch when she dozed off. As he grew older, she talked to him a bit more, but never about slavery or hardship. She talked to him about how to solve the problems of life as well as how to celebrate the pleasures and victories. The Lincoln photograph would sometimes appear along with the chance to hold the treasured twenty-dollar gold piece. She was and remains his earliest and most influential life force. He loved her to the moon and back.

Mama Dunn passed away when my husband was in the third grade.  

She was 108 years old.

Still living in Oakland at the time of her death in the mid-1950’s, she was buried in a local cemetery where a flat square of stone bears her name and relevant dates, but still fails to mark her magical existence.

She is there to this day. 

In what used to be the Black section.

/1 National Archives Transcript of the Proclamation dated January 1, 1863