Chasen Gaver

A now-defunct Washington, D.C. after-hours gay bar is used as the setting for hell.

A parody of American domestic and political life. Marge Jones, a B-movie actress, is plagued by creditors and blackmail. She returns to her hometown, Zanesville, Ohio, to raise her two children and save herself.

Gaver is an actor rather than a reciter and pulls the "text" out of a gold-leaf skull, folds it into an airplane and then tosses it over and over. Scenes of newspaper production and World War II propaganda footage are intercut with this main action, echoing visually the rhythms of the poem.

Documents the innovative ways in which Washington writer/poet Chasen Gaver uses movement, percussion and other performance elements to enhance the delivery of verse. He uses this form of poetry to raise questions about our society, encourage cross-cultural awareness and make us reflect on contemporary issues.

A monologue which posits being Black and HIV positive as making one doubly invisible, and losing weight as a prelude to disappearing.

The poet vanishes and only his voice remains. He is replaced, as Walters describes it, by a "visual realization" of the poem's themes of spies, secret codes and lurking violence.

Gaver is an actor rather than a reciter and pulls the "text" out of a gold-leaf skull, folds it into an airplane and then tosses it over and over. Scenes of newspaper production and World War II propaganda footage are intercut with this main action, echoing visually the rhythms of the poem.

A spoof on Jacqueline Onassis's possible telephone response to First Lady Joan. Second segment of "A Kennedy Trilogy."