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slam community was influential in helping me develop a moral compass as a young person. Slam was my first introduction to multiculturalism and cultural competency. It was also one of my first experiences with critical citizenship because poetry let me imagine the various ways I could change the world. Most important, slam reinforced a notion in me that the language I use has an impact on others and consequences for myself. Since Aloud’s publication in 1994, numerous educators have recognized the immediate benefits of introducing performance poetry in the classroom (Holbrook & Salinger, 2006), particularly noting the medium’s ability to engage reluctant readers (Low, 2011). Despite the increased desire to use the spoken word in classroom settings, many educators outside the slam community are uncertain how to introduce poetry into their lesson plans beyond playing a short video or inviting a practitioner like myself to class for a one-time performance. The blame need not rest solely on the shoulders of uninformed secondary teachers; although slam academics have approached spoken word as a writing pedagogy (Fisher, 2007) and a performance pedagogy (Sibley, 2001), there has been relatively little discussion on how slam as a reading pedagogy fits into the holistic trifecta known as spoken word pedagogy. In the forward of Aloud, coeditor Bob Holmon declares, “Do Not ReaD this Book. You don’t have to. This book reads you. This book is a shout for all those who have heard the poem’s direct flight from mouth W henever I find myself standing in front of a cafeteria or gymnasium filled with hundreds of secondary students, my arms spread wide like I’m suspended on a high dive, I always think about how badly I needed a good poet in my life when I was 14. Instead, I learned to write by carving on my arm with twisted staples. I learned to speak by shrieking obscenities at my teachers. The first day I can remember not wanting to die came a couple years later when I was introduced to a book called Aloud: Voices from the Nuyorican Poet’s Café (Algarín & Holman, 1994). For many spoken-word enthusiasts around the world, the phonebook-sized tome of poems was the first glimpse at a radical new vehicle for performance art called poetry slam. Emotional and raw, with content ranging anywhere between confessional testimonials, political assaults, raunchy stand-up comedy, and hip-hop holler-if-you-hear-me flows, the poetry chronicled in Aloud reinvigorated a public interest in performed verse (Kaufman, 1999). A large part of that public interest was reflected in kids like me (Weiss & Herndon, 2001). When I was 16, I stopped writing drafts of my suicide note and I started writing poems. Those are the memories I think about now, 15 years later, when I’m rapid-fire whipping words at crowds of school kids. I became the poet that a young me needed, a move similarly made by hundreds of artists who’ve transitioned from the slam scene to the classroom (as educators, academics, guest performers, and mentors). Moreover, the poetry I heard from the

Read This Book Out Loud: A Review of Young Adult Works by Artists from the Poetry Slam Community