Red Letter Poem #263

 The Red Letters

 

 

In ancient Rome, feast days were indicated on the calendar by red letters.

To my mind, all poetry and art serves as a reminder that every day we wake together beneath the sun is a red-letter day.

 

––Steven Ratiner

 

 

 

 

 

 

 

Red Letter Poem #263

 

 

 

 

Aunt M.S.                     

When she makes it down the stairs     one step

one     stops at the landing to catch

what breath she can

and hobbles into the kitchen

her cane     a starless wand

I want to hide behind the woodstove

disappear     like springtime 

Sometimes I can’t believe

I let her stay          but

she came with the house          fine

print            

after the lawyer’s signature

Oh          she buys her own

food     pays her way          

Thursdays          Amazon     drops     boxes 

on the porch          She sorts

and puts away

keeps herself

clean     charges 

up her hearing aids  

 

She tries          not to complain

but her body isn’t right           

her back aches          her legs tire.                  

her arthritic fingers

often          clench so tight

she hooks them onto a table edge

to bend them     straight            

Nights     when sleep eludes

her     she paces 

the third-floor corridor like a wraith

 

I’ve seen her glide     cane-less

in her Emily-white nightdress

toward the window blessed with stars

I’ve learned not to check on her          unless           

she calls for me

She calls when she’s afraid     of what

she might become

and I climb the stairs

                                          one step

one                

and take her in my arms 

          as though I love her.

 

 

––Susan Roney O'Brien

 

 

 

What else is a poet to do?

Susan Roney-O’Brien has spent much of her life focused on the written word. She’s published two chapbooks and three full-length poetry collections, the most recent being Thira (‎Kelsay Books). It’s an entrancing sequence of poems that conjures within our consciousness a once-thriving ancient Aegean isle so that we might appreciate, in simpler terms, what is at the heart of our human enterprise on this planet. Her poetry has been published widely, translated into Mandarin and Braille, and much honored for its deep and life-affirming spirit. So what should such a writer do when confronted with a devastating medical diagnosis––multiple sclerosis––and the cascading fears and dark thoughts it engenders? She writes about it, of course––even if it upends part of her creative approach and wreaks havoc with her emotions. Even if it lays bare her wounded spirit and surprising vulnerabilities––the very things we humans tend to hide from public view. She follows the twisting paths her imagination takes her, so that it might help her come to terms with what is taking place––within her body and around her in the world. She tells the truth––or tries to, as best she can. And so a whole new collection of poems is emerging slowly which will––at least according the samples I’ve read so far––break readers’ hearts while, at the same time, fortifying them.



One continuing character who appears in the manuscript is this ‘Aunt M. S.’, a sort of familial projection of the illness so that the lifelong self––who has always been the one to navigate torrential language––can examine this new incarnation with a bit of objectivity. I immediately felt this poem has some kinship with Sylvia Plath’s “In Plaster” and, in each case, the aim is simply survival. I was taken by the way the unsteadiness of her condition helps shape the form of the poem, negotiating its uneven gaps and hesitations. “When she makes it down the stairs one step/ one stops at the landing to catch…”––my heart was caught off-guard by the gap between one step and that one half-rhyme stop, catching our breath as well. The narrator has the urge to hide behind that familiar source of warmth, the kitchen woodstove––a metaphorical echo of that other fervid dream of new life: spring. Her new aunt attends to the quotidian tasks of contemporary life (groceries, Amazon boxes, charging the hearing aid), trying “not to complain” (which, of course, means she does––and here we can’t help but join our own sufferings to hers). But when “her arthritic fingers/ often clench so tight/ she hooks them onto a table edge/ to bend them straight,” the more profound nature of what the speaker (no, we’re not able to maintain that literary convention––what the poet) is going through is viscerally present.



And yet there are moments when this new version of Susan glides cane-less down the hallway “like a wraith”, dressed in white, the way her literary ancestor from Amherst might have done. And the poet does––what each of us must learn to do when facing our own fragile bodies, the longing of our mortal selves: “I climb the stairs/ one step/ one/” (oh, the profound despair and joy, to take that one treacherous step again, to navigate these precarious lines of poetry) “and take her in my arms/ as though I love her.” As though. Sometimes that’s the best we can do, though we pray we’ll uncover love’s deeper resources, our deepest selves. Not surprisingly, William Stafford’s moving little lyric, “Bess,” came to mind. In it, the local librarian hides her cancer diagnosis from her community. “She had to keep her friends from knowing/”––and the enjambment of his line-break trips up our expectations, not unlike Susan’s uneven spacing––“how happy they were.” Indeed, because just a mention of her mortal jeopardy would cast our ‘ordinary’ lives into such relief, how could we be anything but happy, not to be facing what Bess does––what Susan does––every morning. I think that’s the gift both of these poets are offering to readers: be glad; your day is not as hard as it might be. Savor what is present now: this sunlit window, this bowl of cut hydrangeas, these beloved voices echoing in our homes, this sip of morning coffee, this poem.

              

 

 

 

The Red Letters

 

* If you would like to receive these poems every Friday in your own in-box – or would like to write in with comments or submissions – send correspondence to:

steven.arlingtonlaureate@gmail.com

 

 

* To learn more about the origins of the Red Letter Project, check out an essay I wrote for Arrowsmith Magazine:

https://www.arrowsmithpress.com/community-of-voices

 

and the Boston Area Small Press and Poetry Scene

http://dougholder.blogspot.com

 

* For updates and announcements about Red Letter projects and poetry readings, please follow me on BlueSky

@stevenratiner.bsky.social

and on Twitter          

@StevenRatiner

 

And coming soon:

a new website to house all the Red Letter archives at StevenRatiner.com

 

A Comprehensive Analysis of the Bagel Bard Literary Group: Origins, Evolution, and Community Impact

Executive Summary  ***AI Generated

The Bagel Bard Literary Group, established in 2004, represents a distinctive model of community-based literary engagement. Originating from informal Saturday morning gatherings in Cambridge and later Somerville, Massachusetts, the group has cultivated a vibrant and diverse community of poets and writers. Its unique mission prioritizes social interaction and camaraderie—dubbed "breakfast with the bards"—over formal critique, fostering an exceptionally inclusive environment. This foundational philosophy has enabled the group to grow significantly, attracting a wide demographic spectrum and notable literary figures. The Bagel Bards’ tangible output includes a series of annual anthologies, which serve as a democratic platform for members' diverse literary expressions and a living archive of the group's collective creativity. The group continues to demonstrate remarkable adaptability and an enduring commitment to fostering social capital and mutual support within the literary arts, establishing itself as a vital and influential force in the New England literary scene.

1. Introduction: The Genesis and Enduring Spirit of the Bagel Bards

1.1 Overview of the Group's Unique Identity and Mission

The Bagel Bard Literary Group distinguishes itself as a "vibrant community of poets and writers" that convenes weekly, primarily to foster social interaction and shared experience. Its very identity is playfully encapsulated in a self-definition: "Bagel Bard – noun. 1. A poet that is glazed and ring-shaped whose poetry has a tough, chewy texture usually made of leavened words and images dropped briefly into nearly boiling conversations on Saturday mornings— often baked to a golden brown. 2. –verb. To come together in writership over breakfast". This whimsical description underscores the group's informal, food-centric, and conversational nature, setting a tone of accessibility and camaraderie.  

At its core, the group's mission is defined as "breakfast with the bards," explicitly stating that it is "not a movement or a reading or a critique session (that comes later)". This foundational principle differentiates the Bagel Bards from many traditional literary workshops that often focus on structured critique or formal readings. By prioritizing informal social interaction, the group effectively lowers the barrier to entry. The atmosphere is consistently described as "generous and open to all," emphasizing that "you don't have to be a poet to attend". This emphasis on casual, welcoming engagement, where members "chew the fat" and engage in "good friendly unpretentious talk," cultivates a strong, informal community bond. This approach has been instrumental in the group's remarkable growth from a small gathering to over 120 members, contributing significantly to its longevity over more than a decade and its resilience in adapting to new meeting formats. The notion that a "critique session... comes later" suggests that deeper literary engagement is an optional outcome that emerges organically from established trust and rapport, rather than a prerequisite for participation. This makes the group a vital social network, enhancing its sustainability beyond what more rigid formats might achieve.  

1.2 Founding Narrative and Initial Objectives

The Bagel Bards originated from a seemingly casual yet profoundly impactful breakfast conversation between poets Doug Holder and Harris Gardner. The founding year is consistently identified as 2004 , although one account suggests 2003. The initial meeting place was "Finagle-a-Bagel on JFK in Harvard Square, Cambridge, Massachusetts". While Holder and Gardner are consistently cited as the primary founders , Steve Glines is also mentioned as a co-founder in one account.  

The initial objective was to establish a "writers social group," providing a space where poets and writers could "chew the fat" and engage in "conjecturing upon the potential mental, spiritual and perhaps even physical salubriousness of occasional social interface". This highlights an early focus on holistic well-being and community building, extending beyond mere literary output. The group's origin is even framed as a "creation myth," emphasizing its organic, almost serendipitous beginning from poets "congenially munching their bagels".  

This founding narrative carries a deeper cultural resonance, as it explicitly references the "Co-Existence Bagel Shop" in San Francisco, a historical hangout for Beat poets such as Allen Ginsberg and Lawrence Ferlinghetti. Doug Holder himself had studied the poetry of A.D. Winans, who mentioned this historical hangout, suggesting a conscious or unconscious connection to this lineage. This historical connection indicates that the Bagel Bards are not an isolated phenomenon but rather tap into a rich tradition of informal, cafe-based literary communities. This connection provides a deeper cultural context for their chosen format, suggesting that the "bagel" aspect is not merely whimsical but rooted in a historical model of literary interaction that values spontaneity, intellectual exchange, and camaraderie over rigid formal structure. The Bagel Bards thus function as a "small coda" to this broader literary history, continuing a legacy of accessible and community-driven literary engagement.  

Table 1: Key Milestones in Bagel Bards History

| Milestone | Year / Period | Details | | :--- | :--- | :--- |:--- | | Founding | 2004 | Established by Doug Holder and Harris Gardner (with Steve Glines also noted as co-founder in one account). | | Initial Meeting Location | 2004 | Finagle-a-Bagel, Harvard Square, Cambridge, MA. | | Subsequent Primary Location | Post-2004 | Au Bon Pain, Davis Square, Somerville, MA. | | Transition to Online Meetings | March 2020 (during "interregnum") | Shifted to Zoom teleconferencing system. | | Membership Growth | Ongoing | Started with a few, grew to 35-50 attendees per Saturday, now over 120 total members. Online group has 87 members as of March 2020. | | Annual Anthologies | Ongoing (since 2004) | Production of annual books, with the 17th edition recently released. |  Resumed live meetings at Panera Bread, Revival and currently Cafe Zing. There is a Zoom meeting once a month hosted by Ian Halim, Marlena Edros, and Steven Glines.  

2. Evolution of a Literary Community: Locations, Membership, and Growth

2.1 Chronological Development of Meeting Locations

The geographical evolution of the Bagel Bards is central to understanding its adaptability and commitment to its core mission. The group's genesis is firmly rooted at "Finagle-a-Bagel on JFK in Harvard Square, Cambridge, Massachusetts". This location is considered the birthplace of their "creation myth," where the initial vision for the group materialized.  

Following its inception, the group transitioned its weekly Saturday morning gatherings to "Au Bon Pain in Davis Sq. Somerville Massachusetts". This move maintained the consistent "same time" for meetings, ensuring continuity for its growing membership. In a more recent development, described as "the interregnum," the Bagel Bards have adapted to meeting "online via a Zoom teleconferencing system". This adaptation underscores the group's resilience, ensuring the continuity of their weekly gatherings, which have traditionally been held every Saturday morning at 9:00 A.M..  

The consistent choice of public, commercial spaces—initially bagelries and cafes, and now their virtual equivalent—aligns with the sociological concept of the "third place." A "third place" is a public space distinct from home and work, where individuals gather for informal social interaction. The selection of such accessible and informal venues was crucial to the Bagel Bards' initial success and sustained growth. These locations provided a neutral, low-commitment environment that facilitated spontaneous interaction and community building, embodying the group's "generous and open to all" philosophy. The transition to Zoom, ( live meetings are back) described as a temporary adaptation, further highlights the essential role of this communal space, whether physical or digital, in maintaining the group's identity and function. This continued emphasis on a shared, informal gathering point demonstrates the group's understanding of the importance of accessible social infrastructure for fostering literary community.  

2.2 Growth in Membership and Demographic Diversity

From its modest beginnings with "a few people" , the Bagel Bards have experienced substantial growth, evolving into a significant literary collective. On any given Saturday, attendance has expanded to "as many as fifty" or "as many as thirty-five" individuals. The total membership has surpassed "one hundred and twenty members" , with the groups.io online platform, initiated in March 2020, actively supporting 87 members. This growth trajectory indicates a robust and expanding community.  

A hallmark of the Bagel Bards is its celebrated diversity, described as a "melting pot of heterogeneous creativity". The group's members are "varied in age, race, gender" , encompassing a wide array of backgrounds including "Men. Women. Caucasian. African-American. Seniors. Young. Jews. Christians. Novelists. Teachers. College professors, mental health workers, and artists". This broad demographic representation enriches the discussions and perspectives shared within the group.  

The group's "open to all" policy, characterized by "no attendance requirements, no dues, no fees" , coupled with its informal "breakfast" format, directly contributes to its ability to attract such a diverse membership. This low barrier to entry and welcoming atmosphere naturally leads to increased participation and membership expansion. As the group grows and diversifies, it becomes even more appealing, creating a richer and more dynamic environment for "good literary company" and varied discussions. This, in turn, reinforces its appeal and encourages further growth and diversity, forming a positive, self-sustaining feedback loop. The group's capacity to attract notable figures such as Boston Poet Laureate Sam Cornish or novelist Luke Salisbury further legitimizes its appeal and draws in more aspiring and established writers, thereby enhancing the group's intellectual and creative capital. This continuous cycle of inclusivity leading to growth, and growth fostering greater diversity, is a key factor in the Bagel Bards' sustained vitality.  

2.3 The "Open to All" Philosophy and its Impact on Community Building

The Bagel Bards' operational philosophy is remarkably simple yet profoundly effective: "To join, one need only attend once. There are no attendance requirements, no dues, no fees". This radical openness cultivates an immediate sense of belonging, with members often reporting feeling "at home, like walking into a living room of cousins I had not yet met" from their very first visit.  

This inclusive approach fosters a genuine "family of sorts" , providing "friends and community" for individuals who might otherwise experience social isolation. A poignant illustration of this profound social impact is the story of Richard, a retired Boston civil servant. Richard, a solitary individual, discovered the Bagel Bards late in his life and found a true community within the group. He "reveled in the eccentric nature of the group—the cast of characters-- the sometimes-vaudevillian nature of our meetings," and through the Bards, he found friends and was invited to social gatherings, becoming "like a social butterfly". His experience powerfully demonstrates how the group's open and supportive environment can provide crucial social connection and belonging.  

The Bagel Bards' structure facilitates the rapid formation of social capital, which refers to the networks of relationships among people that enable a society to function effectively. In an increasingly atomized society, where individuals may struggle to find meaningful connections, the Bagel Bards provide a vital "third space" for intellectual and emotional engagement. By fostering trust, mutual support, and a sense of "family," the group builds strong social bonds that transcend mere literary discussion. This social capital not only enriches the individual lives of its members but also contributes to a more robust and supportive local literary ecosystem. The group's model, therefore, serves as a powerful example of community building within the arts, demonstrating how a simple, open gathering can create deep, sustaining human connections.

3. The Core Experience: Weekly Gatherings and Group Dynamics

3.1 Description of Typical Saturday Morning Meetings (Atmosphere, Activities, Discussions)

The Bagel Bards' weekly gatherings have historically taken place every Saturday morning at 9:00 A.M.. , the fundamental essence of "breakfast with the bards" remains unchanged.  

The atmosphere is consistently described as "intelligent without self-involved, convoluted literary talk of people who need to prove themselves and announce themselves as artists". Instead, it offers "the pleasure that good literary company may offer". Discussions are wide-ranging and dynamic, capable of morphing from a discourse on "Botticelli" to a heated conversation about "Donald Trump, or the meaning of meaning". Members are encouraged to "linger, schmooze, pontificate" , contributing to an environment characterized as a "madcap dysfunctional family" where humor and drama naturally unfold, and "no one takes themselves too seriously".  

Activities at these gatherings include sharing poems, discussing poetry, enjoying coffee, and occasionally selling books. Although not a formal writing workshop, members are welcome to "bring work to share and receive feedback from other members" if they wish. This dynamic, unscripted environment, where diverse voices and ideas freely interact, functions as a unique creative incubator. The varied discussions, the presence of "characters who themselves could be the subjects of poems and fiction" , and the freedom from the pressures of formal critique provide rich fodder for inspiration and informal feedback. This setting allows for the organic development of ideas and perspectives, contributing to the "individual and unique" work that features in their anthologies. The group fosters a space where "living, living, living" is the primary activity, suggesting that the very act of shared existence and conversation is viewed as a fundamental form of creative nourishment.  

3.2 Emphasis on "Breakfast with the Bards" over Formal Critique Sessions

A defining characteristic of the Bagel Bards is its explicit emphasis on "breakfast with the bards" as its core activity. This is deliberately differentiated from a "reading or a critique session (that comes later)". This distinction is crucial, as it shapes a group culture that is primarily supportive rather than competitive. The focus is on "good friendly unpretentious talk" and cultivating "the pleasure that good literary company may offer".  

By prioritizing social connection and low-pressure engagement, the Bagel Bards offer a space that serves not only for literary development but also for the mental and emotional well-being of its members. The environment is "generous and open to all" , fostering a sense of "friends and community". This is powerfully illustrated by the experience of Richard, who found solace and belonging within the group, becoming "a family of sorts". Furthermore, the co-founder Doug Holder's professional background includes running poetry groups for psychiatric patients , which suggests an understanding of the profound human need for connection and expressive outlets. This understanding is implicitly met by the Bagel Bards' model, which, by de-emphasizing formal critique, reduces anxiety and encourages authentic interaction. This makes the group more than just a literary gathering; it functions as a vital social and emotional support system that sustains its members' creative and personal lives.  

3.3 Notable Personalities and Their Contributions to the Group's Character

The Bagel Bards boast a membership that "reads like a Who's Who in the Boston Glitterati" , reflecting its significant standing within the regional literary community. Key figures who have participated include Boston Poet Laureate Sam Cornish and novelist Luke Salisbury. Other prominent literary figures such as poet Afaa Michael Weaver and Gloria Mindock, editor of Cervena Barva Press, are also mentioned as members.  

Beyond these well-known names, individual members contribute significantly to the group's distinctive "eccentric nature". Discussions are enlivened by members who regale stories of "union corruption, corporate greed, and his clandestine forays into Afghanistan," while others share insights on their professional lives and navigation of the world. The recent 17th anthology was dedicated to Krikor der Hohannesian, a "much-beloved participant" who passed away in November 2023. His story, and the group's decision to honor him, highlights the deep personal connections formed within the group and how individual members, through their unique personalities and life experiences, enrich its "quirky circle".  

The presence of both established literary figures and a diverse range of other professionals and individuals creates a unique dynamic. In this informal setting, interactions between these varied members naturally lead to an exchange of knowledge, experience, and perspectives. While there are no formal mentorship programs, the very presence of accomplished writers fosters an environment where informal learning and inspiration can flourish. This organic interaction facilitates a unique form of "accidental mentorship" and peer validation. Aspiring writers gain exposure to the insights of experienced professionals, while established figures find fresh perspectives and a grounded community. The act of being part of a group that includes a Poet Laureate or a published novelist provides a powerful form of validation and encouragement for all members, contributing significantly to the group's overall creative vitality and the quality of its collective output.

4. Literary Output: The Bagel Bards Anthology Series

4.1 Overview of the Annual Anthology Publication Process and Purpose

A significant and tangible output of the Bagel Bard Literary Group is its consistent production of an "annual book" or "anthology". This commitment to publication has resulted in a substantial body of work, with the 17th Edition recently released. These annual compilations serve as a celebration of the group's collective writing endeavors.  

The anthologies are characterized by their democratic nature, mirroring the group's open-door policy: "if you’re a Bagel Bard, you’re in". This indicates an inclusive submission process for all members. The process involves a call for submissions, adherence to deadlines, and subsequent editorial work to compile the volume. The purpose of these anthologies extends beyond mere compilation; they provide a vital platform for members to be published, offering a significant opportunity for their individual and collective work to reach a wider audience.  

This consistent annual output establishes the anthologies as a "living archive" of the group's creative evolution and its members' individual journeys. It is not merely a collection of poems but a chronological record of the community's collective voice and shared experiences. This "living archive" serves multiple functions: it provides a historical record of the group's literary activities, acts as a source of pride for its members, and stands as a testament to the group's sustained creative output. The practice of including dedications to deceased members, such as Krikor der Hohannesian in the 17th anthology , transforms the publication into a memorial, reinforcing the deep personal bonds within the group and ensuring that their contributions are remembered and honored. This adds a profound layer of meaning beyond typical literary publications, making each volume a testament to both artistic expression and enduring community.  

4.2 Diversity of Literary Forms and Styles Featured

The Bagel Bards anthologies are notable for showcasing a remarkable "variety of styles and forms". This includes a broad spectrum of poetic expressions such as "ekphrasia, prose poems, villanelle, and free form poetry". This formal diversity reflects the wide range of artistic approaches embraced by the group's members.  

The work contained within these volumes is described as "as individual and unique as each contributing Bard" , underscoring the distinct voices and perspectives present in the community. Themes explored are equally varied, ranging from "little day-to-day deaths, dreams, and wounds, lost causes and dead ends presented in playful, whimsical, and experimental ways". This thematic breadth covers both the mundane and the profound, reflecting the diverse life experiences of the contributors.  

In a broader literary context, where schools or movements often segment the landscape, an anthology that embraces such formal and thematic diversity is particularly noteworthy. The Bagel Bards anthology, by its very democratic nature and broad membership, inadvertently becomes a microcosm of contemporary poetic trends and individual expressions within the specific regional literary scene of Boston and Somerville. It demonstrates that a vibrant literary community does not need to adhere to a singular aesthetic or thematic focus but can, in fact, thrive on the multiplicity of its members' artistic approaches, offering a rich tapestry of voices to its readers. This commitment to variety ensures that the anthologies remain fresh and engaging, reflecting the dynamic nature of the group itself.

4.3 Significance of the Anthologies as a Collective Literary Output

The annual anthologies hold significant value as a collective literary output for the Bagel Bards. They provide a crucial "platform for members to be published" , which is particularly valuable given the group's open membership policy, offering an accessible avenue for both emerging and established writers to see their work in print. For readers, these anthologies offer a unique opportunity to "sample" the work of the Bagel Bards , serving as "the next best thing" to attending their lively breakfast meetings.  

Beyond mere publication, the anthologies foster a culture of mutual support among members. There is an active encouragement for members to promote and review each other's books, with explicit calls to "start thinking in this way if we wish to make the Bagel Bards an active contributor to our writing community's health and well-being". This collective effort extends to buying each other's books and submitting reviews, especially on platforms like Amazon, which is recognized as making "a real difference".  

This practice effectively creates a micro-economy of literary support within the group. Members are not just writers; they also constitute a built-in audience and a dedicated promotional network for each other's work. For many, particularly emerging writers, this internal support system is invaluable, providing initial readership and critical feedback that might otherwise be difficult to obtain. This reciprocal engagement enhances the visibility of individual bards and their contributions, transforming the anthology into an engine for grassroots literary economy and increased visibility. This model demonstrates how a community-driven publication can empower its members, contributing to the broader health and vibrancy of the local literary scene by fostering a supportive ecosystem for creative production and dissemination.

5. Conclusion

The Bagel Bard Literary Group stands as a compelling example of a successful, community-driven literary organization. Founded in 2004 by Doug Holder and Harris Gardner,and Steve Glinest, this core principle, which prioritizes social connection and camaraderie over formal critique, has been instrumental in cultivating an exceptionally inclusive and welcoming environment.

The group's "open to all" policy, characterized by no attendance requirements, dues, or fees, has facilitated remarkable growth, attracting a diverse membership that spans various ages, backgrounds, and professions, including notable literary figures. This inclusivity fosters a strong sense of belonging and mutual support, acting as a vital source of social capital for its members. The dynamic and unscripted nature of its weekly meetings, often described as "controlled chaos," serves as a unique creative incubator, allowing for organic idea development and informal peer validation. Beyond its immediate social benefits, the group contributes significantly to the well-being of its members, providing a therapeutic space for expression and connection.

The Bagel Bards' commitment to producing annual anthologies serves as a tangible manifestation of its collective creativity. These democratic publications showcase a rich diversity of literary forms and styles, reflecting the unique voices within the group. Furthermore, the anthologies function as a "living archive" of the community's evolving artistic journey and a platform for members to gain visibility and support each other's work, thereby fostering a grassroots literary economy.

In sum, the Bagel Bard Literary Group demonstrates that a thriving literary community can be built on principles of informality, inclusivity, and mutual support. Its adaptability, enduring spirit, and tangible literary output solidify its position as a significant and influential force in the New England literary landscape, offering a valuable model for fostering accessible and sustaining literary engagement.