Q:1. How did you decide on what poems to send?

Well, when Alan (The Broken Spine) approached me, I was on a 7 month-or-so long hiatus. Alan messaged me around the time I was looking at getting back into writing and performing etc, so I didn’t really have a poem to ‘pick’. Instead it motivated me to sit down and actually do some writing. I have a chapbook out, called Pools, with Written Off (formerly Bent Key) publishing and my work focuses on nature, occultism, folklore and esoteric knowledge, so for me writing a poem that hit the themes was natural, even if I am a bit rusty. The piece I’ve written was created for the purpose of The Whiskey Tree and I had the brief in mind the whole time. There was only ever one poem to pick from for me.

Q:2. What poetic form did it take, and why?

The same form most of my poems take. I tend to write narrative driven pieces, using lots of intense metaphors and symbolism. Although I dabble, rigid structure and forms aren’t my usual go to. My pieces are layered and I can assure you that every word, every line, every detail is selected for a reason, that is to tell the story that I envision. The symbology and metaphors leave it open to interpretation, so I have my own meaning, but I love seeing other people take their own meaning from my work and assign their own feelings and stories to it.

Q:3. How did you use the whiteness of the page in your poem?

I think the best answer to that is I don’t. Often, when I write, it’s just on my phone. Yeah, that sounds so superficial in this day and age and of course I have journals and notebooks as well, but sometimes the idea just hits and I’m often out and about. When I write, I am fully engrossed to the point of visualisation, the ‘whiteness of the paper’ doesn’t exist. I don’t see it as stream-of-conciousness by the way, because I’m fully aware of the narrative unfolding before me. To some extent it is stream-of-conciousness, the narrative may try to guide me in a certain direction, down a certain path so to speak, but the overall control remains with me. I seek counsel in the unfolding narrative but I can and will change the direction whole heartedly if I feel strongly about specific metaphors, story arcs and symbolism. The paper becomes an extension of the self, a map, guiding me. It’s just sometimes I want to take the scenic route.

Q:4. How did you decide on the title of your poem?

Bloody hell, that’s a good question. In this instance the title came to me after writing. Sometimes I pick the name and write, other times I have working titles, sometimes I leave them untitled. The title, in my opinion is very important, it’s the genesis of ideas for the reader. It’s the sown seed, the poem being the harvest. I finished this piece and the title presented itself to me. I don’t know how, or why or from which recesses of my mind, but it just came forth. It fit the narrative, it fit the themes of nature, vulnerability, folklore, and the theme of wandering. The title is an extension of the piece in the case, the title ‘I am the Lamb that Roams the Land’ is almost akin to an opening line really.

Q:5. Imagery, or narrative. Which was more important to you in writing the poem?

Both are equally as important. There is a delicate equilibrium between the two for me that just seems to work. Of course, imagery is important, if it was any less so I’d focus more of prose writing, not to say there is no imagery in that, on the contrary, but poetry needs imagery, its foundations are steeped in it. Narrative though, is extremely important to me, every piece I write is a story unto itself, some are so layered and rich there are multiple narratives fused together in myriad unfolding plot lines. It’s a strange dance, but it works for me, both need attention, nurturing, development.

Q:6. What do you think of where your poem is placed in the collection?

I’m neither here nor there on it. When I released my chapbook, every meticulous detail was carefully ironed out, including what I call the ‘tracklisting’ haha, however for an anthology, it is not for me to decide. You have to trust the editor to make the best call, you also have to understand this is as much the editors, and every other contributing writers, project as well. My piece was deemed good enough to go in the Anthology. I have faith in my work, you’ve got to, even if sometimes I do get a case of the Imposter syndrome! In doing so, I have faith in the editor, and I have faith in every other piece of writing in the collection. This isn’t an individualistic endeavour, it’s a piece of this great sprawling narrative some strangers (and some friends) got together to create. Isn’t that beautiful.

Q:7. Once they have read your poem, what do you hope the reader will leave with?

Their own meaning. It’s immensely important to me, and rewarding, to see people assign their own thoughts, feelings, memories, experiences, to a piece of writing I’ve created. It’s a connection to the reader. The reader is the final, and always the most important piece of the artwork. Through strong symbology and rich, layered metaphors we create a weaving work of art that transcends my own meaning. It’s fucking brilliant! Once the piece is out there, it’s no longer exclusively my work. I merely provide the tools to help the reader visualise their own stories, Of course I have my own personal interpretations, but hearing others interpret my work helps form a bond between myself anf the reader, which further strengthens the emotional connection they have with the piece.