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“The Annoyance Of Flies” and two more of my poems featured in talented company in The Poet By Day. Thankyou Jamie.
Wombwell Rainbow Interviews: Rochelle Jewel Shapiro
Wombwell Rainbow Interviews
I am honoured and privileged that the following writers local, national and international have agreed to be interviewed by me. I gave the writers two options: an emailed list of questions or a more fluid interview via messenger.
The usual ground is covered about motivation, daily routines and work ethic, but some surprises too. Some of these poets you may know, others may be new to you. I hope you enjoy the experience as much as I do.
Rochelle Jewel Shapiro
Rochelle Jewel Shapiro’s novel, Miriam The Medium (Simon & Schuster), was nominated for the Harold U. Ribelow Award. Kaylee’s Ghost, her second novel, was an Indie finalist. She’s published essays in NYT (Lives) and Newsweek, and in many anthologies. Her short stories, poetry, and essays have appeared or are many literary magazines such as The Alembic, Amoskeag, California Quarterly (CQ), The Cape Rock, The Coe Review, Compass Rose, Controlled Burn, Front Range Review, The Griffin, Harpur Palate, Inkwell Magazine, The Iowa Review, Los Angeles Review, The MacGuffin, Memoir Journal, Moment, Negative Capability, Pearl, Pembroke, Pennsylvania English, Peregrine, Ragged Sky Press, Rio Grande Review, RiverSedge, Schuylkill Valley Journal Of the Arts, The South Carolina Review, Stand, Studio One, and Thema. Her essay, Eulogy for My Mother won the Branden Memorial Literary Award from Negative Capability. Spry Journal nominated one of her poems for Best or the Net, 2019. She teaches writing at UCLA Extension. https://rochellejshapiro.com @rjshapiro
The Interview
1. Who introduced you to poetry?
Mother Goose. Nursery rhymes were printed on the linoleum of my first bedroom. I’d hop, reciting the rhymes, from Simple Simon to Little Miss Muffet to that rakish Tom, Tom, the Piper’s Son who stole a pig and away he run, reciting the rhymes. Being the youngest of two sisters, one five, the other eight years older than I, and living in an increasingly dangerous neighbourhood, I was alone in my room a lot. Rhyme kept me company.
2. What is your daily writing routine?
I carry a small notebook around with me, jotting down thoughts, sensory images, bits of dialogue, descriptions of people, places, and things. Each night I type all my notes and keep them in a file I call Epic. (A hyperbole, for sure). I date the entries and refer to them when needed. And I read like a poet—taking notes in margins about structure and transitions and whatever else strikes me.
3. What motivates you to write?
The ticking and tocking away of the moments of my life. When I’ve written, it feels as if I’ve really lived those moments and can share them with others. Life feels empty without writing.
4. Who of today’s writers do you admire the most and why?
I admire so many writers that I could fill a book with a list of them. I’ve recently found Australian poets like Ali Whitelock and Anne Casey who I admire–Whitelock for her carefully honed raw emotion and Casey for her harkening back to the classics in musicality and themes. Terrence Hayes’ for his ability to use this august form to cry out against racism. Li-Young Lee’s early work, particularly his collection, The City in Which I love You, that is like the Song of Songs. I could and should go on and on.
5. What would you say to someone who asked you “How do you become a writer?”
I’d tell them to read. Read widely and read well. The novelist / teacher, Sue Miller said,
“If only my students would read a few good books a year, they wouldn’t needs so
many writing classes.”
6. Tell me about the writing projects you have on at the moment.
I am doing a lot of flash fiction, poetry, and essays. But my constant writing project is a poetry collection called “A Poem Must Be Your Mother.” It weaves all the feelings I have about poetry writing and trying to integrate the mother of my early childhood who took gracious care of me with the mother of my teens who began to compete like a jealous sister, to the mother who ruined her brain with drinking. It is my obsession and it’s based on my belief that the fire of your writing comes from writing what you can’t forget.
2019 ~NaPoWriMo ~ Second Week of Poetic Responses to Art and Music ~ Dedication to Mr Paul Brookes of Wombwellrainbow.com and Synaesthetic Artist Mr Sammy-John ~ Making Connections…
Thankyou to Anjum for this account of our second week on the National Poetry Writing Challenge
Poetry acts like a bridge.I believe it is not for sale It has value for generations gone by and for generations to come. It awakens spirits of drowsy nations, entertains guides and instructs. It is colored and scented as carnations. If poetry is defined as the ‘spontaneous overflow of powerful feelings’ then it would surely be enriched if combined with art color and music. Strangely yet possible in this digital age the ‘connecting bridge’ between Mr Paul Brookes of Wombwellrainbow.com UK the Synaesthetic Artist Mr Sammy-John and Myself, was the social media ‘messenger on line’ Quick communicative connection kept the challenge alive and moving. A new painting a new music symbol title, requiring fresh research was the challenge for me. Before I begin to trace words on paper I visit two great sources of knowledge namely the Divine Knowledge source and the World of Mythology. The beauty of knowledge lies embedded…
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Very grateful to appear in a mini Bezine anthology on the theme of Mother’s Day. Thankyou, Jamie.
Thrilled to appear in the latest anthology from Madness Muse Press called “Narwhal’s Lament” alongside many stunning writers. Thankyou Adam and Chani.
Wombwell Rainbow Interviews: Khristian E. Kay
Wombwell Rainbow Interviews
I am honoured and privileged that the following writers local, national and international have agreed to be interviewed by me. I gave the writers two options: an emailed list of questions or a more fluid interview via messenger.
The usual ground is covered about motivation, daily routines and work ethic, but some surprises too. Some of these poets you may know, others may be new to you. I hope you enjoy the experience as much as I do.
Khristian E. Kay
is a storyteller; a teacher/poet. He has published 3 volumes of poetry: “The Echo of Rose Petals,” “I wouldn’t pay to hear you sing,” and “Highway Tourette’s by proxy.” And several chapbooks: “The Hell Sonnets,” “Faith in Shadows,” “The furthering Adventures of Sonny Baretoes,” “Gringo’s” and others. Generally considered to be controversial in subject matter because he pursues knowledge as the end all of existence. Khristian’s work often stretches the boundaries of complacency digging into the cracks as it were of what constitutes idealism. While his work appears political and very often satirical, he utilizes the words as metaphorical rubber bullets. See more at http://www.khristianekay.com
The Interview
1. What inspired you to write poetry?
I think like most of us we wanted to write songs when we were experiencing music for the first time in our youth. Not being musically inclined the song lyrics I wrote were bad lyrics but seemed to be good poetry. The more poetry I experienced the more I was able to hone my own skills and then the more I wrote. I also love words, their origins, their interplay. My dad had this old 1800s dictionary that was huge, about 10 inches thick with very fine print. I would read that for hours finding new words, new ways of reading and writing. I also love analogies and metaphors and finding new or different ways of saying something over and over. The essence of language then is why I write through poetry.
2. Who introduced you to poetry?
I do not really remember. If anyone it would have been through Dr. Seuss. I used to read to my little sisters and they rather enjoyed these stories. I also rather enjoyed reading them. I do not recall when I started writing, I know I was pretty prolific by the time I was in my teens, but what got me started I cannot tell. Most likely it was a teacher. I love to read, when I was a kid I read a lot of Russian masters like Turgenev, Chekhov, Pasternak and they always had poetry within their stories. I liked reading the swagger of Byron, the sensuality of the Song of Solomon, the wickedness of Rosetti. I liked reading things that were pushing the boundaries of “decency” like Lawrence, and Miller; Ginsberg and Ferlinghetti. I liked reading along that edge. I also liked reading Shel Silverstein within the pages of my dad’s Playboy magazines. These poems are far different poetry than what you find in his children’s books.
3. How aware were you of the dominating presence of older poets?
It is odd, when I first started writing, my poetry was not recognized because I was too young, not experienced enough; now it is not recognized because I am too old not new and vibrant. I think as in all things there exists castes and cliques: you either belong to this identity or you do not. The older poets when I was coming up were the beat poets who denigrated form and structure and rhyme. Today’s poets are more about rhyme or minimalist structure like haiku. I assumed everyone had read the classics. When I taught literature at the university I was astounded on how little people in this country actually read or cared about reading.
4. What is your daily writing routine?
I do not have a daily routine. I write when the inspiration hits me or else I lose the muse as it were. This means that I am scribbling on whatever scraps of paper I find or type notes into my phone. Too often I run out of time and try to revisit something that I had started but the inspiration is gone and I am left with an unfinished segment of words. Scrap really.
5. What motivates you to write?
It is a need, like a junkie craving. If I try to put it off I become irritable and frenzied. And much like a junkie when I have completed it I am not satisfied. Though whilst writing I am higher than a kite. There is a sense of euphoria that is unsustainable.
6. What is your work ethic?
I am unsure of your question. I write when the need hits and quite honestly I cannot do anything else. What I dislike is when a bookstore opens its doors for a poetry reading and no one buys books. Most poets go in with their own book and cry “Buy my book.” And then decry others because they are not buying their book. I refer these poets as the “Buy my book” crowd. It seems that the only reason that they write is to sell their book in order to become millionaires. I remember helping a group of poets who wanted to self-publish their anthology and I have a history of lay out and design in the publishing field. They wanted me to teach them everything I knew instead of allowing me to show them how to do it because they thought I might steal some of their poems and make my own millions. I like the words of the poet Don Marquis: ”Publishing a volume of poetry is like dropping a rose petal down the Grand Canyon and waiting for the echo”.
7. How do the writers you read when you were young influence you today?
I read a lot of Frost, Tennyson, Byron, Shelley, Kerouac, Whitman, Nordine, Giorno, Bukowski… I write within form and structure quite a bit, I do not see that so much in today’s writing. I see a lot of rhyming couplets but not structure I am not sure if people are even aware of meter and the terms to describe meter. I enjoy free verse and relish in the jazz essence of free verse. But there are times that I feel a sonnet, blank verse or … deems speaking out.
8. Who of today’s writers do you admire the most and why?
With the internet explosion there are too many avenues to pursue poetry. Slams seem to be a big venue spawning a style of poetry, hip hop has evolved into a rap that differs from its roots. I especially like the rap battles of yesteryear as they fit in with the Court Poets of centuries earlier. Currently there seems to be two schools: performance and written. Some performance pieces do not translate well as read, or on the written page. And some written poems need time to settle, absorb, or reflect upon which can be lost when hearing it spoken. Is one better than the other? Of course not, but some people hold true to their school and insist that that is the only way to create poetry. I try to support the newest poets the young ones who want to spread their wings and blossom. Are they always successful no and they should not be held to that standard. They should be encouraged to reach out and try new things, to develop a voice (whatever that is). So I do not have favourite poets that I am following I try to read as much as I can of what is out there – though if anything I hunker around the Avant Garde or experimental independent voices.
9. Why do you write, as opposed to doing anything else?
I like to create, I have tried drawing and painting and am not happy with my outcomes, I am tone deaf so I play a terrible guitar and cannot sing. I do wood working making furniture and such but that has become to be more house maintenance these days. Writing seems to be the one thing that I can do and be successful with. I can paint with my words and the meaning is clear or at least conveyed. Neil Simon poked fun at Chekhov in his play “The Good Doctor” The Writer states: “…here I am day after day, haunted by one thought: I must write, I must write, I must write…” This is me in a nutshell. Of course, it would be even greater if people actually read what I write. It is not a choice, it is a need. I speak all of the time about how people do not read much anymore much less read poetry. So why write these verses that no one cares about or will actually read? Why the importance of nuanced structure and word choice? The words have to spill out and then hopefully they get caught on the page.
10. What would you say to someone who asked you “How do you become a writer?”
Read. Read as much as you can. See what others have done before. Absorb it all, whether you like it or not. This idea that I cannot read anything because it will “taint” my own writing is bullshit. Your thoughts are not that profound. It is by reading others that spark an inspiration within us. It teaches us nuance, balance, form, structure… a means to communicate. Start there and be wary of anyone who wants to teach you how to write. The only rule is: communicate your ideas. If people can clearly understand you or believe they do that is all that matters. And do not be afraid of criticism, embrace it actually: I liken writing to having children: you create these unique entities, nurture them, guide them in your beliefs and values and then they go out in the world and become who they are despite your best efforts. This is writing – what I write means something to me but how you interpret it means all that to you.
11. Tell me about the writing projects you have on at the moment.
I am a school teacher and do a lot of character sketches about my students. I would like to do a graphic novel style book related to them. But being artistically disinclined in that mode I am stuck with creating their stories via words. I also have a poetry project that has been going on for nearly ten years. I ride a motorcycle and there are roads in Wisconsin designated as “Rustic Roads” these are unique roads and are designated as such. The DOT offers certificates and patches for every ten roads one rides. I started there and then became determined to ride all 117 of them. As they are all over the state it has taken some time. My original plan was to write a poem for every road I rode. I have ridden 60 some thus far and have only written 15 poems. My plan is to at least ride all the roads and then write whatever hits me about them. I also write haiku when I ride. The trick for me is to remember exactly how it went once I am done. I obviously like challenges, the April Poetry month challenge where one writes a poem a day for thirty days spurred me on. A lot of energy came out of that. I have the makings of a book centered around depression and anxiety from that challenge.
Oh, and buy my book!
Thankyou to Anjum for this account of our National Poetry Writing Month collaboration.
Thrilled to have four poems featured in The Poet By Day in talented company. Thankyou, Jamie.
Wombwell Rainbow Interviews: Maya Horton
Wombwell Rainbow Interviews
I am honoured and privileged that the following writers local, national and international have agreed to be interviewed by me. I gave the writers two options: an emailed list of questions or a more fluid interview via messenger.
The usual ground is covered about motivation, daily routines and work ethic, but some surprises too. Some of these poets you may know, others may be new to you. I hope you enjoy the experience as much as I do.
Maya Horton
is an artist, writer and astronomer based in the South East of England. Her chapbook The Valley of Winter has been recently published by Black Light Engine Room Press. She has recently undertaken writing residencies at NES studios in Northern Iceland, and at Allenheads Contemporary Arts in Northumberland. When she isn’t drowning in unfinished projects, she can be found painting, wandering around in the countryside, editing her magazine Until the Stars Burn Out, or even writing her PhD thesis about supermassive black holes.
The Interview
1. What inspired you to write poetry?
I’m not sure. It’s just always been a part of my life. There were long patches where I didn’t write, but I always came back to it, usually without much prompting.
2. Who introduced you to poetry?
Again, I’m not sure. I don’t consciously remember anyone teaching me, it was just always there. Having said that, I remember a few English teachers playing a key role, and my grandparents read to me a lot. Also, I am often introduced to a specific poem or poet by people around me. So I suppose it isn’t always a one-off thing, but more of a constant process. Even if someone dislikes poetry, you can probably introduce them to an author they would appreciate.
3. How aware were you of the dominating presence of older poets?
Once again, I’m not sure. I read a lot of classical poetry before I was introduced to contemporary work. I probably had an idea in my head about who was ‘worthy’ until I started reading work from the same century as me. Even then, the first contemporary writers I was exposed to were already established in their careers. I wasn’t conscious of this until much later, when I started connecting with other poets.
4. What is your daily writing routine?
I am always writing. I’ve been known to stop halfway through breakfast in order to write something down, or to pull over on the drive to work so I don’t forget something. Whatever pops into my brain I try to store it somewhere. I write more than I edit, though, which is a big problem.
5. What motivates you to write?
I write to explore ideas. I usually don’t know how I feel about something until I write about it: it is how I process my emotions and my experiences. It’s nice to be read, but sharing is more of a byproduct of the process for me.
6. What is your work ethic?
Haha! In constant revision, I might say. When I set my mind to do something I sit down and do it. I can sit still for hours if I want to get something done. However, if I don’t have a clear goal or project, or if I’m doubting my ability, I often struggle to get anything done.
7. How do the writers you read when you were young influence you today?
I’ve had to unlearn a lot of what I was taught. Nobody likes it these days if you write like Wordsworth. A lot of my early poems contained words that hadn’t been in use for a couple of centuries. I had to fight hard to become clearer. Now I find myself longing for some of those traditional structures, and I try my best to incorporate both.
8. Who of today’s writers do you admire the most and why?
I’ve been binge-reading Jacqueline Saphra, whose work feels at once both personal and yet expressing something universal. I love Fran Lock and Helen Mort, and the otherworldliness of Katie Metcalfe. Huge fan of Lemn Sissay: I admire not only his writing but the way he makes his life a story to support and inspire others. He’s a huge inspiration to me. I’m also a massive fan of George Szirtes. All very different writers, but they have all successfully found their own avenues for expression.
9. Why do you write, as opposed to doing anything else?
The short answer is that I can’t not. I’ve tried everything…
10. What would you say to someone who asked you “How do you become a writer?”
The first thing is you have to write. Sounds obvious, right? Unfortunately we all know someone who wants to be a writer but never starts because of a fear of failure or success. Buy a book of writing advice. Attend a workshop. Network with fellow writers in your town or online. But above all else, write something. Find people to celebrate your journey. Cringe at your terrible first drafts, then write a second slightly better one. But always write, write, write.
11. Tell me about the writing projects you have on at the moment.
Three novels, six short stories, two research papers, a PhD thesis, two full collections, and eleven finished pamphlets / chapbooks I need to find homes for. Remember what I said about how I write a lot more than I edit? Yes, well. It’s a serious problem. Moving on…
The Wombwell Rainbow 