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.

Adeena Karasick

Adeena Karasick is a New York based Canadian poet, performer, cultural theorist and media artist and the author of ten books of poetry and poetics. Her Kabbalistically inflected, urban, Jewish feminist mashups have been described as “electricity in language” (Nicole Brossard), “proto-ecstatic jet-propulsive word torsion” (George Quasha), noted for their “cross-fertilization of punning and knowing, theatre and theory” (Charles Bernstein) “a twined virtuosity of mind and ear which leaves the reader deliciously lost in Karasick’s signature ‘syllabic labyrinth’” (Craig Dworkin); “one long dithyramb of desire, a seven-veiled dance of seduction that celebrates the tangles, convolutions, and ecstacies of unbridled sexuality… demonstrating how desire flows through language, an unstoppable flood of allusion (both literary and pop-cultural), word-play, and extravagant and outrageous sound-work.” (Mark Scroggins). Most recently is Checking In (Talonbooks, 2018) and Salomé: Woman of Valor (University of Padova Press, Italy, 2017), the libretto for her Spoken Word opera co-created with Grammy award winning composer, Sir Frank London. She teaches Literature and Critical Theory for the Humanities and Media Studies Dept. at Pratt Institute, is Poetry Editor for Explorations in Media Ecology, 2018 Andrew W. Mellon Foundation Award recipient and winner of the 2016 Voce Donna Italia award for her contributions to feminist thinking. The “Adeena Karasick Archive” is established at Special Collections, Simon Fraser University.
LINKS:
Website: www. adeenakarasick.com
Checking In VISPO https://www.youtube.com/watch?v=p-syLYJ4Ma8
Salome Promo vid:   Salome.mp4
Videopoem Compilation https://www.youtube.com/watch?v=sWid5HMhd9E

The Interview

1. What inspired you to write poetry?

I have always been obsessed with the orthogorphy of letters / their shapes, pericopes, the way they move effortlessly on a page and brush up against each other to create soaring sonic and hyper-referential graphematic and syntactic meaning; inextricably connected to how we breathe, communicate act, are.

2. Who introduced you to poetry?

My first real teacher was American visionary, poet seer, founder of Tish and editor of New American Poetry (with Donald Allen), Warren Tallman. In the late 80’s / 90’s he introduced me to Robert Duncan and Denise Levertov in San Francisco, Robin Blaser, Robert Creeley, bill bisett, bp nichol, Charles Bernstein, Allen Ginsberg. It was crucial as a young poet at that time to be able to meet, talk with, hear their work; learn there were passionately oracular writers in the world dedicated to recreating reality through a patterning of words.

3. What is your daily writing routine?

Not so much a routine but a routing. i write whenever / wherever i am; walking through the East Village, on trains, busses, benches in bars or beachside; hunting and gathering; sculpting mashing up conversation, philosophic and Kabbalistic discourse, political analysis, advertisements and pop songs, re-examining the world through its fissions, scission, elisions, fragmentation, brokenness, extasis, to see the world in new ways  — effecting socio-political n aesthetic transformation and change.

4.  What motivates you to write?

Sociopolitical unrest, passionate obsessions, and sonic or graphematic clusters that roll around in my mouth

5.. How do the writers you read when you were young influence you today?

Too many to name, but a list would include Abraham Abulafia, Bruce Andrews, Walter Benjamin, bill bissett, bp Nichol, Charles Bernstein, Hélène Cixous, Paul Celan, Jacques Derrida, Edmond Jabès, Emmanuel Levinas, Gertrude Stein, Michael Wex, Elliot Wolfson, Slavov Zizek, Louis Zukofsky. Each of them teaching me ways of how to sculpt with language and sound and focus on language as an auratic system of fiery letters, spilling their secrets.

6.. Who of today’s writers do you admire the most and why?

All my language-focused colleagues, mentors, teachers, heroes, friends, warriors, who are challenging borders, power structures in the face of enormous cultural political and aesthetic adversity, controversy, outrage; and with commitment to transgression and at times anarchic intervention, continue to fight through their language.

7. Why do you write?

To expose language as – (in the words of Dr. Scott from Rocky Horror) ”some kind of audio-vibratory, physiomolecular transport device”.

10. What would you say to someone who asked you “How do you become a writer?”

Read everything you can, write as much as you can, go to readings, attend openings, perform at open mics, submit to magazines, start a journal, belong to a community of writers who you can bounce your drafts off of. And when no one’s looking, crawl into the materiality of the letters; smell them, taste them feel them, dwell with them and listen closely as they guide you toward new lexical galaxies, new landscapes to live in.

11. Tell me about the writing projects you have on at the moment.

Two books have just come out and i’ve been touring extensively with them  –Checking In (Talonbooks, 2018) which is a kinda ironic investigation of the way we gather truth, construct reality, and how time itself is contemporaneous. The past is at our fingertips, and the future is always-already arriving. And though we are inundated with information, we have little access to a stable, definable Truth. So it kinda highlights how our past is re-passed in an ever-evolving resonant present; how time and subjectivity and knowledge and reference are so fluid; and how through ironic punning and radical juxtapositions of temporality and spatiality, we are forced to see the world anew.

Salomé: Woman of Valor is both a book and a Spoken Word opera which i created with Grammy Award winning, recently knighted, composer and trumpeter Frank London, and revisits the apocryphal story of Salomé through a Jewish Feminist perspective; and has been touring internationally at Festivals with dancers, live musicians and screen projections. It really has been one of the most intense and all-consuming writing adventures of my life.

I’ve been working on it for 5 years and not only has it been published as a book, but  is an “opera” which debuted in New York and Vancouver in March 2018, Toronto in Sept. 2018 and will be at the Oberon Theater, March 12-13, 2019 in Boston. The book has gotten tremendous international recognition (it’s been translated into Italian (by Pina Piccolo and Serena Piccolo), published in Italy by University of Padova Press and also an English-only Limited edition Artist Book has just come out with Gap Riot Press in Toronto; and sections have been translated in to Bengali, German, Arabic and Yiddish; (the Bengali translations are due to be launched at the Kolkata Book Fair this February in a collection entitled, Bridgeable Lines: An Anthology of Borderless World Poetry in Bengali. Part of its intrigue i think is that we are living in a climate where we acknowledge that history is complicated and multiperspectival.

After years of research, and realizing that Salomé has been serially mis-represented i became obsessed with re-inserting her back into her rightful place in history. Re-translating the misogynist and anti-semitic myth to one of female empowerment, where she is not a victim but a revolutionary and all swirls in a world of conflictual socio-political, erotic and aesthetic transgression.

Also, in terms of its form – incorporating contemporary sound poetry, Midrash,13th C. Kabbalistic references, pop culture and homophonic translations (paying homage to the Oscar Wilde text), i wanted to investigate how a jouissey interrogation of form and content could lead to new ways of seeing; reminding us how there is never one story or perspective to be told– and allowing the unvoiced be celebrated and heard.

Though in tone, the Salomé project is quite different than Checking In, they both highlight how history is not something static but how myths, stories, legends are multiperspectively received and continually reshaped – ironically exposing how both “fact” and “fiction” come from the Latin, “to make” and “to shape.” And i think particularly in this present political climate this is something we are all negotiating.

ADEENA KARASICK

UPCOMING READINGS
Sat. Oct. 27
“Bandage Bondage, Strippers and Slippage: The Language and Meaning of Salomé in the 21st Century”
for the 66th Annual Alfred Korzybski Symposium:
Language and Meaning in the 21st Century”
Institute of General Semantics
New York, NY
5:30 pm

Sat. Nov. 3
“Otiot” and “This Poem” exhibited at Concrete Is Porous; Act I: Visual
The Secret Handshake Gallery
170a Baldwin
Toronto, ON
2:30 (Opening Reception)

Sat. Dec. 15 (possibly Jan. 12 or Nov. 17)
Salomé: Words and Music (with Frank London)
Women Between Arts
The New School Glass Box Theater
55 W 13th St.
New York, NY
4:00 pm

Mon. Dec. 17
Fabricadabra (with Maria Damon)
for the 50th Anniversary Association for Jewish Studies Conference:
Writing the ‘Self’ Back into Jewish Studies.”
Sheraton Boston
39 Dalton St
Boston, MA

Thurs. Feb. 7
Launch of Bridgeable Lines: An Anthology of Borderless World Poetry in Bengali, (featuring Salomé translation into Bengali)
Press Corner, Kolkata International Bookfair, Central Park Mela Ground, SaltLake, Kolkata
6:00 pm

Fri. Feb. 8
Salomé a capella at Kolkata Book Fair
Kolkata International Bookfair,
Central Park Mela Ground, SaltLake, Kolkata
6:00 pm

Sun. Feb. 17
Great Weather for New Media
Parkside Lounge
317 E. Houston
4:00 pm

Tues. March 12
Salomé: Woman of Valor
Oberon: American Repertory Theater
2 Arrow St.
Cambridge, MA
8:00 pm

Wed, March 13
Salomé: Woman of Valor
Oberon: American Repertory Theater
2 Arrow St.
Cambridge, MA
8:00 pm

Fri. April 26
Scenes Screams Screens and Semes: The Salomaic Elasticity of the Page and the Stage for TEXT/SOUND/PERFORMANCE: Making in Canadian Space University College Dublin
Dublin, Ireland

June 27-30
The 20th Annual Convention of the Media Ecology Association: MEDIAETHICS Human Ecology in a Connected World
University of Toronto
St. Michael’s College,

Adeena Karasick
adeenakarasick@cs.com

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.

Tania Hershman

Tania Hershman’s third short story collection, Some Of Us Glow More Than Others, was published by Unthank Books in May 2017, and her debut poetry collection, Terms & Conditions, by Nine Arches Press in July. Tania is also the author of a poetry chapbook, Nothing Here Is Wild, Everything Is Open, and two short story collections, My Mother Was An Upright Piano, and The White Road and Other Stories, and co-author of Writing Short Stories: A Writers’ & Artists’ Companion (Bloomsbury, 2014). Tania is curator of short story hub ShortStops (www.shortstops.info), celebrating short story activity across the UK & Ireland, and has a PhD in creative writing inspired by particle physics. Hear her read her work on https://soundcloud.com/taniahershman and find out more here: http://www.taniahershman.com

The Interview

1. When and why did you start writing poetry?

I started tiptoeing towards poetry in around 2011, when I went on an Arvon course in radio drama tutored by Sue Roberts and her husband, Simon Armitage. I was too nervous to go on a poetry course but I decided I could sidle up to Simon during the week and ask whether some of my very short flash fiction stories might actually be poems, as a few people had mentioned to me. He was extremely supportive and helpful, pointing me to poets like James Tate in the US – he won the Pullitzer Prize for Poetry and to me his work looks like short short stories! This gave me permission to start to think about poems and poetry, which I had always found unfathomable at school. In 2013 I went on three poetry courses where I would keep asking the tutors, What is a line break? Help, I don’t understand! Until finally, on one of the courses taught by Pascale Petit, it began to click, I started to feel what breaking a line might do – to the breath, the pacing. And that’s when I started to fall in love with poetry, to see how it could enhance and extend what I wanted to do in fiction, and allow me to do new things.

2. What motivates you to write?

It doesn’t work like that for me. I don’t need motivation to write because writing is how I am in the world, it’s how I make sense of things, how I process what happens in my life – through fiction, poetry, other – and what I read, what I hear and see. I’ve always written and I am in some ways always writing, always noticing, thinking. I had two new books published last year, and I finished my PhD, so right now I’m putting no pressure on myself to produce anything in particular. I don’t worry about “not writing” because that seems a bit like “not breathing” to me.

3. What is your daily writing routine?
No daily writing routine – no writing routine at all!

4. How aware are you of the dominating presence of older poets traditional and contemporary?

If you’re asking if I am aware of the poetry community and the poetry scene, then very aware and extremely appreciative of its richness and diversity. Coming from a background in short story writing, we don’t have anything like the institutions that promote poetry in the UK – the Poetry Society, say, and the Poetry School and the Poetry Book Society… I could go on. The short story scene is extremely vibrant, there’s so much going on, but you have to dig a little to find it, which is why I set up my short story site, ShortStops, 4 years ago, to try and create a one-stop-shop to find much of this activity. With poetry, you have so many places to find out what’s going on, so many courses, workshops, prizes. And you have the amazing prize-giving events for, among others, the TS Eliot and Forward prizes, at the Royal Festival Hall every year, which give such a valuable look at contemporary poetry today. I don’t feel a dominating presence, generally. I feel encouraged to do my own thing, there are always kindred spirits to be found.

5. What would you say to someone who asked you “How do you become a writer?”

You become a writer by writing, it’s that simple, no qualifications necessary. You become a good writer by reading. Read everything, things you think you’ll like and thinks you think you won’t. Then find a way to keep that inner voice quiet enough – everyone has their own methods – to start warming up your writing muscle so that you can write what you want in the way you want to.

6. Why do you write?

I think I covered that mostly under the motivation question! I write both to try and make sense of the world and also to more clearly express my questions about it, not to necessarily find any answers. I write because I love words and I love putting them in a certain order that feels pleasing to me. I write to meet the characters who appear in my fiction and to do their stories justice. I write to connect with strangers, too, there’s nothing more moving to me than when someone gets in touch, somewhere in the world, to say that they read one of my stories/poems and it spoke to them. That means everything.

7. Who of today’s writers do you admire the most and why?

To be honest, I get less of a crush on poets than on individual poems – and individual short stories. For example, Adrienne Rich’s ‘Dreamwood’ is a poem I go back to again and again, and ‘Under One Small Star’ by Wislawa Szymborska. Also, Peanut Butter by Eileen Myles, and the House On Terry Street by Douglas Dunn. I am a huge fan of Sharon Olds, I took a workshop with her a few years ago in the US, and do have a bit of a poetry crush on Louis Macneice. I find new poets and poems to love all the time from literary magazines, in particular POETRY magazine from the US, and various UK magazines such as Butcher’s Dog, Rialto and Magma.

8. Finally, Tania, tell me about the writing projects you have on at the moment.

Well, I’m shopping around two pamphlet-length works: the prose/poetry/fiction/non-fiction book inspired by particle physics that I wrote for my PhD, and a poetry pamphlet which includes poems I wrote as responses to Arthur Miller’s play, The Crucible. I’m currently writing something I’m only prepared to call a Long Thing, which is a sort of fictional speculative memoir-in-collage. And I’m going to start working on a hybrid popular science book on time next year. Also: some poems and short short stories. Busy!
Thanks so much for having me, Paul!

 

 

 

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.

John Patrick Robbins

Is the editor and chief of both the Rye Whiskey Review and Under The Bleachers .

He is also the author of A Cold Beer Beats A Warm Heart .
Available now on amazon published by Alien Buddha Press.

His work has appeared in Ariel Chart, Ramingo’s Porch, Horror Sleaze Trash, Outlaw Poetry Network, Red Fez, Angry Old Man Magazine , Synchronized Chaos, Academy Of The Heart And Mind , Blognostics .

His work is always unfiltered .

Wombwell Rainbow Interviews

1. What inspired you  to write poetry?

Honestly what first got me into poetry was the film Dead Poets Society .
Once I was a outcast as a kid I saw that film and just fell in love with words .
Started reading every poet I could find and haven’t stopped since.
I am always reading .

2. Who introduced you to poetry?

I found books and words on my own but my family have always been avid readers but my mother loves books as much as I and to answer the question it was her that introduced me to my first poetry.

3. How aware were you of the dominating presence of older poets?

I was drawn to poetry but it was a natural thing and read most anyone I could find in my library at the time .
You just know when you read great work it connects instantly .

No matter when you stumble across great work its new to you .
So from the first work I read once like most younger people was Poe .

You just know it’s great.
So from the minute I read the words I was fully aware of there greatness.

4. What is your daily writing routine?

Well being I edit full time it’s straight to work for me .
Then usually put music on and write .
I never force it when comes to my work.
Most times it’s worked out in my head
before I even touch the page .

If a idea is worth anything it stays with you and if you lose it then it simply wasn’t meant to be to begin with.

5. What motivates you to write?

It’s what I always felt I was meant to do and told I never could .
So as long as I am on this earth I feel I should take advantage of the fact now I have the avenues to put my work out there.

6. What is your work ethic.

I edit three ezine’s , do a podcast and also       write fulltime least nobody can ever accuse me of being lazy.
When it comes to anything dealing with the page I am always driven .

7. How do the writers you read when you were young influence you today?

I think when it comes my earliest influences to speak honestly very little.
Writing is something when you start out.
You’re influences clearly show , then as you grow as a writer you gain confidence and eventually find you’re own voice .

I’m eternally grateful for those whom inspired me to first start penning words of my own.
The influences are still there I just now have my own way if doing things is all.
8. Who of today’s writers do you admire the most
and why?

That list is almost to long to go into
Being I am fortunate enough to actually call some my friends once is something I truly am grateful for.

But writers like James Dennis Casey IV
Whom I deeply respect for his ability to go wherever the page takes him with zero limits .

Ryan Quinn Flanagan. For his humor and  the fact he is one of the most real and driven people I know .

K.W. Peery

For his take no prisoners attitude and devil may care charm Kevin is a great friend as all three mentioned here are people I consider actual friends in my life .

Honestly I respect anyone who puts words to paper .
All the writers at my magazine .
The Rye Whiskey Review .

The list incredibly long .

But anyone there I certainly read and respect .

9. Why do you write?

It’s like being a shark if you don’t swim you die .
Its just part of my DNA .

10. What would you say to someone who asked you “How do you become a writer?”

I think people always were writers cause it seems it is just something that’s always inside you .
I do not believe you can learn to be a writer .
No person can teach another how to be creative .

But the best thing you can ever do is learn from writers always read .
And always keep a open mind I have never stopped learning .

Probably the best thing anyone can do who wants to write is put as many books into your head as possible .

Life will teach the rest.

11. Tell me about the writing projects you have on at the moment.

I’m working the follow up to my book A Cold Beer Beats A Warm Heart .
I also have another project in the works that should be out in December with Cajun Mutt Press .

So there are a few things upon the horizon so keep looking cause if you are a fan of my work I can promise you will not be disappointed .

 

 

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.

Alexander Arnaudov

Alexander Arnaudov was born on 11/11/1998 in the town of Sofia, Bulgaria. Currently he studies Applied computing in Dundee, Scotland. Since the beginning of 2018 he is an editor in the online magazine New Asocial Poetry.
http://newasocialpoetry.com/

1. What inspired you to write poetry?

Poetry came into my life as a sufficient way to cope with life in a creative manner. It was definitely a coming of age process and it didn’t happen immediately. On top of my head I can recall horrifying first poetic experiments in my early years of high school. However I neither focused nor completely left this initiative. The result for the past 9 months is that writing has become an inseparable part of my daily routine along with reading. I would dare to say that the best inspiration is the desire to explore your own mind and also expand to foreign horizons literature.

2. Who introduced you to poetry?

It was a very fortunate accident. A co-worker of mine introduced me to one of the editors of New Asocial Poetry online magazine – Vasil Praskov. This marked the beginning of my conscious writing experience. I had the privilege to study in a school which had an excellent English literature course and this definitely gave a strong start of my interest in poetry. Nevertheless my poetic backbone was the presence of Vasil who is my literary advisor and editor.

3. How aware were you of the dominating presence of older poets?

Again fortunately I was never aware of the presence of any literature figures in modern Bulgarian literature. I believe it is a plus because I was able to explore foreign and classic authors which helped me establish a proper aesthetic taste and overview. In a sense I feel very old fashioned because I really enjoy medieval literature and plays which is definitely not a common interest.

4. What is your daily writing routine?

There is always a moment in my everyday life where I lose connection with the real world and I definitely need to “vent” myself in these moments with writing. I believe that there is a stigma that creative writers had to be introverted and not communicative but I think my most successful writing happen after moments of severe positivity or experience with someone. Routine is too limiting to explain the process of writing it is an additional sense that helps to translate and ascended physical and emotional phenomena.

5. What motivates you to write?

In my experience an individual never comes to resonate with his life experience until he starts writing. Separating yourself from the conscious and stimulating the sense of perception is a really rewarding experience for ones state of mind. Furthermore writing is a social experience in a sense. When you get to meet a fascinating bunch of people and compare writing to an actual person is a one of a kind communication. Being able to grasp an understanding of others work is also what makes writing and creating such a worthwhile process.

6. What is your work ethic?

The first thing that I had to get a grasp is how to conveniently cultivate moments in which I most creative and in the mood for writing.  Definitely the most important part of writing is editing and reading. I try to spend a lot of personal time with exploring new texts in order to expand my horizon. Moreover editing my own texts and diving them into worthy and unusable is also a very time demanding and challenging task.

7. How do the writers you read when you were young influence you today?

In my early adolescent years I had a specific interest for medieval literature which mesmerised me in the same way a childhood stories. The Vulgate Cycle and the round table of knights of King Arthurs is definitely a favourite and go to reading material when I feel a lack of motivation. Fantasy and fiction have also been an inseparable part of my early reading experience. These types of books paved the way for me to develop a taste for classic literature and explore even more authors in order to try and find an influence.

8. Who of today’s writers do you admire the most
and why?

I have a very close relationship and interest in all of the writers that participate in our project New Asocial Poetry. Without a doubt I admire the manner and way in which authors grow before my eyes which is a very rewarding experience. Apart from all the wonderful individuals there I would say that the authors that had the most of an impact on my understanding for poetry have been Katerina Stoykova-Klemer and Krasimir Vardiev. They were both authors that were recommended to me and I found something special and unique in there writing. This for me is the most important experience in literature to find something that elevates ones consideration of linguistic use and structuralism in poetry.

9. Why do you write?

For me personally I find most interesting the words and thoughts that people do not desire to speak out loud. The ideas that are embedded within the human mind and experience is what makes me want to write even more and more. Definitely writing is a learning curve that is similar to the coming of age process. However it is the journey and transformation that happens through writing that piques my interest.

10. What would you say to someone who asked you “How do you become a writer?”

You become a writer the moment you start experiencing life in your own words. It is not everyone that are able to do that properly or in a creative manner. One of the first things that comes to mind is a dialogue with literary patron Vasil Praskov who mentioned something in a similar manner “Before you become a writer you have to learn how to write and find your own style”. This is something of major importance that most young or new writers struggle with. In my own experience I try to repeat that to myself in order to yet become a writer in the near or distant future.

11. Tell me about the writing projects you have on at the moment.

Currently I am working and helping as an editor of the online magazine New Asocial Poetry. It as an alternative literature scene that provides a creative space for authors to share their work. We are aiming to provide a place for young people where they can grow as authors and hone their writing skills. During the summer we made group travel in different cities in which we held literary nights with authors from the respective places which was a great and valuable experience. We also have monthly events where we invite authors from the current issue to presents their texts in front of an audience. Also we are currently working on an Anthology book that will include all of the participating individuals from the project.

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.

Kate Garrett

Kate Garrett is the founding/managing editor of Three Drops from a Cauldron, Picaroon Poetry, Lonesome October Lit, and Bonnie’s Crew, and her own writing is widely published online and in print. Her poetry has been nominated for the Pushcart Prize and Best of the Net, and longlisted for a Saboteur Award. She is the author of several pamphlets, most recently Land and Sea and Turning, published by CWP Collective Press in August 2018. Born and raised in rural southern Ohio, Kate moved to the UK in 1999, where she still lives in Sheffield with her husband, five children, and a sleepy cat. Find out more at http://www.kategarrettwrites.co.uk; follow her on Twitter /Instagram @mskateybelle
Links to books:
The Density of Salt http://www.indigodreams.co.uk/kate-garrett/4591581784
You’ve never seen a doomsday like it http://www.indigodreams.co.uk/kate-garrett-doomsday/4593922000
Land and Sea and Turning https://www.cwpcollectivepress.com/bookstore-1/land-and-sea-and-turning-by-kate-garrett
The Interview

1. What were the circumstances under which you began to write poetry?

Well, I’d been writing stories since I was very small (around three years old), I started with drawing little booklets with simple sentences about Care Bears and My Little Pony, branching out into fantasy and ghost stories as I grew… but poetry came into my life when I was in 7th grade (I went to school in the States) and we read ‘The Highwayman’ by Alfred Noyes. This poem moved me – it was history, ghosts, full of strong emotions – and taught me poetry could tell a story as much as any prose fiction book, and I was hooked. In my teens I discovered Sharon Olds, the Beat Generation, Walt Whitman, Sylvia Plath, and became obsessed with writing poetry myself. My home life was a mess, and it made me feel that misery could be transformed or transcended, art and creativity were my way out of dark times. I very vividly remember the absolute compulsion to write poems – I used to sit on the floor under the window in my Algebra II class in my junior year of high school because there was a shortage of chairs and desks, scribbling poems (that sadly no longer exist), and subsequently not learning a single thing about maths… my friend – who I am still in contact with thanks to social media – said to me “you’re going to be one of those people who writes poems for people in the street for $5”, which hasn’t happened yet but I have read poetry out loud in the street… anyway I passed the algebra class with a D. I’m surprised I managed to do as well as that – I’m still convinced the teacher passed me just to get rid of me.

 

2. Who introduced you to poetry?

Well initially it was my 7th and 8th grade English teacher, Mrs Chambers. Obviously as a small child I knew poetry like Shel Silverstein and The Owl and the Pussycat by Edward Lear, etc, but Mrs Chambers was the one who gave us ‘The Highwayman’. My interest grew from there.

3. How aware were you of the dominating presence of older poets?

I don’t think I’ve ever taken much notice of poets’ ages. I’ve heard older poets say younger ones are the dominant group… and to be honest, I’m 38, neither old nor young, so I really don’t know. I just enjoy reading poetry – whether the writer is 16 or 96 (and I know I’ve read great work from both ends of that spectrum, in fact I’ve published it – those are genuine ages of poets I’ve published).

4. What is your daily writing routine?

Where poetry is concerned, I just have to write when I can – with 5 kids, journals to edit, and health problems, it can be tricky to stick to a routine. I would love to write every day, but it isn’t always possible. I try to make notes for new pieces at least four days out of seven. I might manage to sit at the laptop and write new full drafts / finished poems once a week if I’m lucky.
5. What motivates you to write?

It’s just a constant urge to create that’s always been there. Even when I was growing up in an abusive household, when I was living in a bedsit and working two jobs, when I was in domestic violence situations… I had to write, and I did write. The world and being human in it motivate me to write. Being published is lovely, and was a childhood dream, but I know I would write – have written – things even if no one ever reads them. I’ve been writing for 35 years, writing poetry for 26 of those, and I’ve only been published for 6 of those.

6. What is your work ethic?

I’d say I have a pretty strong work ethic, but again, because I am juggling writing with editing and raising children, I don’t always get to focus on my own work as much as I’d like.

7. How do the writers you read when you were young influence you today?

Well, when I’m being horror-y, I have to thank two books from my childhood for the way they scared me – Scary Stories to Tell in the Dark, and Baleful Beasts and Eerie Creatures. I still have the urge to unsettle readers, because I think it’s the best feeling and I want to be a writer who gives other readers a chill. Then I was influenced in my teens by Jack Kerouac, Sharon Olds, Sylvia Plath, Anne Sexton, who are very different in terms of styles, but they brought real emotion and/or experiences to their work, and I still try to be true to myself in mine when writing about personal things. In the case of Sharon Olds, I like the restraint in poems like ‘The Clasp’ – https://www.poemhunter.com/best-poems/sharon-olds/the-clasp/  – you can really feel the subject matter, but there’s no judgement or sentimentality, it’s just a statement, a story. And when I’m writing about topics such as trauma, or motherhood, or whatever, I don’t want to tell the reader how to feel, I just want the thing to be said, and in an artful way.

8. Who of today’s writers do you admire the most and why?

First of all, Chris Jones, one of the Longbarrow Press poets (though he is published widely elsewhere). He was my tutor on my creative writing degree at Sheffield Hallam, and is still a writer friend now, even though I don’t see him very often. I’ll tell everyone who will listen – his poetry is wonderful, well-crafted and sensitive and insightful, and he’s just a good person. He gets on with things, he’s like a zen master of writing. If it wasn’t for Chris I wouldn’t be doing the things I do, and I certainly wouldn’t be published. But I come into contact with so many writers every day, and I admire them all for different reasons. Anyone who gets up, writes, and sends their work into the world – either to be considered by editors, or hustling with self-publishing, whether it’s open mic, doing readings, recording their work, competing in slams – any of it, I admire that effort.

As for famous people, I am forever in awe of Lawrence Ferlinghetti – the man is 99 years old and still writing, and running his press (City Lights Books), and he is a true legend.

9. Why do you write?

To discover more about whatever is on my mind, whether it’s personal, historical, an imagined scenario. Writing helps me figure things out (or causes more questions… which leads to more poems). And of course, I write because my brain won’t let me not write. And I also write to connect with others who might be interested in or have feelings about the same things.

10. What would you say to someone who asked you “How do you become a writer?”

You have to love writing. And you need a thick skin because rejection is a part of the process if you want to be published by people who aren’t yourself. But you can self-publish too, if that’s your thing. It’s just a lot of not giving up on the dream, really.

11. Tell me about the writing projects you have on at the moment.

I’ve recently finished a 12 poem sequence / mini chapbook called She looks just like you, which is very much rooted in my personal experience, but written through the lens of an elf or changeling in the human world. It’s currently under consideration, so fingers crossed it finds a home.

I’ve also just finished a four-part poem called ‘The fifth & final’ which will be published as a Stickleback – which are these cool little micro collections being produced at Hedgehog Poetry Press – in February. This poem is about blending my beliefs (Christian and pagan), magic, the cross-quarter seasons (Beltane, Lughnasadh, Samhain and Imbolc), and it sort of mythologises my youngest daughter Bonnie’s conception, gestation, and birth.

It is also part of the full-length collection I’m halfway through writing, The saint of milk and flames, which is currently without a publisher (but that’s fine, because I’m still working on it). It’s my first full collection, mostly poetry about faith and doubt, Christianity and paganism, belonging and outsiders, motherhood, mortality (which crops up in everything I do, I’m kind of a death poet), and there’s a lot of fire in it – hence the title, which refers to Brigid, who is of course both a pagan goddess and a Christian saint, and associated with fire and poetry, as well as being the patron saint of newborn babies, and midwives, and milk maids. This is all very much how it feels to be writing these poems – heat and urgency; followed by soothing and nurturing.

 

 

 

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.

https://thewriterscafemagazine.wordpress.com/2018/09/16/the-writerscafe-magazine-issue-12-truths-and-lies/

Marie Lightman

Marie Lightman is a poet and writer. With poems appearing in Lonesome October Lit, The Ofi Press, The Linnet’s Wings and has been published in The Rat’s Ass Review’s Love & Ensuing Madness and StepAway Magazine. Her first pamphlet “Shutters” is due out with Indigo Dreams Publishing in 2018. She hosts the spoken word night Babble Gum and is editor of The Writers’ Cafe Magazine. She is also three times British Othello Champion and has recently started gigging stand-up comedy.

1. What inspired you to write poetry?

I have been the admin of the local NaPoWriMo group for 6 years, adding the official prompts every day and for the first two years was not writing anything myself. My friend Jenni Pascoe suggested I had a go. I started writing poems. I found the 52 group very supportive and inspirational and it was during this time that I had my first poem published by I am Not a Silent Poet.

2. Who introduced you to poetry?

I was surrounded by books as a child. My parents had an eclectic taste and I read everything I could get my hands on, some of it highly unsuitable. I remember dipping my nose into TS Eliot and John Donne and had a children’s poetry compendium, which included some of Edward Lear’s poetry.

3. How aware were you of the dominating presence of older poets?

I tend not to notice things like this. I have found only inspiration and support from other writers and have been lucky to meet JH Prynne and Marjorie Perloff, both in interesting circumstances.

4. What is your daily writing routine?

It is sporadic. Poems find me, not the other way around. Two lines may pop into my head, circle around in the air, find some other words and ideas, which eventually find themselves onto paper.

5. What motivates you to write?

Psychology: how people think. Archaeology: I picture prehistoric scenes and try to recreate them. Interesting facts: such as, there is a link between Feng Shui, magic squares and a tortoise. Sudden realisations of beauty: such as how at twilight flowers seem to glow. Dark beauty: mud-puddling butterflies, feeding on blood.

6. What is your work ethic?

I work well to prompts and callouts. Having a deadline to follow appeals to my competitive nature. I have found the Facebook group The Deadline Poets’ Society useful, inspiring me to submit poems every month. You need to have poems to submit, so that in turn inspires me to write poems. Well that’s the theory, anyway.

7. How do the writers you read when you were young influence you today?

As a child I liked adventure and fantasy books. Tom’s Midnight Garden was a favourite. I think my poems include mystery and intrigue. I have always been struck by strong starting images/ideas in books, such as when Winston Smith, in George Orwell’s 1984 steps over a dead body on the first page, which illustrates that life is not valued in that world. I have always loved how the first line in Daphne du Maurier’s Rebecca is “Last night I dreamed I went to Manderley again”. It immediately sweeps you off. Poems like novels need to instantly capture you in a net.

8. Who of today’s writers do you admire the most  and why?

Antony Owen’s Nagasaki Elder is on my bedside table. I greatly admire how he tackles subjects such as world peace and creates a beautiful space from which we can look at these subjects, which we naturally shy away from in, a stark and powerful way.

9.Why do you write?

I used to say my main ambition in life, was to create something that portrayed the beautiful of everything around me. Maybe I am still striving for this. I partly also believe in leaving something behind when I am gone, even if it’s just for my family. I also write because words come into my head and they want to be put somewhere.

10. What would you say to someone who asked you “How do you become a writer?”

Read other people’s writing. Make a list of everything you are interested in. Then write questions about those things and then write about those subjects. Look at what you have written and cut it down. You are now a writer!

11.Tell me about the writing projects you have on at the moment.

I am the editor of The Writers’ Cafe Magazine, which has monthly themed callouts. I am working on ouija board themed poems, for Grant Tarbard’s anthology. I am excited to have my first pamphlet “Shutters” being published by the wonderful Indigo Dreams Publishing, due out in the next few months.

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.

James Dennis Casey IV

James D. Casey IV is a southern poet with roots in Louisiana & Mississippi. He currently resides in Illinois with his Beautiful Muse, their retarded dog, and two black cats. Mr. Casey has authored five books of poetry, and his most recent title is Isomorphic released September 24, 2018, through Cajun Mutt Press. His work has also been published extensively by literary magazines and small press venues including Outlaw Poetry, Beatnik Cowboy, The Rye Whiskey Review, Dope Fiend Daily, Under The Bleachers, Zombie Logic Review, Horror Sleaze Trash, Pink Litter, Spillwords Press, and several others internationally. Mr. Casey mainly spends his days writing poetry, but also enjoys practicing magick, and cooking Cajun cuisine. Links to his books and other projects can be found here: https://­cajunpoetjames.wordpr­ess.com/

Drunk on Metaphors
cajunpoetjames.wordpress.com

The Interview

1. What inspired you to write poetry?

It was a few things that happened to me throughout my life, then some things that hit me all in the same year. I started writing at a young age, but I didn’t begin to take it seriously until I broke my neck and back in 2009. Then my Mom passed away of cancer, and a good friend of mine overdosed and died on my living room couch. I had a lot of down time and was severely depressed so I was writing really heavily every day, and I decided to submit some work to a few places. After I had a few publications under my belt I decided to go through all the back-log of poems I had written over the span of 20 years or so and publish a book. Now here we are, five books later, and it’s the love of my life. If I didn’t have writing I don’t know where I’d be today, probably dead.

2. Who introduced you to poetry?

It was something I kind of stumbled upon on my own. My Mom was an avid reader, but she wasn’t really into poetry, though she used to take me to the local library with her when I was young. I remember running across a book by Robert Frost, and that sparked my interest. As I got older I started reading a lot of the beatnik generation poetry, and that’s what really made me want to become a writer. I love Bukowski, Ginsberg, Kerouac, Burroughs, but especially Buk. His work just resonated with me on a level nothing else could.

3. What was it about Frost that sparked your interest?

I’d never read poetry before his work, and I fell in love with it. I even wrote one titled Fire & Ice not too long ago that was a nod to his poem with the same title. He was the first rhyming poet I remember reading, and it was so musical to me, that’s what drew me in. Since then I’ve steered away from the rhyming end of the spectrum when it comes to writing, and it’s still something I enjoy now and then, but I’m not a big fan of it like I was in my youth. After reading more free verse and other unstructured styles of writing that’s where I found my true love for the craft. But it was Frost’s musical way with words that sparked my interest.

4. How would you describe the level at which Buk resonates with you?

He has a way of slipping in between sleaze and beauty with an ease and style all his own that I’ve never seen anyone else able to achieve quite like he does. I dig that. He can speak to me on so many different levels. My favorite poems by him are from two completely opposite ends of beauty and sleaze as well. One is The Roach Hotel and the other is The Laughing Heart. It’s incredible the amount of ability he has to write in such a no filter way. He can express human emotion like no other writer I’ve read, and I love him for it.

5. What is your daily writing routine?

I have two different routines when it comes to writing. Sometimes I’ll wake up early, make some coffee, put on some tunes and have a mellow day just pecking out a few poems. Other times I’ll wake up late, start drinking booze, and chain smoke while I’m violently clacking away at the keys for hours without a single break. But both methods usually produce several poems, and I do write every single day. Even on days where I feel a bit mentally blocked I’ll force myself to sit down and write. It may not be any good, but I do it just so my head doesn’t explode. There’s always so much going on up in my grey matter that it feels like it will sometimes anyway. Writing has always been a therapeutic tool for me.

6. Is therapy the only motivation to write?

No, I write for several different reasons. If I need to get something off my chest, express myself in various ways, for creative or artistic purposes, personal goals, love, hate, all forms of passion whether it’s good or bad, and I find that most times writing is the only way I can say some of the things I need or want to say in the way I intend them to be said. Poetry is language in its most distilled form, and it’s easier for me to communicate that way most of the time.

7. What Is your work ethic?

Well I do admit, writing is definitely a full-time job for me, even though not a very profitable one. Especially doing it all on my own. Self promotion can be a bitch sometimes, but I put 100% of myself into everything I do. I also run Cajun Mutt Press, initially I started it to publish my own books, and now I’m publishing other writer’s work. I put 100% into that as well, and I love doing it. We have 5 titles published so far, two of which are mine, and we just started in early August.

8. How do the writers you read when you were young influence you today?

I feel like I’m part of the old Beatnik Poetry scene, even though it’s in the past and there’s a new generation of poets at the helm. They still influence me now that I’m older. Sometimes I feel like I was born into the wrong generation because it’s so different and more complicated now. Even poetry, you can read from the old greats and see that things were different – better in a way – and now things are on a totally different level. There’s still some of the same stuff going on in poetry, but it’s magnified into a whole new creature. The writers I read in my youth, and still to this day, influenced me to concentrate on simpler things in life. I try not to get caught up in the hype of today’s bullshit and just live in the now of my own reality, because everyone’s reality is subjective. That is how they influence me today.

9. Who of today’s writers do you admire the most and why?

There are a lot of great writers out there today, and I’m a big fan of a lot of the stuff I’ve been seeing on Facebook and other social media platforms. If I was to name them all the list would be ten feet long, but there are a few I can name from the top of my list of poets/writers that I admire. Ron Whitehead, I love his style of Kentucky Gonzo Poetry. John Patrick Robbins, not only a great outlaw writer but also a dedicated Mad Editor to more than one venue – The Rye Whiskey Review being my favorite. Ryan Quinn Flanagan, that man is one of the most prolific poets I’ve ever had the pleasure of running across. K.W. Peery, I love how he integrates blues and outlaw history into his work. There are several more, but like I said the list is ten feet long. These are just a handful of my favorite current writers that also happen to be friends of mine.

10. Why do you write?

I don’t really have a choice in the matter. I’m a writer, that’s what we do, we write. If I didn’t write every day I think my head would explode, it’s as simple yet complicated as that.

11. What would you say to someone who asked you “How do you become a writer?”

I think you know if you’re a writer, I’ve always known. No matter how many degrees you earn or brevity you claim, good writing isn’t something you can teach. It has to be learned by personal experience. I’ve been writing for many years, but I’m no master of the craft by any means, and it gets to me when people say they are. Especially young writers with a degree from somewhere and a cocky attitude about it. Some of the best writers I know weren’t taught, they learned on their own. So to “become” a writer I guess you kind of need to already be one, and know it, in the first place.

12. Tell me about the writing projects you have on at the moment.

I have several irons in the fire right now. Also, I just published a book that will be the first in a series I plan on doing titled Owls in Hot Rods with Pink Elephants and Dead Bats. That one came out on August 2nd, and I just published another book of poetry September 24th titled Isomorphic. They’re both through my own publishing company, Cajun Mutt Press. I’ve also published a few other writers’ work, and have a couple of books in progress from myself and various others. So I’ve been pretty busy in that department, but I love doing it. We also have a featured writer spot we do twice a week on Wednesday and Friday. If anyone reading this is interested they can look us up on Facebook for details.

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.

Dan Raphael

Raphael, Poet
6735 se 78th    Portland OR 97206      danraphaelpoet@gmail.com

503-777-0406
Books
Everyone in This Movie Gets Paid [Last Word Books, Olympia WA, ‘16]
The State I’m In [Nine Muses, Winston OR, ‘12]
Impulse and Warp:  The Selected 20th Century Poems  [Wordcraft of Oregon,
LaGrande, ‘10]
Bop Grit Storm Café [Xexoxial Editions, West Lima WI, ‘08]
Breath Test (Nine Muses, Winston OR, ’06)
Showing Light a Good time (Jazz Police Books, LaGrande OR, ‘01)
Children of the Blue Supermarket, CD with Rich Halley (sax) & Carson Halley
(drums). [Pine Eagle Music, Portland, ‘11]
Plus 12 earlier collections from 8 different presses

Magazines, Web Sites and Anthologies
Caliban,   Exquisite Corpse,   Central Park,   Nebula Awards 31,   Big Bridge,
Raven Chronicles,   Tinfish,    Otoliths,   Rattapallax,   Unlikely Stories,    Basalt,
The Temple,   Hubbub,   Make it True,   Cordite,   Phantom Drift.   Mississippi Mud,   Asylum,   Plazm,   Urvox,   Short Fuse,   Skidrow Penthouse,   Fireweed,    Pageboy, Shattered Wig,   Curly Mind,  Alive at the Center,   Lost & Found Times,   Pemmican,   Snakeskin,  In Between Hangovers,   Pacific Northwestern Spiritual Poetry.
Plus work in around 200 other places.

Education
Western Washington U, MA in literature
Bowling Green State U, MFA in poetry
Cornell U, BA in English

Performance
Wordstock, Portland Jazz Festival, Artquake, Reed College, Center for the Performing Arts,
Portland Community College, Powell’s, Spare Room, Broadway Books, Cafe Lena,
Portland Poetry Festival, KBOO, KPSU   (all in Portland)
Bumbershoot, Elliot Bay Books, Cascadia Poetry Festival, Richard Hugo House, Red Sky
Poetry Theatre, Seattle Poetry Festival, RASP, Subtext, Title Wave  (all in Seattle)
Eastern Oregon U (LaGrande), Fishtrap (Enterprise), Tsunami Books (Eugene), Southern
Oregon U (Ashland), Cascadia Poetry Festival (Nanaimo BC), Bookpeople (Moscow ID),
Walla Walla Poetry Party (Walla Walla.), Get Lit! (Spokane), Whatcom Poetry Series
(Bellingham), Doe Bay Resort (Orcas}, Penofin Jazz Festival (Potter Valley CA).
Also in Portland I performed over two years as the  poet in Salon des Refuse, a monthly jazz
multi-media ensemble led by Rob Schepps..

Recognition
Residencies at Playa at Summer Lake, March ’15, April ‘16
M Journal contest, 1st place in poetry, ‘06
Rhysling Award, short poem, ‘95

Other Work
Hosted I Love Mondays, a monthly poetry reading in a downtown book store, for 13 years.
Organized Poetland, with 80 readers in 8 venues across 8 hours in ’09. For that day, the mayor of Portland changed the city’s name to Poetland.
Edited and produced 26 Books—26 chapbooks of 26 pages by Oregon and Washington poets.
Edited and produced NRG magazine for 17 years and 34 issues.
Worked 32 years for Oregon DMV, including 12 years as office manager and 2 years as public information officer.
The Interview

1. When did you start writing poetry?

Wrote my first poem junior year of high school. Being a poor kid, either of whose parents graduated high school, it seemed a little miraculous to me. Also at this time i was going to a local coffeehouse, hearing folks reading ferlinghetti, gindberg, et al, and joined in on that activity. not reading my own stuff however.

2. Whose stuff did you read?

at the coffeehouses, ginsberg, ferlinghetti, kerouac, patchen and yevtushenko.. wasn’t reading much other poetry outside of high school texts. sophomore year of college i discovered walt whitman.

2.1 What was is about their poetry that appealed to you?

the vitality and passion, ferlinghetti’s humor, ginsberg’s rage (at that time hadn’t yet read song of myself), patchen’s visions and sweetness. overall, the more accessible, vernacular language

3. Aspects that you work to show in your own writing?

I don’t “want” things for my writing. My main task as poet is to let the words that come out be what they are. as i’ve said a few times, language can’t write or type, so depends on me, & the unavoidable spin/tint my brain and world context add to e flow.

4. What is your daily writing routine?

don’t really have one. do try to look over recent, still be worked on poems every day, tend to dip in and out of them. never know when i’m going to write one. when i did a couple artist residencies i wrote something new every morning. i’ve frequently written poems after movies, after or during concerts or readings. as i’m struck and able.

5. What strikes you to write?

may sound too obvious, but poems start with a phrase or two in my head, so i start to right, sometimes repeating that phrase over and over til i get to computer or paper.

6. What brings out the phrase that brings the poem?

sometimes itll be an artistic event like a movie, concert, or reading (though usually the sparking phrase has nothing to do with that movie or concert,) sometimes the spark just comes, a quiet moment, unusual colors..

7. Who of today’s writers do you admire the most and why?

I hardly read any poetry. Living poets I like most are Alice Notley, Ron Silliman, and people I have some associaiton with–Jake Berry, Ivan Arguelles, Jennifer Coleman. In prose Don DeLillo, Arundhati Roy, Rebecca Solnit, Mohsin Hamid, a fine sci fi trilogy by M. John Harrison. Of course there are more names in  both areas.One of the biggest attractants for me is creativity, thnigs I’d never thought of before. also  new ways and perspectives on somewhat familiar topics (solnit), or insights into places i know little about (Roy.)

8. What would you say to someone who asked you “How do you become a writer?”

imagine it’s different for every one. you need to want to be a writer, enjoy writing. read a lot–not just volume but variety, see what’s old what’s new. write a lot. share your work. i went through an MFA program which was great for providing time and focus for writing.

11.   Tell me about a project you are involved with at the moment.

The Closer You Get to Nowhere, my 20th book, should be out this winter from Last Word Press. This 50 page book is all poems written in the six weeks i spent (two visits) at Playa at Summer Lake. A full size manuscript, Manything, is currently in 3 presses heaps for consideration.. And every Wednesday i write and record a current events poems for the KBOO Evening News.
not that tech savvy, but here’s a link to the last published book, Everyone in This Movie Gets Paid, also from Last Word Books
http://www.lastwordpress.com/product/everyone-movie-gets-paid

 

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.

Vessislava Savova

Vessislava Savova was born in Sofia, Bulgaria. She has got four books published and is a part of many Bulgarian and international anthologies. Her awarded and honorable mentioned writings and visual arts have been published in international magazines in nine languages.
She is an editor of five books in Bulgarian and one in English language. Four books of Bulgarian authors have been translated into English by her, two of which have been published by Hammer&Anvil Publishing House in the USA.
Personal blog: http://vessislava.blogspot.com/
Facebook: https://www.facebook.com/vessislava.savova
Twitter: https://twitter.com/vessislava_vls

The Interview

1. What inspired you  to write poetry?

First of all, I should tell you that I write haiku and tanka. I found myself inspired by the challenge to say much with just a few words. Of course, it was a long way till I started doing it right but it was another challenge.

2. Who introduced you to poetry?

I was mesmerized by Basho and Buson – their lives and poetry. Then, I realized that contemporary poets keep writing that poetry and moreover – they do it in another languages, not only in Japanese. I also admired all the translators thanks to whom I got familiar with this stunning poetry form. The person whom I owe much is Maya Lyiubenova, the best Bulgarian haiku writer. Alas, she passed away but she will never be forgotten.

3. How aware were you of the dominating presence of older poets?

It was even scary to dare write and at the beginning I only read them what in fact helped me a lot.

4. What is your daily writing routine?

From 2015 till 2017 I kept a haiku diary – I summarized the day in three lines what appeared to be even useful to me when looking back at it. Presently I only enjoy the moments and am grateful for each precious moment that I am gifted with. Yes, they say that haiku is a gift and the role of the poet is just to capture it.

5. What motivates you to write?

Everything around me that attracts my attention or probably it’s better to say – I find time to stop and realize it.

6. What is your work ethic?

It is easy now with all those groups on Facebook where we are in close connection with each other and stay on the right path – no plagiarism, no breaking the rules or at least, not before learning them well enough to afford it.

7. How do the writers you read when you were young influence you today?

It has been the same since I first read them – total respect.

8. Who of today’s writers do you admire the most and why?

I would not dare mention any names because I would miss somebody but the thing which makes me admire them is the attitude to the words … even to the single letter. There are not many but enough poets who are able to do it.

9. Why do you write?

To be honest, I do not know. It is an impulse and I follow it.

10. What would you say to someone who asked you “How do you become a writer?”

I would ask him or her – do you think I am such? The most important thing for a writer is to be a good reader.

11. Tell me about the writing projects you have on at the moment.

My co-author Dilyana Georgieva and I finished up a work on our latest project – a collection of rengay poems Whimsies – in March and now we are busy promoting it around Bulgaria and online, all over the world.
Note: Everything about rengay can be found here – http://www.graceguts.com/essays/rengay-an-introduction

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.

Kate Noakes

Kate Noakes’ most recent collection is Paris, Stage Left (Eyewear, 2017). The Filthy Quiet is forthcoming from Parthian in spring 2019. She is an elected member of the Welsh Academy of Letters and her website (www.boomslangpoetry.blogspot.com) is archived by the National Library of Wales. She lives in London, where she acts as a trustee to the literature advocacy charity Spread the Word.

The Interview

1. What inspired you to write poetry?

As a question of origins, that’s a tricky one to answer. I suspect it was an overwhelming need to say something about something important, at least to me, and in a form that turned out to be economical and a poem rather than an essay. And this has continued to happen on a frequent basis over the last twenty five or so years, or that’s what I try to do, more or less successfully.

2. Who introduced you to poetry?

Dylan Thomas. Sure, there were plenty of other dead white men on the syllabus in school – I had the benefit of a rather good, if dated, poetic education there. But Dylan is absorbed from birth if you are Welsh, and he taught me about the possibilities of the English language, it’s playfulness and invention.

3. How aware were you of the dominating presence of older poets?

As a youngster – very. I don’t think I knew there were any actual, living breathing poets until I was quite grown up. Thankfully they don’t dominate today, even if everything is flipped around and it seems you are no-one writing anything interesting unless you are very young. I am offended by the present ageism in poetry – young this prize, new poets (meaning young) that prize. I have many friends, who, like me, did not start writing seriously for publication until they were much older. But we are considered old farts and know nothing about life, or good writing, or performance.

4. What is your daily writing routine?

Walk the dog then straight into the studio. Two poems before lunch. No, seriously I don’t have a poetry writing routine. The Muse, lord bless her, can’t be scheduled like that. Some mornings I wake up with an idea, which I might think about for weeks, months or years before it finds it’s right expression and form. Other days, I might have a line, not necessarily the first one. At other times a phrase might just pop into my head. I can’t explain it. It just depends on what I’m thinking about. Anyone who tells you whole poems just arrive is probably lying. Reading other people is the best way of getting going on one’s own work, I find. It puts you in the zone.

5. What motivates you to write?

A certain degree of arrogance that I have something worth saying and that other people might enjoy reading or hearing it. Plus the confidence of studied craft. In other words that I can write well.

6. What is your work ethic?

I’d like to say hard. I certainly work hard when I am actually writing – best words, check facts, do research etc. But writing poetry is not a constant daily activity for me, although journaling and note making is. I’m a definite believer in the write something every day school of being though, even if I frequently break the rules.

7. How do the writers you read when you were young influence you today?

Apart from Dylan, hardly at all, other than by the very fact that they wrote, and showed that it was possible.

8. Who of today’s writers do you admire the most and why?

The list of poets I admire is long– but here’s a few I am grateful for:

Seamus Heaney for precision of language, and finding meaning in sometimes unpromising material,

Gillian Clarke for showing how any aspect of life can be one’s subject, and for sitting on my shoulder still, telling me when I’m doing well and when not (she was my MPhil tutor, lucky me),

Carol Ann Duffy for telling me that all a poem needs is one really good image, and for writing ‘brilliant!’ on one of my early poems,

Philip Gross for dealing with complex emotional subject matter,

Jane Draycott for capturing the Thames on the page,

Robin Robertson for myth and mystery in subject and language,

Pascale Petit for her excellent blend of the personal and the natural world,

I could go on and on, but that’ll do for today.

9. Why do you write?

Cliché warning – because if I didn’t I wouldn’t be me. If I go too long without writing I start to feel that there is something distinctly wrong with my life. It’s more than a vague ennui, much more existentially threatening than that.

10. What would you say to someone who asked you “How do you become a writer?”

READ, READ, READ and then READ some more. Anyone who wants to be a poet these days needs a very good knowledge of the canon and contemporary poetry. You have to know from where and in what milieu you are writing. Then write, edit, study craft, get feedback etc. repeat, and don’t be too quick to think it’s ready for submission. And grow a very thick skin because rejection is going to be frequent. Don’t take it personally: it’s the work, not you.

11. Tell me about the writing projects you have on at the moment.

I have just put my next book to bed, as it were. Meaning, it has gone to the printers and will be out in spring 2019. It’s called The Filthy Quiet and is being published by the lovely Parthian. So I’ve been doing all the non writing things like proof reading, finding art work, getting blurbs, and having a new author photo taken. Now I’m organising the launch and asking for readings for next year.

I’ve also been working on the manuscript for the book after that. I’ve sorted out two to three years’ worth of poems into ones that I think are pretty decent and form some kind of cohesive whole. I have sent it to a couple of publishers over the summer and am awaiting their responses. Fingers crossed, but we are talking about publication in 2021 at the earliest, realistically. Yes, it takes that long.

Poems come and go as usual, spurred on by the need to take something to my fortnightly workshop group – a good discipline, which I recommend. I am also writing a commissioned non fiction book, a first for me. I am enjoying the research, but I’m going to keep the rest of the details under my hat for now.