Please tell us about the making of “The Sticking Point.”
I’m a fan of the poetic inventiveness of Mary Ruefle which is on full display in her poem “Rain Effect.” The phrases “the sea deep as love” and “the sea cold as love” struck me as simultaneously embracing and oppositional, and I wanted to wrap a poem of my own around them. The closing couplet arrived courtesy of the American public’s growing recognition of the plight of women who have been victimized by so-called powerful men.
Please tell us about the making of “Chord.”
The impulse for “Chord” was the knowledge that when my birth mother, as she lay dying, was asked whether she wanted to see me, she replied “no.” To learn this was painful and my disappointment is reflected in the first section of the poem. Upon reflection, however, I knew that the poem was dishonest unless I admitted that I, too, had failed to go to her when I could have. As a result, the second section of the poem was written.
If you were to trace your poetic lineage, which two poets are you directly descended from?
An interesting and difficult question but I think I’d cite first Jayne Cortez. She was the first black female poet I’d ever seen recite/perform, the first who exemplified a unique voice that was not tethered to traditional, formal poetics and, for a college student, that was an amazing experience.
Secondly, I’d cite Natasha Trethewey, my junior in years but my teacher and muse whose talent in fusing the political with personal history constantly inspires.
Which common piece of writing advice do you loathe and why?
I cringe whenever I’m told not to take rejection of a poetry submission personally. Of course, it’s personal!! — it’s my creative machinations that “don’t fit,” for which “there was not a consensus among the editorial staff,” and for which they wish me “better luck elsewhere.”
Which three words do you overuse in poems?
Still, yet, although — although I’m working on it!
I’m a fan of the poetic inventiveness of Mary Ruefle which is on full display in her poem “Rain Effect.” The phrases “the sea deep as love” and “the sea cold as love” struck me as simultaneously embracing and oppositional, and I wanted to wrap a poem of my own around them. The closing couplet arrived courtesy of the American public’s growing recognition of the plight of women who have been victimized by so-called powerful men.
Please tell us about the making of “Chord.”
The impulse for “Chord” was the knowledge that when my birth mother, as she lay dying, was asked whether she wanted to see me, she replied “no.” To learn this was painful and my disappointment is reflected in the first section of the poem. Upon reflection, however, I knew that the poem was dishonest unless I admitted that I, too, had failed to go to her when I could have. As a result, the second section of the poem was written.
If you were to trace your poetic lineage, which two poets are you directly descended from?
An interesting and difficult question but I think I’d cite first Jayne Cortez. She was the first black female poet I’d ever seen recite/perform, the first who exemplified a unique voice that was not tethered to traditional, formal poetics and, for a college student, that was an amazing experience.
Secondly, I’d cite Natasha Trethewey, my junior in years but my teacher and muse whose talent in fusing the political with personal history constantly inspires.
Which common piece of writing advice do you loathe and why?
I cringe whenever I’m told not to take rejection of a poetry submission personally. Of course, it’s personal!! — it’s my creative machinations that “don’t fit,” for which “there was not a consensus among the editorial staff,” and for which they wish me “better luck elsewhere.”
Which three words do you overuse in poems?
Still, yet, although — although I’m working on it!