Please tell us about the making of “Love bold.”
“Love bold” is the twentieth poem in a series from my newest manuscript, Body of Render. This manuscript began on November 1, 2016. For many underrepresented populations, the election was a social trauma; one that still impacts the lives of many in this country. This series of poems, entitled “At the hand of other,” struggles with internal and society understanding in the midst of national political decisions and implications. This poem considers being a woman of color at this time in history; how despite the desire to turn inward, the voices of the marginalized must be bold and step out of our own heads. The voices of the marginalized must be bold to love and show love, because love exists, even in the horrid, even in the hurt.
Do you prefer writing poems individually or in a series? Why?
I always start with just the poem. The process reveals to me if that poem will become many, or remain singular. Although, I’d argue no poem is truly singular — poems are always in conversation with other poems, people, places, events, histories, ghosts — poems to me are conversations, more than anything.
Do you practice another form of art? If so, do you find that it competes with or complements your writing?
I am an amateur photographer. My brother and I started a side-hustle called The Affordable Lens Photography, aimed at offering families and individuals, who may not be able to afford the talent of certain photographers, inexpensive photoshoots and edited portraits.
A singular photograph holds an abundance of story. I’m drawn to how visual art weaves worlds so immediately. Being creative through another artistic medium allows me to grow as a writer. At times, the editing of photos engulfs my energy, but otherwise the two expressions complement one another.
Do you write with a particular audience in mind?
The rawest part of being a thing living in this moment tends to be my audience. The part of us that questions the body, the mind, society, our humanity, the “way of things” and our power to enact change, our genetic everythings. We are a species borne in curiosity. Let’s wonder together, I think. Maybe this makes my answer no, but I’d like to think I write to wonder that dwells in each of us.
How do you tend to utilize white space in a poem?
The poem resides in the landscape of the page. I like to use white space as a technique for the reader to experience the poem. I consider where the poem lives on the page, how each line inhabits space, and how each stanza inhabits space. Lately, I’ve been writing a lot in prose-ish blocks, where words condense on the page, but the white space surrounds these words, as a reminder of what is not being said. In more lyrical poems, space allows for the linger of words and thoughts, dramatic pauses, and interruption, which at many times is the point of the poem in the first place.
“Love bold” is the twentieth poem in a series from my newest manuscript, Body of Render. This manuscript began on November 1, 2016. For many underrepresented populations, the election was a social trauma; one that still impacts the lives of many in this country. This series of poems, entitled “At the hand of other,” struggles with internal and society understanding in the midst of national political decisions and implications. This poem considers being a woman of color at this time in history; how despite the desire to turn inward, the voices of the marginalized must be bold and step out of our own heads. The voices of the marginalized must be bold to love and show love, because love exists, even in the horrid, even in the hurt.
Do you prefer writing poems individually or in a series? Why?
I always start with just the poem. The process reveals to me if that poem will become many, or remain singular. Although, I’d argue no poem is truly singular — poems are always in conversation with other poems, people, places, events, histories, ghosts — poems to me are conversations, more than anything.
Do you practice another form of art? If so, do you find that it competes with or complements your writing?
I am an amateur photographer. My brother and I started a side-hustle called The Affordable Lens Photography, aimed at offering families and individuals, who may not be able to afford the talent of certain photographers, inexpensive photoshoots and edited portraits.
A singular photograph holds an abundance of story. I’m drawn to how visual art weaves worlds so immediately. Being creative through another artistic medium allows me to grow as a writer. At times, the editing of photos engulfs my energy, but otherwise the two expressions complement one another.
Do you write with a particular audience in mind?
The rawest part of being a thing living in this moment tends to be my audience. The part of us that questions the body, the mind, society, our humanity, the “way of things” and our power to enact change, our genetic everythings. We are a species borne in curiosity. Let’s wonder together, I think. Maybe this makes my answer no, but I’d like to think I write to wonder that dwells in each of us.
How do you tend to utilize white space in a poem?
The poem resides in the landscape of the page. I like to use white space as a technique for the reader to experience the poem. I consider where the poem lives on the page, how each line inhabits space, and how each stanza inhabits space. Lately, I’ve been writing a lot in prose-ish blocks, where words condense on the page, but the white space surrounds these words, as a reminder of what is not being said. In more lyrical poems, space allows for the linger of words and thoughts, dramatic pauses, and interruption, which at many times is the point of the poem in the first place.