I've been teasing some big news for awhile, and now that I've signed the contract I'm finally ready to share. My newest chapbook of poems, titled Mid-Bloom, has been accepted for publication by Finishing Line Press!
This collection of poems centers around the loss of my mother to cancer when I was just 15, and my own experience with cancer at age 36. In these poems, I explore themes of childhood, family, illness, survivorship, and the ways in which my cancer brought me closer to my mother even though she's not here.
The cover design is not yet complete, but I am thrilled to be able to use the artwork pictured here--ink and watercolor by the talented Linnea Broling.
Anticipated publication should be later in 2021, but of course, these things change. As soon as pre-orders are open, I will share the details!
I was invited by my best and oldest friend Kari Hall, who happens to be a very talented artist, to join a blog hop project. Thank you, Kari! The project consists of answering some questions regarding art and my process, as well as to to highlight three artists I admire. While following this particular chain of the blog hop backwards, I found many stunning encaustic painters (the medium of art that Kari primarily works in). I am thrilled that she chose to branch out to me, a poet, and so I have invited other writers in various genres to carry the blog hop forward from here.
These are the questions I have been tasked to answer:
1) What am I working on/writing?
I am currently working on my first full-length collection of poetry, which is tentatively titled The Length of Distance. I have enough poems to complete a collection, but am still revising about ten of them, and then need to put the poems in order--which sounds like a really, really daunting task. The poems are quite different in subject matter, but the unifying thread is, as the title suggests, the idea of distance. Some distances explored in the poems are physical--moving away from home, travel, and long distance relationships. Others are emotional--empty or unrequited romantic relationships, the distance that forms between oneself and others after a great loss, and divorce. Not all the relationships in the collection are romantic--there are also family poems and friendships addressed. And the distance that even dwells within oneself, that distance between who you were and who you are becoming, who you are and who you want to be, is also worth consideration. How well the collection works as a cohesive unit remains to be seen, but I am excited to be nearing the stage at which I'll start piecing it together into sections and experimenting with how one poem best leads to the next.
2) How does my work/writing differ from others of its genre?
I found this to be the most difficult of the questions to answer. There is SO much variety in poetry. So in many ways, my poetry is quite like many others. In other ways, quite different. So I guess the best way to answer is to try to describe my style as a poet. I generally write in free verse, meaning I don't use a rhyme scheme or structured pattern. (The exception is my occasional attempt as a sestina, an incredible strict and repetitive form, but I digress.) However, in spite of the lack of pattern, I do like to divide my lines up into stanzas that have some consistency. I often use couplets or tercets. I also write poems with much longer stanzas, or even single stanza poems, but whatever form I end up with it, I try to allow the form to add pause and weight to the words wherever necessary. I tend to write short lines, creating a lot of space for emphasis. Like most poets, my work tends to be personal and relies heavily on metaphor and simile to pack an emotional punch and to make my experience relatable to my readers. I try not to shy away from specific details (names of airports, streets, cities, for example. Or including specific items like a pressed penny from the zoo in relation to an old boyfriend.) I've been told I have a knack for endings, for stopping on that moment that takes your breath away just for a second. That thing that can only be identified as "poemness" - that indefinable quality that makes something a poem and not just words on a page. (What a rambling and unclear answer this is!)
3) Why do I write/work what I do?
Author Lorrie Moore says of how to become a writier: "First, try to be something, anything, else. A movie star/astronaut. A movie star/missionary. A movie star/kindergarten teacher. President of the World. Fail miserably." Many people say one does not choose to be an artist of any kind, it chooses you. I think this is partially true. I have wanted to be a writer since about third grade. It took me several more years to discover I'm a poet, and even more before I made the decision to BE a poet. I tried to be anything else. I was just going to minor in creative writing once I got to college, but before my first college-level poetry class was over (thank you Rhoda Janzen) I'd decided to major in English. After many years of being a sort-of writer, I finally began to embrace it, and after a few more years of studying poetry (thank you Jack Ridl) I made that decision - to go to grad school for an MFA in poetry and see where it would take me. It's been almost 10 years since I finished my MFA and I'm finally digging my heels in and working seriously on publications. (Teaching college can be a veritable distraction from your own writing.) But at the end of the day, I feel more whole when I write poems. It's one of the things in my life (tap dancing is another) that makes me feel more myself. The poems I write are often cathartic, a way to process life's experiences. They can also be a way to connect with others, with readers. And a way to observe the world around me and participate in some way by writing about what I've seen and felt.
4) How does my writing/working process work?
I tend to write when I feel moved or inspired, though I am trying to learn to be more disciplined. Usually a poem begins as just an idea. Either a metaphor, an image, or an experience that I'd like to write about. It churns around in my head for awhile. Maybe I'll jot down a line or just a tidbit. Sometimes it could be as short as a few hours of thinking about an idea before I draft a poem. Sometimes it could be months. But at some point I sit down with an old fashioned notebook and pen (often in a coffee shop or a park) and write the poem. After I draft it, I type it up and play around with line breaks and stanzas. I then usually take it to a few trusted writer friends for feedback before continuing to revise. Some poems go through very little revision, and others go through several drastic changes before I feel content with it as a finished product. The learning to be more disciplined part means I'm trying to carve out more space for inspiration and for drafting/revising. Time outdoors, time at a coffee shop, time at a museum, whatever it is. Getting out into the world helps me clear my mind of daily stress and make space for poetry. The more I can incorporate that space into my life, the more I find my poetry thrives.
And now, meet Kari... she's been my best friend since the age of 4, and even if I didn't know her personally, I would still love her artwork. One of my favorite aspects of visual art is texture, and Kari's paintings are rich with texture, both literally and figuratively.
Born and raised in the Chicagoland area, Kari Hall earned a BA in Visual Communications Design from Purdue University in West Lafayette, Indiana. It was there Kari was first introduced to encaustic painting and has kept her concentration on developing work in this medium. Her work has been shown in many galleries around the Chicago area such as the Zhou B Art Center, Fine Arts Building, Black Cloud Gallery, Union Street Gallery, and Morpho Gallery. Her art-making process is focused on a visual and emotional unfolding, personal memories and honest expression revealed through a landscape of color, light, texture, and dimension. She melts, carves, and transforms layers of wax to expose the depth of her life. Through it she is guided to a place, whether real or imagined, simple or complex. This process encourages a thought-provoking journey and allows her natural creative mind to spill open. When she isn’t in the studio painting, she is spending time with her husband, Drew, and Bloodhound puppy, Harvey.
Kari's website: http://karihall.com
Next week, I invite you to read the responses from the three beautiful women I have invited: Meridith De Avila Khan, a photographer/writer/artist I have had the pleasure of knowing since college; Kristin Luehr, a fellow Roosevelt University MFA alum; and Joan Hanna, a colleague from Rowan University who has generously agreed to help out with Glassworks Magazine. Meet them here!
Meridith De Avila Khan is a creative soul, wife, and mother; she has been a photographer for over eight years, including the past four years as the official photographer for Sweet Briar College. She owns & operates MDK Studio, a commercial photography studio. Previously, Meridith worked as the Director of Marketing at the Academy of Fine Arts in Lynchburg, and as an interim coordinator for the Tulipanes Latino Film Festival in Holland, Michigan. She has written human interest stories freelance for The Lakeshore Press, as well as Lynchburg Living and Clutch magazine. She is currently preparing essays for graduate school. Her fine art photography has exhibited regionally in juried and group shows. Meridith holds a Bachelor of Arts from Hope College, where she majored in creative writing and minored in studio art. While at Hope, she participated in the residential Phelps Scholars Program, an academic-intensive cultural learning experience. Conversations about what makes us human, even when they’re sometimes difficult, are one of the things that Meridith enjoys most.
Meridith's Blog: http://meridithcreates.com
Kristin Luehr is a fiction writer and English teacher, although she sometimes thinks those must really be mutually exclusive careers, given the time commitments necessary. She currently lives in Nairobi, Kenya, where she teaches high school English at an international school. She received her MFA in creative writing from Roosevelt University and her BA in English from the University of Northwestern—St. Paul. The literary journal Dappled Things recently published her short story “Where Moth and Rust” and awarded her their J.F. Powers Prize. When she has time and something to say, she blogs about teaching, writing, living in Kenya, loving God, and anything else that seems important to her (like using “whom” correctly).
Kristin's Blog: http://wordslikenets.blogspot.com
Joan Hanna has published poetry, fiction, and nonfiction in several online and print publications as well as book reviews and interviews for various outlets. She is Assistant Managing Editor for River Teeth, A Journal of Nonfiction Narrative and Assistant Editor, Nonfiction/Poetry for r.kv.r.y. Quarterly Literary Journal. Her debut chapbook, Threads, (Finishing Line Press) was a finalist in the 2014 Next Generation Indie Book Awards. Hanna teaches teaches creative writing at Rowan University in New Jersey. She holds an MFA from Ashland University in Poetry and Creative Nonfiction.
Joan's Blog: http://WritingThroughQuicksand.blogspot.com.
I'm very pleased to announce the publication of Issue 8 of Glassworks Magazine. Working with the student editors on this through Rowan University's Master of Arts in Writing program was a joy, and what a beautiful issue we've put together.
Visit our website here: http://rowanglassworks.org
View the full issue online here: http://issuu.com/glassworksmagazine
During graduate school, I was fortunate enough to attend the Prague Summer Program run by Western Michigan University. The program offers courses in creative writing, literature, and photography, and also includes several lectures and readings by a remarkable collection of faculty. The theme when I attended was "Faith and Art," and my assumption based on this was that the lectures would all come from a religious angle. Some did, but the brilliant writers and artists I encountered interpreted this theme in a much bigger way.
One panel in particular has stuck with me for years.
Rather than focusing on faith AND art, the panelist explored the idea of faith IN art.
The arts are something I have always believed in. Be it literature, dance, music, visual art, or otherwise, art has the power to affect people in profound ways. I truly believe art has the power to change the world.
"Art may not make anything better, but there is some power in recognizing that someone else has felt as you do, that your interiority, which seems especially in grief so unreachable, may in fact share a space with the inner life of another." - Mark Doty
Today, each year, so many of us reflect and think about where we were when we first heard about or saw the unbelievable historical event that has undoubtedly changed our country forever. Ultimately, I think it matters less where we were, what we were doing, how much we remember. What matters more is what followed. How we moved forward. Where we are today.
In that spirit, an article about the place of art in times of tragedy. Poetry matters, people. It does.
Can Poetry Console a Grieving Public? by Mark Doty
"The reinvention, the making of a poetry for our time, is the only thing that makes poetry matter. And that means, literally, making poetry MATTER, that is making poetry that intensifies the matter or materiality of poetry--acoustic, visual, syntactic, semantic. Poetry is very much alive when it finds ways of doing things in a media-saturated environment that only poetry can do, but very much dead when it just retreads the same old same old."
BA in English