Sunday, 24 January 2021

Katie Jenkins : part two

What are you working on?

I completed a 300-line poetry portfolio in the summer as part of my creative writing diploma, and am still tinkering with some of the unpublished poems. Generally speaking, I am not prolific. Life can be hectic and I tend to write no more than a couple of new poems a month. I’d like to say this might change if I had more free time, but it’s possible that it is simply my rate of work. It’s also a job in itself to send work out – I try to balance the administrative with the creative!

Donatella du Plessis : part five

How important is music to your poetry? 

I find it impossible to listen to music while writing poetry: I always end up wanting to sing along and bob my head. However, it’s important to me that poetry “sounds” right and in time, so in that respect, music is very important to my poetry. It has to sound good, not just look good.

Saturday, 23 January 2021

Eleonore Schönmaier : part two

How do you know when a poem is finished?

When I can carry a poem in my mind fully memorized with comfort and with pleasure along with tugs of language tension (those ah moments) then I know or hope that the poem is complete.  This happens after first mentally composing the poem and then I rewrite the poem many times by hand.  With each rewrite a subtle small change in the poem occurs. I also recite the poem out loud multiple times. When I'm writing, my thoughts are often beyond my own thinking and it is this beyond that I'm striving towards. I never fully arrive in that beyond but it's the striving that matters.

Daniel Scott Tysdal : part two

How do you know when a poem is finished?

When I’m finished—done, toast, kaput. When I can’t bring myself to hardly even look at the thing, though usually, obsessively, I do read the poem over, and tweak, again.

Friday, 22 January 2021

Phoebe Anson : part four

What do you feel poetry can accomplish that other forms can’t?

I think there’s a freedom with poetry that allows you to explore so much. My work is quite experimental and tends to explore the space of the page frequently. Poetry allows for me to do this and present a visual aspect as well as the language. In poetry, I can explore a single idea or thought or an entire philosophical concept with the freedom to present it however I wish. Poetry is constantly being developed, deconstructed and rebuilt, and it’s fascinating to see the variety of ways this is done. Poems can look completely different to one another and yet still both be valid ways of writing. 

Roisin Ní Neachtain : part one

Roisin Ní Neachtain is an emerging Irish-Scottish artist, poet and translator.

She was born in Geneva, Switzerland and, though mainly self-taught, was briefly educated at the National College of Art and Design in Dublin and then at Trinity College Dublin before studying under Irish artist Gill Berry for two years. She formerly exhibited under the name “Georgie Wren” and is the creator and editor of the art and poetry journal Crow of Minerva

She is currently working on her first collection of poetry, “The Earth that Flaked to Ashes.”

What are you working on?  

I have spent the last year and a half working on my first collection of poetry. I think it’s finished but I have applied to a number of programs and mentorships and am open to reworking the collection. I have been studying French poetry more intensely and am hoping to begin my first French collection soon. I am also looking into translating some French poets into English.

Ellen Hagan : part four

What other poetry books have you been reading lately?

Reading has been the best work for me as a writer. It is instrumental in everything I do – and I try to read as widely as possible and get as much exposure to language and craft as possible. I have been reading Horsepower by Joy Priest, which I absolutely love. Her voice stands out to me so much. The way the South shows up in her poems is stunning and needed. Other books that have stayed with me this year are: Seeing the Body by Rachel Eliza Griffiths, TERTULIA by Vincent Toro, FINNA by Nate Marshall and The Pink Box by Yesenia Montilla. I also love Elizabeth Acevedo. I read With the Fire on High this year, and even though it is not a novel in in verse, there was poetry in every sentence. I love books that shift my perception and make me see poetry or poetic language in a new and unique way.