These were some of the questions (which may be paraphrased – I wasn’t taking notes when being asked) I was asked after my book launch for “Ghosts in the Desert” on 4 July. I have expanded on some of the answers below.
How do you know when a poem is finished or is there always another edit?
I think a poem is finished when the edits I’m making are not beneficial to the poem. For instance if I change a word and end up going back to the word I had previously or take out a comma only to put it back in again, when I feel as if I’m tinkering rather than achieving anything. It’s always possible to edit further but there’s also a point when editing looks suspiciously like procrastination.
How do you collect poems around a theme and does that theme inform new work?
Putting a collection together, for me, is a retrospective act. When I can collect together around 80 poems, I start to look for a common theme or anything that suggests the poems are interlinked and can form a body of work. If I can find sufficient poems I will start thinking of them as a collection rather than individual poems. If I can find a substantial number of poems but not enough for a collection, then I simply don’t have a collection. I don’t set myself the task of writing new poems on the theme because I find such new poems are often derivative or repetitive, saying what I’ve already said in a different format.
It’s fair to say, though, that common themes do tend to emerge in writing poems. So, whilst I wouldn’t consciously decide I’m going to write poems on theme x, I may well find that of the last dozen poems I’ve written, eight will be about theme x.
How did you start writing or have you always been writing?
I have always told stories. Even before I could pick up a pen, I used to build houses from play bricks and create stories for the people who might have lived there. At some point stories gave way to poems.
Which poets influenced you or got you into writing?
At school, we only studied male poets. I didn’t believe that female poets didn’t write poems that weren’t worth studying, but figured out I wasn’t going to find them through school or in book stores that seemed to concentrate on dead, white, male poets or anthologies. A friend sent me a copy of the Ted Hughes poem “You Hated Spain” and I identified with the “you” of the poem. That “you” was Sylvia Plath and through her, and her contemporaries such as Anne Sexton and Anne Stevenson, I found female poets worth reading and studying.
More recently I’ve enjoyed reading: Carrie Etter – I loved “Imagined Sons”, Melissa Lee-Houghton, Helen Ivory, D A Prince, Kei Miller, Daniel Sluman, Sheenagh Pugh, Ros Barber’s “The Marlowe Papers”, and I’m looking forward to the publication of Lydia Towsey’s “The Venus Papers” due from Hearing Eye. I enjoyed reviewing Mandy Kahn’s debut.
How do you define your style or poetic voice?
That’s a tricky question to answer without dropping into vague phrases or sounding horribly pretentious. Defining a poet’s style is often best done by others. A voice emerges when you’ve tried writing like other poets or tried writing on themes other poets have written about and you’ve found an approach and vocabulary you’ve comfort with and confident in. Voice comes when others read a poem and identify it as yours or conclude that no one else could have written that particular poem.
Do you find reviews of your work useful?
Yes. Sometimes you know instinctively that something is working but you don’t always analyse why and a review can provide that analysis. Reviews can also confirm that you were communicating what you wanted to communicate with the reader because the reviewer has interpreted the poem the way you intended it to be. Bad reviews can be helpful too: they either suggest the interpretation you intended wasn’t communicated fully so the poem needs another edit or a lazy reviewer’s interpretation is so far off the mark that it reinforces the intention of the poem.
Ghosts in the Desert is available from Indigo Dreams Publishing