Interview

Interview with Patricia VanAmburg

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I met Patricia in the early 2000s when we were both teaching at Howard Community College. We’ve since shared many lovely days together and often share our poems with each other. Hope you enjoy this interview with my dear friend. Contact Patricia through her blog if you’d like to purchase one of her books. https://wrenhousepress.online/books/

Ann Bracken (AB): Congratulations on your lovely new poetry collection, Refuge Heart: A Verse Memoir. I love the way you’ve woven stories together around the themes of loss and family. Tell me how the book came together for you.

Patricia VanAmburg

Patricia VanAmburg (PVA): Thank you Ann. The book actually came together in a number of ways. One of those was a mention by two of my friends of the Trebus Project—a study of elderly dementia patients in Great Britain. One surprise outcome of this study was that so many patients with short term memory loss retained vivid memories of earlier life on poor farms. This information certainly caught my attention because my mother so often mentioned the American poor house circa 1830-1930.

AB: Those of us who had parents of a certain age will remember them referring to the poor house, but many readers may not be familiar with the history and purpose of poor houses. Tell me about where the idea for your poem, “My Mother Goes to The Poor House”, came from and give a bit of background on the poor house you researched. 

PVA: In the last decade of her life, my mother refused to discuss her dwindling finances. She would reply to any of my attempts at such a conversation with an angry “Just send me to the poor house.” Usually, I remained silent in order to avoid further confrontation, but one day I said to her “You know there isn’t any poor house.” She responded “Oh really” in a voice I knew she saved for lunatics and liars. More frustrated than usual, I soon typed “poor house” into a Google search—adding “Berrien County Michigan” because that is where my mother grew up. To my great surprise, I uncovered a treasure trove of information including a roster of poor house residents; several poor house census reports listing nationality/race and occupation; notes from the poor house infirmary; and several local newspaper articles written about the poor house residents who were called “inmates.” How could I ignore such a treasure? I began to write poems—beginning with my mother’s poor house obsession.

AB: “Peaches in Poor Weather” is as much a lament for crop loss as it is a bit of significant history. What was your process in writing that poem? 

PVA: Along with all the specific poor house information, I uncovered an early history of Berrien County chronicling European colonization, native American conflict, and agricultural development. I wanted to know more about why the poor house was built because, to this day, Berrien County remains a Michigan fruit basket. I remember well the delicious peaches of my own childhood. I let peaches become emblematic for the agricultural economy of southwestern Michigan and found a helpful article from 1993 by William John Armstrong titled “Berrien County’s Great Peach Boom.” Armstrong’s work helped me understand how Michigan’s fluctuating temperatures combined with peach production in warmer climates, and the rail age, to cause problems for the Michigan peach industry which had previously enjoyed a kind of privileged position in midwestern fruit production. I also understood how a competitive fruit market combined with an influx of European farm labor—caused loss of farm ownership and the necessity for county poor houses throughout Michigan and the rural United States. 

AB: “James Hewitt’s Nose” tells the story of cancer that used to be commonplace, but due to modern treatments, rarely happens in our country now. How did you come upon this story?

PVA: “James Hewitt’s Nose” came from two sources— one was my possession of the poor house infirmary notes which gave me a broad perspective on all of the resident health problems and diseases. The second was the trove of period newspaper articles I mentioned earlier. One of them told the story of resident James Hewitt age 63 who had a form of cancer that had eaten away his nose. The story went on to mention that a worker at the poor farm had met a Miss Hewitt who remembered that her father had a spot on his nose years earlier when he disappeared. At the end of the article father and daughter are reunited—my poem takes a bit of poetic license with that reunion. 

AB: The second part of your book deals with your family members who came to the United States from Croatia. How were you able to reconstruct their stories in such detail?

PVA: Yes, the second half of my book goes in a new direction at the suggestion of Maryland Poet Laureate Grace Cavalieri who thought I might want to write about “something a little different than but related to” the poor house and its refugees. About that time through DNA testing, I became aware of and met several new cousins from my father’s side of the family. Eventually, two of my cousins invited me to go to Croatia with them. Their grandmother was a sister to my grandfather, and we were all searching for our grandparents’ journey to the United States during the Croatian diaspora which straddled two World Wars. So, the second half of the book retells my grandparent’s life as refugees and my search to uncover it.  

AB: I love the playfulness in the poem “Departure 1950.”  You capture so much of the innocence and charm of the two cousins getting into mischief. Say more about the poem and your cousin.

PVA: As refugees, my paternal grandparents had a pretty hard life including my grandpa’s first job as a copper miner in upper Michigan and my grandma’s loss of several children before they reached adulthood. Eventually they had to leave their grape farm in southern Michigan when neither of their adult sons wanted to stay and work. Still, I enjoyed visiting the house they moved to in a small town—especially when my two cousins were there. Departure 1950 recalls one of my earliest memories of my six-year-old cousin and I “driving” my grandpa’s antiquated Chrysler through the wall of my grandma’s chicken coop. We actually popped it into gear and drifted through the wall. Though the memory might have some tragic elements, I remember it as being quite wondrous with light streaming through the gapped wall alive with chicken feathers and dust motes. Even at age three and a half, I knew as soon as we crawled unharmed out of the car through broken glass and timber that we probably weren’t going to get in trouble for our little trip.

AB: Patricia, I really enjoyed reading “Refugee Heart.” Do you have a favorite poem in the collection? What do you hope readers take away from this book?  

PVA: 

I think I have a favorite poem from each of the halves. 

From the poor house poems, I would have to choose the very simple little poem, “Samuel Ray Steps Out”, which tells the story of an 80-year-old resident who wanders away for a few precious hours. I took most of the poem’s visuals from my own childhood memories of the small southern Michigan town of my mother’s youth, but the voice is purely Samuel Ray. In this poem and the others that I wrote from the articles, I often thought I could hear the featured subjects telling stories in their own words.

From part two, I would have to choose my cousins’ unanimous favorite, “Two Mladens Walk in Lokve”,  which describes all that my grandparents left behind: lichen covered rocks in the virgin forests; fish with mottled skin swimming in a river that flows through the bottom of a deep cave; smokey mist rising against dark green mountains; and the beautiful hilltop cemetery full of vigil candles and pine cones.

And thank you for your mention of the title poem, “Refugee Heart”, Ann. Even before I finished it, I knew it had less to do with either poor house refugees or my grandparents than it does with worldwide refugees today. May they find new lives and peace. May we all help. That is the message.

Bio: Patricia Vanamburg retired emerta from Howard Community College where she taught literature and creative writing. She was also affiliated with the Little Patuxent Review literary journal. 

Interview with Naomi Thiers

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Ann Bracken (AB): I’ve enjoyed reading Made of Air, your latest poetry collection. The poems explore many facets and experiences of contemporary women, from motherhood to homelessness, abuse, and even murder. How did this collection come about?

Naomi Thiers (NT): Only half the poems in this book are centered on women’s experiences. The other half of the poems center around the weirdness of getting older, and other types of vulnerability, but mainly the adventure of aging—which, as Bette Davis said, isn’t for sissies! More about those poems later.

Naomi Thiers

To say how the section focused on women came about— I’ll go back to the book I published five years ago, She Was a Cathedral. As I was choosing which poems to gather into a chapbook manuscript, trying to find a theme, I realized I’ve written a lot of poems centered around an individual woman, known or unknown to me—her experience, her life. So, I put about 25 of those together into that chapbook. Years later, I added some new woman-centered poems to the ones in Cathedral to make this section of Made of Air. As you say, they’re about a multitude of different kinds of women— from various countries, diverse situations, some average some extreme.

I think I’m just extremely interested in females and their experiences. I admire women’s resilience, their resourcefulness, their joy in life, their intelligent and sensitive take on the world—and I think I would even if I wasn’t a feminist. So, I write about them! I mean, I tend to write about people and their lives— but I probably write more poems about individual women and their experiences than about men. I love writing about women I know, my friends—to honor them.

AB:  The poem “Lions” speaks powerfully about the challenges of standing up to an authoritarian government and being disappeared. What inspired you to write this poem? 

NT: That poem came when I encountered a quote from a woman whose daughter had been—as thousands were—“disappeared” by the Argentine military in the 1970’s. She was one of the mothers of the Plaza de Mayo, who marched in the Plaza in Buenos Aires every week holding signs with pictures of their grown children, demanding for them to be released or to know their whereabouts. The quote from this anonymous woman—who probably wasn’t an activist, but who rose up when her child was taken—was on an Amnesty International brochure: “It is as if lions grow inside of me, and I am not afraid.” I started trying to imagine her thoughts, how she might speak to herself, and the poem just unfolded. It needed very little working.

 AB: You employ such evocative images in your poems. I was particularly struck by the way you use bread to open and close the poem “Refugee, 15.”  Additional strong images are “rockslide of grief” and “face a lace of cuts.”  How do those images serve the story of that poem? 

NT: I love how you’re asking about very specific images, Ann! I’ll say a bit about how I came to those images. I feel some poems just kind of flow out, they seem to want to be written, and others you have to push out little by little, because you have a line or an idea and really want to write the thing.  “Refugee, 15” was one of those I had to push out. I was thinking a lot about Syrian refugees and wanted to challenge myself to write about a person in that situation. I felt led to focus on a teenage girl and write part of it in her voice—likely because it’s such a vulnerable time of life. What came to me first was that idea of having to push yourself to survive, to force yourself even to eat, when you feel in every fiber like giving up, paralyzed by grief or fear – so: “Fear is in your bread/ and you must choke it down.” Then I just kept putting words down, and it was slow going, trying to come up with images of what her experience would be like as well as describe her emotions. And of course, some feeling and questioning—Do I have a right to try to describe the inner life of someone going through something I never will? I tried to imagine what things about her home she’d be thinking of and missing, and looked up some details about Syria, so I could put in the name of the Khabur River, for instance. 

Refugee, 15

Fear is in your bread

and you must choke it down.

To think of home—

the courtyard with its red filigreed rug,

the peel-paint walls, how the breeze with its tang

of the Khabur River touched your just cut hair

as you curled up, writing in your diary—

starts the rockslide of grief, the thundering

that blocks out sound, pulls

a knife across each breath until

you drag across your body like a sack,

walking with others

toward the border.

But something rises up,

wants to live: 

            I won’t be that man sitting

            on his burned porch, face a lace of cuts,

            waiting in rain for death.

Shut away now the images of home,

like your diary with its leather straps.

Preserve your young life.

Eat your bread. 

To put her emotions into words, I reached for the very physical sensations that come with extreme emotion—feeling like rocks are cutting into your chest and your stomach plummeting. . .not feeling your own body, its vibrance. The image of a man sitting in front of his bombed home, face a lace of cuts just came to me. I was glad the detail of a diary came in at the beginning, because that something many teenage girls do, so it may help the reader feel some connection, that this person—in a situation so more dreadful and fearful than those of us who haven’t had our country ripped apart are likely to know—is like a girl they know, isn’t news copy. Then at the end, locking the diary—she shuts and locks away herself, her previous self, to survive. Back to sheer survival, so back to bread. But by the end, she’s exerted her will to eat no matter what; she’s choosing life.  

Made of Air cover

AB I love the interplay of the young and old women you describe in the poem “Striding.” Can you talk a bit about how those two women in the poem evoked an image of your friend who died at 48 years? 

NT: That poem has something special behind it. I had a great friend, Patty Bertheaud Summerhays, whom I met in my MFA program at George Mason in the late 80s. Several friends I made in that program I‘m still in touch with, even still exchanging writing with—like Ramola Dharmaraj, Jane Schapiro, Perry Epes—but Patty I was closest to. She was one of those warm, open people who helps everybody feel relaxed and welcome—and also a stellar poet. We went to grad school together, constantly gave each other feedback on poetry, partied together, gossiped about other poets, went to Mexico together and worked in a shelter. We had our babies the same year, raised our kids together and were very bonded. Then she got colon cancer and they hadn‘t caught it soon enough–she died within two years. I think about Patty every day—she meant so much to my life.

            A few years after Patty died, I was waiting in my car at a light. A young woman happened to cross the street and just as she reached the other side, an older, elegant woman crossed behind her. Sitting there I felt I was watching my past younger self go by, then my future older self—I was between them.  And I instantly thought of Patty, “frozen in mid stride/ you will never cross/ with dignity to the end of a long life.”

The last lines of that poem are how I think about Patty’s spirit after death:

                     I see you coaxing

a smile from the legless beggar in Juarez,

standing up to a coach who shamed your son.

I see you stunned, fighting, blasted by chemo.

Your shade towers in the middle of this intersection,

but for you, the wheel will not turn.

Patty, I hope

that wherever you are –

for with your fierceness

I know you are somewhere –

you are striding.

AB: Longing seems to be a theme in several of your poems, particularly “All is Calm.“ 

Can you talk about how the novel The Giver and the image of a padded world play into that theme? 

Loss and longing are so connected—you can’t feel longing if you still have something, if you’re just rocking along with it still jingling in your pocket. So, let’s say that something is youth. It was sneaky, there wasn’t any bright line to it. But recently I realized I really really wasn’t young anymore… I don’t have that youth thing that always carried in my pocket as I went along. This made me think carefully about what experiences do you really have less of after, whatever–50, 55? You lose people (though their spirit can come back so strongly, like Patty), you lose physical capacity, but I’ve also found a big one is I no longer have the intense emotional ups and downs, the storms, the anguish, the day long fizzy highs. I’m so, so emotional, and have been roiling so much of my life that there’s a good side to that. But it is a loss, that evening out as you get your older. 

In The Giver, everyone in the speculative society described—except for one or two people whose role is secret—has muted emotions and lives quite a bit in their heads; even the awareness of extreme joyful events or traumatic ones, any overwhelming emotion just isn’t present. So, they live in a padded way. The Giver him/herself, one person, feels everything the rest of the community can’t It’s a fantastic book.

There’s a good side to not being roiled by emotion. But I’ve found I need to find a new way to feel and to keep plunging into experiences, not settling. I wrote “All is Calm” when I was wishing even the awful, hard emotions were still accessible. (Incidentally, I love that I could use the word capsaicin naturally in the poem!).  I’ve made peace with that aspect of aging now.  I’ve read there’s a correlation between being older and happier, more content–and I believe that is mostly true.  

AB: Has the pandemic affected your writing practice?  How has it either helped or hindered your creative spark? 

NT: Oddly, I don’t feel it has made much difference to how much I want to write, how much I do write, or what I write about, poetry-wise. Like for everyone, it’s made a big difference in my life, 9- 10 months of everything near surreal in 2020, etc.. I’m an introvert who needs to be shaken out of it, so that lockdown period was tough—but I didn’t feel more or less of a spark for poetry.  I don’t write every day by ANY means. But if I feel uninspired and am going too long with nothing—I try some kind of form. That always brings back poetry for me.

BIO

Naomi Thiers grew up in California and Pittsburgh, but her chosen home is Washington-DC/Northern Virginia. She is author of four poetry collections: Only The Raw Hands Are Heaven (WWPH), In Yolo County, and She Was a Cathedral (Finishing Line Press) and Made of Air (Kelsay Books). Her poems, book reviews, and essays have been published in Virginia Quarterly Review, Poet Lore, Colorado Review, Grist, Sojourners, and many other magazines and anthologies. Former editor of the journal Phoebe, she works as a magazine editor and lives on the banks of Four Mile Run in Arlington, Virginia.  Her latest book Made of Air can be ordered from Kelsay Press at  https://kelsaybooks.com/collections/all. If you’d like access to her earlier books, message her on Facebook.

Artist Profiles: April Rimpo and Elaine Weiner-Reed

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I had the pleasure of working with April Rimpo and Elaine Weiner-Reed in 2019 when they put on an ekphrastic art event at Slayton House Gallery in Columbia, Maryland. This year, they sponsored a similar event with the poet and activist Patti Ross of The Baltimore County Arts Guild. I hope you enjoy getting to know them and discovering more about their work. 

Ann Bracken (AB): I’d love to know a bit about your journey as an artist. How long have you been painting and sculpting and what most sparked your interest in visual art?

April Rimpo (AR): I started drawing as a child. I was aware my father and grandfather both painted, so drawing came naturally. The first external motivation came in third grade when my teacher displayed my drawings in class. My first painting experience came in either late elementary school or junior high when I received oil paints as a gift. In junior high school, I brought a painting to class and my English teacher asked to display it. The painting remained on display for the balance of the year. I really got the bug at that point, but didn’t take painting classes until my early twenties.

Elaine Weiner-Reed (EWR)

I entered the world in a crowded womb. My almost fierce, independent, and creative streak was hard-wired into me from birth, and my path as an artist soon became irreversible and undeniable as I sought an identity of my own. I soon became the “twin who could draw.” Art was my first love. I have no memory that does not have art in it… I drew constantly and seemed to know that I was an artist from the time I was about 4 years old.  

Because money was in short supply and paper was scarce, I quickly mastered the Etch-a-Sketch (my first sketchbook), drawing landscapes, people, and interiors. Every chance I got, I took art and creative writing classes in high school. In college, I majored in French, but took enough art and 3D classes to equate to an unofficial minor in sculpture and never looked back. My first foray into painting had me painting representationally in oils in the 1980’s. Wanting to be more expressive or “loose,” I studied and painted in watercolor during the 1990’s. I branched into acrylics in the late 1990’s out of a desire to paint on canvas, staying with that and latex or mixed media creations to date. I returned to my sculpture roots in 2014 when I was selected by-name for the first of two International Artist Residencies in Poland, and in 2018, my path led me to plaster and metal figurative sculptures and welded metal music-inspired assemblages. 

AB: How would you characterize the style of your painting and who are your influences? 

AR: My style has evolved a lot over the years. Originally it was quite tight, as in rendering a copy of the photograph that I worked from.  But once I found watercolor in 1997, my painting began to loosen up, becoming more interpretive. Only in the last 15 years do I think my goal in painting, although still representational, is to communicate emotions about a place or culture that helps tell the story of the scene. 

I love the Impressionists’ use of texture, color, light, and the dynamic flow in their paintings. Van Gogh and Monet are among my favorites starting when I was a young artist. On the U.S. front, I admire Winslow Homer for the sense of story in his paintings and Ed Hopper for his way of simplifying a subject to capture its essence.  Current influencers are contemporary water-media artists Chen-kee Chee, John Salminen, Keiko Tanabe, and Joseph Zbukvis plus Nicholas Simmons who taught me what could be achieved in fluid acrylic, but sadly is no longer with us.

EWR: I am an action painter. My painting style can best be described as abstract expressionism. I love the physicality of painting and sculpting. I enter my studio and turn on the music, losing myself in the dance that is my creative process. I usually paint on the floor, literally walking around my work as I focus on the entirety of a piece, even while zooming in on one area at a time. Sculptures require a 360-degree awareness, so I am continually bending, turning, and interacting with my work – intellectually as well as physically. As for my sculptures, I would have to ask an historian how they might categorize my plaster or welded metal assemblages in a global context.

Elaine Weiner-Reed

Life is complicated, and I sometimes experience the full spectrum of emotions in one day or week or month. In order to channel the emotions and experiences into my work when they are fresh (or “live”), I begin and sometimes work on multiple pieces simultaneously.

At the university, I discovered and fell in love with the works of Picasso, Matisse, Brancusi, Henry Moore, and Barbara Hepworth, among others. When I began painting in oils, I learned more about Rembrandt, Cezanne, and Van Gogh; later, I fell in love with the works of DeKooning (wife and husband), Diebenkorn, and DeNiro

AB: I’ve been lucky enough to participate in two of your Ekphrastic events and have written poems for each of your paintings.  What sparked your interest in such a collaboration and what was most surprising for you?

AR: Elaine can explain her initial spark, since she started her initiative “Every Painting is a Song (EPIAS).“ I joined Elaine in her initiative in 2019 and suggest we expand her initiative for just musical collaborations to include poetry.  Since I tell stories in my art and am overjoyed when others tell me the story they see in my painting, I thought including Ekphrastic Poetry in our events would be ideal. Elaine agreed and had always wanted to expand the concept to more than music.

EWR: The spark… Thank you, April. This is the 6th year of EPIAS and I am thrilled at the direction in which it is going. 

The spark began an internal one that grew out of a need and an idea…. Sometime in about 2014 I grew tired of the fact that art exhibitions typically served as a venue focused solely on the artist’s individual achievements. It is nice to be recognized or receive rare accolades, but I wanted more from my events and myself. I wanted to turn the soliloquy into a dialogue. I wanted to know what others thought or felt that was rooted in or triggered by my work. How did my paintings and sculptures make people FEEL? What did it make individuals remember? How would someone write the beginning, middle, or end of the scenes I painted? I was determined to figure out how to do it… I envisioned pairing audio and more to my artwork, so I chose a musician’s template for my website because it allowed audio tracks. I began recording my own reflections to better relate to and connect with others, using the sense of hearing. Even before I began writing poetry again, I began writing what I call “reflections” associated with my work.

You (Ann Bracken) and Patti Ross are two of our most treasured discoveries and friendships resulting from that collaboration. I am humbled and truly honored with each creation written to one of my works.

What I found most surprising and delightful are the connections that happen between not only the creatives (artist, musician, poet, etc.), but with the guests at each of the events. Attendees and participants learn and bond in new ways – people who only minutes before were strangers are now connected…a community. We become part of each other’s stories! Each Ekphrastic event impacts me and pushes my evolution and my work in new directions. Each is an awakening.

Contrary to the philosophy in which I was raised, namely that art was superfluous, I believe art is necessary to man’s survival and a critical extension of our identity, culture, and humanity. 

AB: You’ve each included a painting in this blog. What would you like to share about your work? 

“Heritage”

AR: As I mentioned earlier, I love to incorporate my emotions into my art by adding life to my reference photo and trying to communicate what I felt when I saw and photographed it. The image shared here is from a new series of paintings that I call “Inner Portraits” where my goal is to tell something about the person depicted. In this case, I wanted to tell some of the story of the subject’s Vietnamese heritage. The images around the edges include two sisters from 40 AD who led the army into war against the invading Chinese and won. They are celebrated in Vietnam to this day. The power of these women also symbolizes the subject’s strength. Since the border was derived from a piece she owed created with mother-of-pearl inlays. I also segmented her face and used similar colors for her portrait.

EWR: My painting “Stop Injustice” is the largest painting I have done to date – both in content and scale. It is, in fact, an Ekphrastic creation – at least in part. To explain: While I painted it in my studio at MD Hall, I listened to the music of singer/songwriter/musician Vanessa Collier, whose lyrics inspired and influenced my improvisational dance through the painting. Lines like “cry out against injustice” wove around and through me as I painted… I ached and cried over current events (2019-2021) and atrocities committed against humanity, notably the murder of George Floyd. My painting of an interior scene peopled by many figures in varying amounts of detail is my way of crying out… speaking out the only way I know how – in and through my art. It is my call-to-action to each and every one of us to be mindful and caring, to respect each other, and to stand up for what is right and good. Change begins with each of us in every situation and exchange. You, we, I, they, he, and she can make a positive difference in our world. It begins and end with each of us. It is my hope that the calligraphy and words (respect, harmony, il faut changer le monde pour le bien de tous [We must change the world for the good of all] ) will resonate. Should the painting sell, I will donate a percentage of the proceeds to charities benefiting women’s and children’s causes.

“Stop Injustice”

AB: Tell me about your upcoming projects and what you’re looking forward to in 2022. 

AR: In Februrary, Elaine and I will be giving an Art Innovation Talk for the International Society of Experimental Artists (ISEA) about our joint collaborations. We’re eager to share what we’ve learned so that others can consider leveraging our knowledge. Our hope is that the attendees will also experience the overwhelming joy of hearing about our paintings from the perspective of others. 

Last year I started teaching a Zoom-based Mentorship with the goal of helping other artists identify and explore their own unique voice. I found out how much I enjoy teaching. Not only am I able to help others move along their own path, but their questions cause me to research other concepts, which often brings a new idea into my own work. This year I also started to teach a Watercolor Studio class at HorseSpirit Arts Gallery where students can work on their own projects in watercolor and get my assistance along with demonstrations designed to help them further their work. This is a cross between a typical art class and my mentorship concept.

EWR: I am thrilled to share this news, so thank you for asking. In June and July of 2022, I will be having a solo show at the Montpelier Cultural Art Center in Prince Georges County, Laurel, MD. I have been applying to this juried competition on and off for the last 20 years or more, and I could not believe that I won, and I’m very honored. My exhibition, “Masks and Mirrors: Beautiful Reflections,” will include Ekphrastic and audio elements (if not more). The work honors the human spirit and its resiliency. One goal of mine is to try to challenge society’s preconceptions and definitions of beauty. It is time we remove our rose- colored glasses and ditch the search for perfection in order to really see the many perfectly imperfect beautiful souls we meet every day. If we listen, their personal struggles and stories of survival would bring us to our knees. In fact, perhaps our own messy story would in turn make others rock with pain…even as they would reach out to console us. Moving forward with our personal histories in perspective empowers us to become part of the positive change so needed in our world. Please join me for the opening reception on June 4th, 2022 and stay tuned for more news.

For more about Elaine Weiner-Reed’s work, visit her website and social media posts here:

Website: http://www.elaineweinerreed.com
Email: ewr.artist@gmail.comTelephone: 410-551-5563FACEBOOK: https://www.facebook.com/WeinerReed/
YouTube Channel: https://www.youtube.com/channel/UCCCOWgiFVseJGV0DZja5V-w?

If you want to find out more about April Rimpo’s work, check out her newsletter and website here:

Join my newsletter – I publish it about twice a month

Website: www.AMRart.org

Blog: http://aprilrimpoblog.AMRart.org

Interview with Ginny Crawford

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Ann Bracken (AB):  Ginny, congratulations on your wonderful poetry collection questions for water. Your poems greet the reader like open arms, inviting them in to the world you’ve created. Tell me about the title poem and say a little about your stylistic choice to use lower case letters throughout the book.

Ginny Crawford (GC): The title poem came about through an invitation to participate in an ekphrastic show at the Hamilton Gallery in Baltimore. I fell in love with a painting (mostly blue/turquoise and white). It also had pieces of torn paper glued to the surface which suggested mountains and a few other things. I saw a single person in a small boat approaching a literal piece of rusted barbed wire hung across the bottom of the painting. I immediately thought about immigration and the horrifying images we were seeing from our southern border. And my own grandfather who came from Italy – I’ve always wanted to write something about him but hadn’t yet. And the daily emotional, physical, financial struggle far too many Americans face not because they don’t work, but because of the poverty wages they are paid. As well as a tragic story a Russian woman told me about her coming to America. And my grandmother who came from Crisfield, MD where opportunities were very limited. And I could go on. The painting gave me the opportunity to write all of that in a single poem. 

Ginny Crawford

I’ve always been captivated by water and its abilities, the way it is essential and deadly at the same time. I tried to replicate the repetitive rocking motion of being at sea in the repetition throughout the poem. The repetitions act as a kind of mental break for readers as well as a bridge to the next part of the poem. It also reflects the day-in and day-out struggles many Americans have and continue to live with.

The choice not to use standard capitalization and punctuation was to reflect the way punctuation provides artificial boundaries-just as thoughts of nationality or heritage are artificial. Sure people from different cultures celebrate different holidays and have different languages etc, but in the end we’re all humans. We all want food and shelter and love. We all want to see our children succeed. While we may speak different languages, these differences are superficial. 

Not using punctuation was a way to say no, we’re not different; we’re not separate from each other. We cannot place a period here and turn our backs on what might come next. Often we try to and do, but it’s artificial. We are not separate but deeply connected. American individualism, “ownership society” says we are successful or not based on our value to society, our job. If you’re not financially successful you must be doing something wrong. Too bad for you. This kind of thinking is deeply flawed and harmful. Not using punctuation is a way of saying no, people cannot be neatly categorized, divided and labeled. That is an illusion. 

AB: I immediately recognized the speaker’s response to the young homeless man in the poem “baltimore.” Tell me what inspired that poem.

GC: I’ve done a variety of unusual jobs in my life, and many of them showed me how vulnerable we are as humans. And I saw people begging on the street everywhere. They are humans who are suffering and need help. This particular interaction was difficult in part because he appeared young, maybe in his 20’s. And when he took the orange, he was so exhausted, worn out, he told me what he really wanted. His hands also alarmed me. They were swollen, cracked, dirty. Quite obviously painful and delicate. They were so cracked I thought they would bleed at any moment. The combination of his relative youth, the state of his skin, his directness and the thing he wanted, hot food, …I’ll always remember him. I started keeping snacks in my car to give away. It’s painful to see so many people begging for help on medians and at stop lights. This is supposedly the wealthiest country on the planet.  

AB: In “thoughts on making soup and war,” you lead us through the dailyness of making soup and then muse about a homeless veteran and a neighbor whose son enlisted. Talk a little about how you chose your images to convey the tone and feeling in the poem. (onions, overflowing trash can, lined up empty boots)

GC: Great question, but it’s hard to answer. Somewhere my mind connected the common-ness of potatoes with the way soldiers are used by governments. We don’t usually think of potatoes individually – there are just so many of them, and they’re inexpensive. That seems to reflect our government’s opinion of sending soldiers into unnecessary conflict and wars. There are always more. And if there aren’t, we’ll demand your sons. Yes, we need to defend ourselves, but soldiers should be used only when absolutely necessary. Absolutely necessary. Not because someone wants to be re-elected or to maintain the surprisingly low cost of our oil and gas compared to other countries. 

When I was in college one of my friends was terrified he’d be drafted for Desert Storm. It was scary and bizarre to think that he could be plucked from his life and commanded to fight for an unjust war. Decades later I saw a good friend at the installation of the boots on the Hopkins University campus. It was an art exhibit that travelled around the country. Her middle son really signed up and served several tours. He came back, but she says he’s never been himself since. It’s simply terrifying to know someone you love is going into that kind of danger and the terrifying things they may be asked to do. The contrast of my over-flowing trash can and the hungry veterans on the streets. It’s just horrific that we have a population called “hungry and homeless vets.” It’s shameful that they are not taken care of. They beg on the street while I have more than I can eat. To be honest, I’m not always consciously choosing images. I don’t necessarily think, I need an image that represents X. I can’t say how it happens. It just comes to me. 

AB: I was deeply moved by the scenes you create in the poem “how to live. for alice herz sommers”  The music in the poem seems to play a pivotal role. How did that piece all come together and who inspired it?

GC: Alice Herz Sommers. A real human and survivor of the Holocaust. It may have been a YouTube clip posted to Facebook. She spoke about her own experiences and how she survived. I watched it over and over, mesmerized by her and her courage. I also found a book her son wrote, but I’ve been too afraid to read it. The Garden of Eden in Hell. I’m delighted that you find the poem musical, but I don’t have an answer beyond this. I was moved by her and how she lived and wanted to honor her in some way.

AB: I appreciate your courage in writing “feared loss.” In tackling the often-ignored issue of grieving after miscarriage, you manage to make the reader feel what the speaker feels in these lines “then years of crying/imagined childless birthday parties/ useless concerns about school day care/ what your father would think” Have you gotten many responses to that poem? 

GC: Yes and no. It was published in The Baltimore Review more than 20 years ago, and on a visit to Bill Jones’ high school class, he asked me to read it aloud three times in a row. That was very difficult emotionally. It touches people, but it’s also deeply personal. For each person. No, it’s usually not something people want to discuss. But it’s my experience, and I write about it. 

Cover image for questions for water

AB: What was the most difficult poem for you to write?  How did you overcome the challenges?

GC: Probably the title poem, and american mom, and travelling south. All of them are wide-ranging in terms of topics. All of them include fears I have about what my children might experience. All of them include historical and ongoing tragedies that I worry will not be corrected in their lifetimes. american mom is a 9/11 poem even though what inspired it takes place 20 years after 9/11. 9/11 and the threat of retaliation after the killing of Iranian General Soleimani are bookends of the poem. My daughter was 6 months old when 9/11 happened. This recent threat came at what is a  very vulnerable place for me as a parent. My daughter, a young adult, visits friends in different cities on her own including New York. While I believe there will always be more people who want to help you rather than hurt you, there are those few looking for vulnerable young people. And there’s always the possibility of stupid bad luck. 

So, there I was wondering if something like 9/11 might happen knowing my daughter was in New York near the 20th anniversary and unable to protect her. travelling south also presents troubling real-life situations, and even though my son was still with me, I had no idea how to talk about these horrific things. I could not make it better or fix any of these problems. They were happening, my son was aware, and I couldn’t make it better. When your child is young, you can often do things – they drop a lollipop, you give them a new one or at least wash it off. The poem shows that moment when your child becomes aware of injustices happening all around and realizes that Mommy can’t do anything about it. questions for water is my longest poem and includes many situations Mommy can’t fix. Sometimes she can’t even figure out how to start a conversation. The poem includes current and historical injustices. It was very hard to write, but I just made myself keep going. I wanted to get it to the point of sharing it with others. It was hard and it was work, but it was work I love doing so it wasn’t work at all.

 One of my most important sources of support for my writing is my tiny writing group. It’s my husband (who’s also a poet), myself, and one mutual friend who is both an excellent writer and an excellent editor. She can look at something and see very quickly where a poem needs help or is working well. I’m a little in awe of that. She was also a tremendous help in arranging the order of the whole book. I had redone it multiple times thinking I was getting closer but still not feeling right (and not having any idea why), and she can see the whole thing and suggest – you do it like this. And I go – oh! That’s how it goes! It’s a skill she has. So my tiny writers’ group is extremely important to me. I trust both of the others and will ask for suggestions on this, that and everything. I don’t always take their advice, and sometimes they advise different things, but I know they will help me make the poems the best they can be.

AB: Thank you, Ginny, for taking the time to talk with me about your work. In addition to your teaching, what projects do you have underway currently?  

GC: I’m feeling pretty unsettled to be honest. I’ve been tutoring children individually; it can be very rewarding and horrifying from one minute to the next. For example, I’m working with a 4th grader who can’t read or do math. A 4th grader! His parents love him, but the school system has completely failed him. He’s fallen into “the cracks” and no one is doing anything or even noticing. It’s heartbreaking. He’s lovely; his parents work long hours including night shifts, and they’ve hired me. But it’s impossible to supply 5 years worth of learning in a few months. So I’ve been juggling individual students and several other part-time jobs, and now it looks like I will soon have a full time teaching position, but then there’s the worry of omicron. I have more teaching jobs than I can do, and I’m trying to figure out which are the best (and safest) choices to keep. Fall has been quite a whirlwind of running from job to job, so I’m hoping to figure out how to focus on just a few of them. And still have some time and energy for poetry.

I recently became the host of the Maryland Writers’ Alliance First Friday series. That’s been great. In Jan we have Naomi Shihab Nye, in Feb Bruce Jacobs, and in March we get to hear from your new book. I’m looking forward to that and hearing about your experiences that inspired it. 

Thanks for these questions. I’ve enjoyed them.

Purchase Ginny’s book here: https://bookshop.org/books/questions-for-water/9781627203258

Bio: Virginia Crawford is a long-time teaching artist with the Maryland State Arts Council. In April 2021, Apprentice House Press published her full-length collection of poetry, questions for water. One reviewer said, “her work mines the seam between the personal and the political. Crawford brings her lyrical voice and intimate perspective to the challenges faced by twenty-first century families, America, and the world.” Previously her chapbook Touch was published by Finishing Line Press. She has co-edited two anthologies: Poetry Baltimore, poems about a city, and Voices Fly, An Anthology of Exercises and Poems from the Maryland State Arts Council Artist-in-Residence Program. She has appeared at the CityLit Fest, the Baltimore Book Festival, The Gaithersburg Book Festival and others. She earned degrees in Creative Writing from Emerson College, Boston, and The University of St. Andrews, Scotland. She lives and writes in Baltimore, Maryland. You can find out more at www.virginiacrawford.com.

The Inconvenient Truth About Self Publishing: Interview with Debbi Mack

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Debbi Mack

Ann Bracken (AB): I first met you several years ago when you were the featured reader at the Wilde Readings series. Please tell me a little about your journey as an author and why you’ve chosen the Indie/self-publishing route for your work.

Debbi Mack (DM): At the time I did it, I’d had my first novel in the Sam McRae mystery series, Identity Crisis, published by a small press. However, the press went under nine months after I signed the contract. So the book went out-of-print less than a year after it came out in 2005.

I self-published it in 2009, with the sole intention of getting the work out there. It was literally impossible to sell the series to anyone but a small publisher at that point. And even small presses were turning me down. No agent would consider it, and each and every one of them (who bothered to share any advice with me) told me to write a standalone and try to find an agent with that.

So, I wrote two standalone novels, one of which I’ve self-published. But that was after I came out with the Sam McRae series myself.

I just thought if readers had a chance to read the book, they might like it. In addition, my local chapter of Sisters in Crime, an organization that supports women mystery authors, were self-publishing an anthology I was in through Lulu.com. So, I figured I’d do the same, because why not? It cost nothing, and you got royalties from them, like any other publisher.

At the same time, I was getting the print book ready for release, I discovered ebook self-publishing through Amazon’s KDP (Kindle Direct Platform). Since it was a non-exclusive deal they offered, again I thought, why not? I figured it would be good for a bit of spare change. Seriously, that’s ALL I expected.

AB: What were some of the most important things you learned once you chose this path?

DM: Too many things to list! 🙂

First, publishing was changing faster than I could keep up with it. By 2011, my first novel had hit the New York Times bestseller list. However, the way it got there turned out to be unsustainable.

At the time, I had five blogs and a website. I priced my books low (at $0.99) when everyone was pricing theirs at $2.99. Why? Because my volume sales were much higher at that price point.

Everything seemed to be fine. Except I started to hear that authors would need to publish more and more books a year, if they intended to survive as authors.

Then Amazon pretty much offered indie authors a kind of … I’ll call it an “ethical bribe” … and I’m being really kind in saying that. Amazon offers various “benefits” if you agree to be exclusive with them for at least three months.

At the same time, Amazon was rapidly expanding into other markets, creating its own publishing imprints, expanding further into retail, making motion pictures, opening bookstores. All this while the Department of Justice was pursuing an antitrust case against the Big Six (or Five, I can no longer keep count). That seemed terrifically ironic, given the all-out takeover Amazon was engaged in.

And how much of a disservice was it to readers with Nooks or other devices for authors to simply say, “Sorry. I can’t sell you an ebook, because … Amazon’s paying me to be exclusive to them.” Not that any author came right out and stated it. What was worse, no one saw that this was a problem at the time. So many authors I spoke with were like, “Oh, it’s only three months.” The problem is indie authors lost their independence when that happened.

Some will tell you that the only way for an author who only writes fiction to make a living now is to come out with some ungodly random number of books a year. They will tell it requires constantly creating new books and publishing them, on top of the marketing part. Talk about unsustainable.

I commend to your reading this article by Mark Coker, CEO and founder of Smashwords.

That was 2018. Now, in 2020, here’s what he had to say.

Now, knowing that Amazon makes most of its profit from providing web services, a few folks are finally realizing there’s a great big problem here. Amazon (in essence) runs a substantial portion of the Internet itself. I wondered how it wasn’t a conflict for Amazon to essentially own the distribution network other publishers depend on, while also competing with them. And why more people weren’t asking this question.

As of this writing, more people are asking just that question, but it is still a discussion confined mainly among people in publishing, including self-published authors, small presses, and the like.

But here’s where things get (even more) complicated for me.

Because I made the quarterfinals in screenwriting contest in 2012 or thereabouts, I became more interested in writing screenplays. This was something I’d always wanted to do, but had no idea how to get started.

So, I made a decision to write screenplays. I attended the Austin Film Festival, as well as a local class on indie film production. That’s when I learned about things like crowdfunding. And I set up a crowdfunding campaign without any real planning. Naturally, it succeeded only because a family member swept in and donated the money. That’s not the way crowdfunding is supposed to work.

Right now, as I write, I should (maybe) have some kind of big launch plan in place in anticipation of the release of the second novel in my new series. But, frankly, it’s all I can do write these answers.

I have a rare movement disorder that makes typing beyond difficult. It was caused by a stroke, and as a result, my left hand is constantly moving in all different directions. It is sheer hell on concentration, but for good or ill, I tend to be very focused and possibly a bit too driven to succeed at things.

So, I had to learn not to care about my Amazon rank. I also had to learn that there are many ways to build a fan base. And one of them is to write high-quality content and find a way to connect with readers in a personal way.

I learned the hard way about not paying for promotions. I was spending way too much on that. I got to the point where I incurred big enough losses for me to want to simply quit.

At some point, I just had to stop all my promotions. Just stop and think about what I really wanted. I’ve also had to think about what my idea of success is. And, at this point, just having a new book out is a success for me. As for being in Amazon’s Top 100 or any of that, I really don’t care at this point.

Having genuine connections with readers, along with networking in the filmmaker realm has kept me busy. Especially with the pandemic. So many people have virtual events now. And you can end up in an endless loop of those.

On the whole, I’d say my experiences have taught me that it takes more than writing a good book and putting it up online. And marketing experts abound out there. Ready to take your money, I might add, for the advice they offer, which ends up involving Amazon ads, Facebook ads, etc. etc. That particular depends on gaining a competitive edge through algorithms. The algorithms were with me ten years ago. Not so much now. Besides, another person’s success story may not translate into one of your own.

The bottom line is that self-publishing is easy, but marketing and visibility are not. So many people self-publish now that, unless you want to agonize over Amazon’s algorithms, you probably won’t make the money I was able to ten years ago.

AB: For people who may eschew self-publishing and hold out for a deal from a “real” publisher, what would you like them to know?

DM: If you think having a “real publisher” will assure you great success, think again!

I wouldn’t discourage it, but I’d advise you to go into it with modest expectations. Since I only know this from talking to other authors who’ve been traditionally published, I’ll let one of them do the talking here. 🙂 Rea Frey appeared on my podcast recently where she talked more about this.

If you write genre fiction like I do, any traditional publisher will give you a relatively small advance. And, if you fail to sell enough books, they’ll drop you from their stable. Most authors don’t usually earn out even these small advances, mainly because they aren’t marketing well. And the publishers aren’t doing the heavy lifting. They’re relying on the sales of books by authors much higher up on the “food chain”, so to speak. The big names with the big advances get the most marketing help from publishers.

There are actually advantages to going with a smaller press, for that reason. You’re one of a select niche (or genre-specific) group, and they have more at stake in making sure you’re successful. You’ll definitely get more personal attention from a small press. You’ll still need to market, but a reputable press has contacts and connections that you may not.

Naturally, you can earn more when you publish directly online, because the royalty percentage is higher. However, if no one can find your book, you won’t make sales. Visibility is the tough part.

AB: What are some of the pitfalls you’ve  encountered that you’d like others to know about?

DM: Um … see above. 🙂

Here’s a short list:

#1 Spending way too much on promotional services;

#2 Failing to connect with fans through a newsletter or other means;

#3 Trying to be everywhere on social media, doing everything, without sufficient thought as to whom you’re reaching or trying to figure out how to reach your ideal reader;

#4 Simply doing giveaway after giveaway without checking the effect on your bottom line;

#5 Taking time off from online activities, now and then;

#6 Writing salesy newsletter content. I see this way, way too much;

#7 Lack of genuine connection with one’s readers;

#8 Valuing short-term gain over long-term strategy;

#9 Not treating self-publishing as a business. Keeping track of income streams and exploiting every income stream possible from your content.

And that’s just a short list.

AB: What personal qualities do you think have helped you to be successful as a writer?

DM: I would say just plain stubborness has kept me at this. I’m also diligent about my writing routine. I try to do a little writing every day.

Also, just flat-out passion for the work. Without that, there’s really no point in doing any of it.

Cover Image

AB: Tell us about your latest project:

DM: Actually, right now, I’m publishing my second novel in the Erica Jensen mystery series. It came out on Nov. 11 as an ebook and the print version will be out soon. And working out the plot for the next one.

I’m also working on a Sam McRae story that I plan to serialize on Substack. That’s a whole ‘nuther discussion right there.

If you’re familiar with Amazon’s Vella serials, Substack is essentially the same thing for indie authors. There are currently indie authors serializing their fiction there. With Vella, again Amazon requires exclusivity. I won’t do that.

Substack is both a newsletter and a blog combined. Every time you publish a new chapter, it goes out by email to subscribers. You can start of with free samples, and charge for whole books. That’s just one way of going about it.

To be honest, I have no idea how successful fiction authors have been with Substack. But I’m giving it a try, because … again, why not?

And for what it’s worth, you can essentially do the same thing on Medium. Medium lets you set up a paywall pretty much in the same manner as Substack. I’m experimenting with both these days.

I divide my writing time roughly 60% fiction writing, 40% screenwriting, more or less. Planning when and what to write ahead of time keeps me focused on finishing projects.

AB: What is Patreon and how does it benefit authors?

DM: Now, that’s a great question. Basically, Patreon is an online platform that supports creative work of all kinds by providing a way for creators to offer incentives for fans of your work to become your patrons. Like the patronage system of old, except on the Internet and with the ability to reach a worldwide audience.

An author can benefit from this by offering early access to drafts of their work or making personal appearances at book clubs or one-on-one consultations. It lets you offer different benefits at different levels of support. The type of benefit depends on what you write and what you offer readers, in general. It could be early drafts of works-in-progress, classes, consultations, live Q&A, Discord access (Discord is a kind of direct messaging system that I haven’t quite figured out, to be honest). In exchange for these benefits, supporters get to know your work and, assuming you get the word out about your Patreon page, the idea is similar to crowdfunding. Provide a special benefit of some sort and people will pay for that.

The idea is that true believers in your work will support you, if you ask nicely.

There’s a book by Amanda Palmer, who’s a musician, which doesn’t matter really. It’s not what you make, but how you entice people’s interest in your work. Amanda Palmer wrote a book about all this called The Art of Asking. I highly recommend it for anyone who’s interested in Patreon.

Other books about Patreon are out there. But Amanda’s is most interesting.

And you really don’t have to be a rock star to have fans who’ll support you. I think it’s largely a matter of taking the time to figure who you’re trying to write for and how to best reach them.

AB: Other thoughts?

DM: Just keep writing. Be willing to take advice from others, but choose your advisors with care. Take any advice you get with more than one grain of salt. And don’t give up, but do give yourself a break now and then.

Bio:

Debbi Mack is author of the Sam McRae mystery series, including her debut novel, Identity Crisis, which made the New York Times bestseller list in 2011 and is under option to be adapted for the screen. Her standalone books include a middle grade novel, Invisible Me, and a thriller, The Planck Factor.

Her most recent release is Fatal Connections, the sequel to the Shamus-nominated Damaged Goods, the first novel of a new series featuring Erica Jensen, a female Marine veteran sleuth, who battles PTSD and drug addiction while solving crimes.

A long-time blogger, Debbi also reviews and serializes movies on her film blog I Found it  at the Movies, which you can find here: https://debbimacktoo.wordpress.com/

You can catch Debbi interviewing other crime, suspense, and thriller authors on her podcast, the Crime Cafe. Debbi is also a screenwriter with aspirations to produce scripted audio and video content.

You can find her online at her website: www.debbimack.com

Follow her on Twitter: https://twitter.com/debbimack

Also on Instagram: https://www.instagram.com/debbimacktoo/

And YouTube: https://www.youtube.com/c/DebbiMack

And Patreon: https://www.patreon.com/crimecafe

Interview with Lucinda Marshall

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I met Lucinda several years ago at a DiVerse Poetry reading in Gaithersburg a few years ago. She has brought tremendous energy to the poetry scene in the DMV with her work on the poetry series, the Gaithersburg Book Festival, and working with the Gaithersburg Library to feature books by local poets. Her first collection of poetry, Inheritance of the Aging Self, has just been released, so we arranged a chat to explore her work.

Ann Bracken (AB): Congratulations on the publication of your first poetry collection Inheritance of the Aging Self. What’s been most surprising about the writing and publishing process?

“Dichotomy” needlepoint, Lucinda Marshall, 1991

Lucinda Marshall (LM): Thank you so much Ann, and congratulations on your book as well!  I guess the first surprise is that I actually finished the book, it’s been a long time in the works.  It took me awhile to order the poems, but when I finally got there, I realized that the poems that I’d been thinking of as individual pieces became stories when the combination was properly ordered, and that was a revelation!

AB: I love the poem  “My Grandmother’s Tea Cups”—it’s so evocative of time spent with an older loved one. You so skillfully parallel the younger you with the older you. Tell me about the bond you have with your grandmother. 

LM:  I’m so glad that you love it.  Although it is written in singular person, it is really about my relationships with both of my grandmothers.  My maternal grandmother had a collection of tea cups that she kept in a curio cabinet and I used to love to look at them when I was little.  I still have 2 of the cups.  My other grandmother used to take me for tea in a little shop where we would order jasmine tea and talk about the things that were happening in our lives.  I cherish both their memories.

AB: In the poem, “Posing for the You Scan Machine,” you take a situation that is nearly always anxiety-producing and inject a bit of humor. You move from the personal  to the universal in the poem “Taking Her Vitals.” For any doctors and health professionals reading these poems, what would you like them to take away?

LM: Oh that is such a great question because I have thought a lot about how I might use these poems to communicate with doctors about the issues raised in these poems.  It’s gotten to the point where when I do need to go to see a doctor, I am there first of all for whatever medical issue is at hand, but also as an obverver of the experience of being a patient. So these poems communicate a bit of that and I hope that would be a useful observation for doctors to take away.

Lucinda Marshall, photo credit: Jaree Donnelly

AB: As I read the title poem, “Inheritance of the Aging Self,” I thought of how often I feel like a 40-year-old in a 60-something body. In what ways can the poem teach us about compassion for ourselves as we age?  

LM: That’s a hard one.  I’m not sure it can, because we tend to judge ourselves more harshly than others might, but at the very least, it is good to know we aren’t the only ones who feel that way.  The poem is based on a conversation that I had with my mother towards the end of her life (I’ve written about that here), and it was an eye-opener that she had those perceptions of herself, particularly since even pushing 90 years of age, she was still gorgeous as far as anyone else was concerned.

AB: The opening lines for “Kaddish Season” are beautiful. Talk about the journey the speaker takes in the poem.

LM: The poem draws on how I experienced the deaths of several loved ones.  The zinnias in the planter are from my parents’ garden, and during the last years of her life, my mother spent a good deal of time in bed and we would visit with her in her room which had a very clear view of the planter and after she had given up gardening, the planters were pretty sad looking.  The morphine drip is from the last time that I visted my paternal grandmother and she was in the hospital in a great deal of pain.  I was only 16 when she died and that was the first time I had seen someone so close to death, and it was shattering to see someone who had been so full of life lying there so helplessly, not an image you ever shake really. She died in the fall, as did several others who were influential in my life.  I tend to have mood issues in the fall when the days shorten and  leaves coming off the tree each year are a nod to my own need to take great care during that season.  As for Kaddish, as a very lapsed Jew, that is one of the few prayers that still resonates with me.

AB: One thing readers may not know is that you are a talented and prolific quilter. How did you begin quilting and what is it about the art form that motivates you to continue? 

LM: I actually made my first quilt 30 years ago, I hand-pieced and quilted it and quickly realized that quilting was a very time intensive form of art and decided it just wasn’t my time to pursue it at that point as I was very busy with other things.  But I have always loved working with fabric and about 5 years ago circled back to it, this time with a sewing machine.  When the pandemic rolled around and I had even more time, I really delved into it.  I am an improv quilter, which means that I don’t use patterns, so the process is really exciting because I am creating as I go and never really know how it is going to turn out until I’m done.  It is also a great counterpoint to writing because when I am cutting and sewing, I am only focused on that task (because I prefer not to slice and poke into my fingers!) and it really becomes a form of meditation and helps me to clear my head.  Much like writing, there is never a shortage of ideas to be pursued.

“Up Down Turn Around” quilt by Lucinda Marshall

AB: Last two questions: When can we expect DiVerse Reading Series to resume and what are you currently working on?

LM: I’ll have more on DiVerse later this fall and will share it then.  As far as what I am working on, the months when things slowed down were a bit of a pivot point for me, I’m writing more long form, less poetry.  Not quite sure where that is leading, but it is fun to write full sentences every now and again.  And when all the outside obligations on my time slowed down, I also had a great deal more time to work on quilting, and I am trying to keep up that visual exploration.

Thank you so much for doing this interview and for the thoughtful questions, I really enjoyed doing this and am so looking forward to reading your book soon!

You can purchase Lucinda’s book from Amazon, Barnes & Noble, and Finishing Line Press

Patti Ross: St Paul Street Provocations

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Pattie Ross is a force to be reckoned with in the poetry world. She speaks her mind with a gentle humor and then serves up her message with gut punch of humor mixed with outrage. Patti hosts Author Talks at the Baltimore County Arts Guild in Catonsville and serves as an ambassador for poetry everywhere she goes. Here’s an interview about her first poetry chapbook, St. Paul Street Provocations. I hope you’ll enjoy meeting Patti and buy a copy of her lovely book.

Patti Ross

Ann Bracken (AB): Congratulations on your new book St. Paul Street Provocations. Such an intriguing title. Tell me the story behind the collection.

Patti Ross (PR): The backstory is that I was living at the intersection of St. Paul Street and Lafayette Streets in Baltimore from 2010 to about 2012. I then moved to Park Avenue, an area in the Bolton Hill district.  These two areas are very distinct. Most of the poems began on St. Paul Street with my observations from living on the corner slightly above the sidewalk. The cover has a mural of muralist Jessie and Katey (http://www.jessieandkatey.com/) that they painted on the ground of the little dilapidated park across the street from my building. I watched them work from my main room window. The mural is titled “Walk the Line” and that is what was necessary in the neighborhood if you were going to remain there in peace.

AB: In the poem “Home/Less” you describe your encounter with a homeless man you call “D”. Give me a bit of his story and describe what it was about him that made you decide to stop and talk with him.

PR: On my morning commute down MLK Blvd, I would run in to “D” asking for money/help during the stop light transitions. At times I might have to wait through two lights, and so we began a friendship. I sometimes offered up a dollar or two, sometimes just a hello, and sometimes a brief conversation. At some point “D” disappeared for several weeks. When he returned, I could see that he had been physically assaulted, and he no longer had his backpack of belongs. He was worse than before. I stopped this time, and we talked for a bit. He told me he had been beaten up one night over the rights to the corner and his belongings taken. He said to me “Patti, I gotta deal with the demons in my head, and the demon’s at night.” When he said that it stuck with me. No one chooses to be homeless – there is so much more to their plight.

AB: Letters are so powerful, even when they’re imaginary. Tell me about your decision to write an imaginary letter to “George Perry Floyd in Heaven.” 

PR: The murder of George Floyd was incredible. He lost his life over the suspicion of something, not the proof of something. I want people to see him as more than the poster child for a “modern day lynching.” I want people to remember that he was a good son and a good high school athlete. I want people to remember that “but for the grace of God – there goes I.” Often times it is letters that set the record straight years after something happens.  We find a letter that tells the true story.

AB: You describe yourself as a spoken word poet and use the name “little pi” when you preform. What were some of the challenges in moving between spoken word and written poetry in your book?

PR: Great question. There is a challenge to take what is performed (staged) to what is written (page). I often remind my audience that what they hear me say may not be what they read fully. I tend to read my poems in a narrative way or as if in conversation, such as in the poem “Indemnity”. I don’t change all the words but for emphasis in performance, I may change a word or omit one or add an expletive because I originally wrote the poem in response to something that “pissed me off” as they say. ‘little pi’ is the voice that allows me to perform the words without apology. It is the voice of my great-great-grandmother, who from what I am told, was an independent woman who said what she felt, lived on an island away from town, and fished standing on river rocks amid rapids and men.

Cover art for St Paul Street Provocation

AB: You’re very active in the Maryland writing community with running Maryland Writer’s Association First Friday Reading Series and now starting an open mic night and an author talk-back series at the Baltimore County Arts Guild in Catonsville. Describe those programs and your hopes for the literary scene in Baltimore.

PR: The First Fridays program came out of my desire to continue the EC Poetry & Prose Sunday Salon Series once the Pandemic took over. It was also a way to highlight the poets who were members of MWA but perhaps also wrote other genres. The series was a way to keep the writing and more specifically the poetry community engaged during a time that sucked up so much of our emotion. As writers, we spend much time alone and the First Fridays series allowed us to reunite and share our works-in-progress in a safe, non-judgmental environment. This month culminated my time as host of First Fridays. I am happy that the program I created will continue with the organization. It’s a nice legacy. 

The literary scene in the city of Baltimore is good. I am not sure there is much I can do there. However, I did see a void in the spoken word community in the suburbs of the city and I wanted to bring what I was enjoying within the city of Baltimore to the counties. Poetry has been with me from a very early age. I attended The Duke Ellington School for the Performing Arts, so taking my words from the page to the stage seemed natural to me. The history of spoken poetry comes from the Chinese well before 500BC and was picked up in subsequent Dynasties as both a historical and social accounting of the times and recited for various social occasions. This practice has continued and we can look at some of our modernist like T.S. Elliott and see the tradition or recitation being cultivated among the new generation of poets to give deeper meaning to the text. The visual combined with the audible is wonderous in the brain.

AB: What’s next on your agenda?  Are you working on a new collection?

PR: Thank you for asking. Yes. I am currently working on a collection of poems about women. I am so doing other things. I have a couple of collaborations going on. Someone suggested I do a podcast. I have a friend, and we have literary debates from time to time about issues that writers often face when putting their thoughts on paper. There is a quote from Oscar Wilde that I keep on my desktop that reads: “Art is the most intense mode of individualism that the world has known.” I believe that, and I am thankful that others do also. It makes for great community when we share openly and honestly with each other. My thoughts are always around the EC Poetry & Prose credo “Peace Poetry Truth”. (EC Poetry & Prose is the online presence that I created a while back when I started hosting the open mics at Syriana’s. ECP&P continues today under the direction of myself and Terri Simon. We are working hard to continue to bring poetry to those that embrace it and live it aloud.)

Bio:

Patti Ross graduated from Washington, DC’s Duke Ellington School for the Performing Arts and The American University. After graduation several of her journalistic pieces were published in the Washington Times and the Rural America newspapers. Retiring from a career in technology, Patti has rediscovered her love of writing and shares her voice as the spoken word artist “little pi.” Her poems are published in the Pen In Hand Journal, PoetryXHunger website and Oyster River Pages: Composite Dreams Issue. Her debut chapbook, St. Paul Street Provocations, was released in July 2021 by Yellow Arrow Publishing.

Follow her blog at: https://littlepisuniverse.com

Interview with Kristin Kowalski Ferragut

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I met Kristin several years ago at a Miller Cabin reading when she was just getting her feet wet with poetry. In this interview, Kristin gives us the lowdown on her work as a poet. Enjoy!

Kristin Kowalski Ferragut (KKF): Thanks, Ann! I’m grateful to Loving Healing Press and Kelsay for publishing the books and am glad they’re out. I guess I expected to be more ecstatic but it’s a quiet brand of satisfaction I feel. And while it makes perfect sense that publicizing poetry is a very different skill than writing, I’m surprised by how big that job is or would be if I did it better. Although, look at me now! I appreciate your help in letting people know of my work.

Ann Bracken (AB): Congratulations on your two new books that came out this year—Escape Velocity and Becoming the Enchantress. It’s very exciting to premiere one book, so two must be amazing.  What’s been the most surprising about putting out new books?

AB: Becoming the Enchantress is a beautifully illustrated and gentle introduction to the idea of a transgender person transitioning. What have you heard from your readers?  OR Who are your primary readers and what’s been their response?

KKF: Thank you, Ann. I love the illustrations too. I think most readers are in agreement that it’s a necessary and thus important book. It was written in that spirit, a needed tool to explain a transgender parent to a child. I’m trying to publicize it but that doesn’t come so naturally to me and I think at this point most readers have been friends who have reviewed it well. Although with that said, when I was seeking blurbs for the cover, I had a couple of friends that did not want to comment on it, so it doesn’t seem a story embraced across the board. Sweet and worthwhile though it may be, it was crafted to be a vehicle to provide context and understanding on a theme, less than emerging from artistic inspiration. That may be reflected in the writing. Also transgender is obviously still a controversial issue. The discrimination against transgender individuals in this country is shocking and heart breaking! I anticipate if The Enchantress does come to enjoy some wider appeal, it’ll be subject to some hate and I rather dread that. I’ve only felt a little of that so far.

My “getting it out there” felt more like a public service announcement than an artistic labor of love. Of course that changed when my daughter, Coley, added the illustrations. I absolutely love her drawings and believe they add significant artistic value to the story.

AB: Do you have a follow-up book in mind, or perhaps a series about the Enchantress to explore other issues related to transgender parents? 

KKF: I suspect when it comes to children’s stories, I may be a one-hit wonder. Who knows? As long as I can continue to carve out time, I plan to keep writing and remembering what it’s like to be a child is one of my wowpows. So maybe one day I’ll take on more tales exploring children’s perspectives. I don’t imagine I’ll write more children’s stories on the transgender theme though. I’m happy that the book served its purpose and I have a natural bent to uplift especially those struggling in what I often consider an oppressive society, the “tyranny of the majority” and all that. But it’s more peripheral to themes I want to devote study to than central at this point. 

AB: Your poetry book, Escape Velocity, also addresses the issue of a transgender parent/spouse and what’s it’s like for the spouse who remains. Tell me about “Transgender Ex at Son’s Birthday Party.”

KKF: It’s all fiction, right? But that was one of my more autobiographical pieces, I mean, with things moved around. It was at a different party that my Ex lifted her foot to a chair to rest a guitar on her knee, in a short dress and electric blue underwear. That left an impression, incited many thoughts and conflicting feelings that I felt compelled to explore it in poetry. 

Girls learn so many subtle lessons in behavior to become socially acceptable women, lessons an adult new to womanhood may have missed. That’s all sorts of interesting, sad, and endearing.  And having two Gen Z kids in a pretty liberal area, gender fluidity is a common topic around our dinner table. It’s a steep learning curve for me. I see most things in shades of grey and find comfort in the few things I think I can take for granted. For years one of those things was a man being a man and a woman being a woman. I mean, I’m kind of old and was raised with all sorts of wrong notions. It’s taking me time to adjust my view but I admire this generation for getting it more right.

You know how sometimes you start a poem not knowing where it’s going to lead? Well, that was the case with this one and I was grateful that that poem turned into a love poem, a song of a parent’s love for a child but more, of a parent loving anyone who shows love to her child. Because, well, that’s something I still take for granted, that in all of this, Love.

AB: Your poems contain so many wonderful images and phrases. I was particularly struck by the line “There ought to be a word for psychosomatic hope…” Can you talk about what that concept might look like?

KKF: Oh, that’s a great question, Ann! A good line to pick out. The idea of psychosomatic ailments is deep in my understanding of how people often perceive and treat themselves, having witnessed family members suffer them from a young age. And I have a complicated relationship with the concept of hope. On one level, there’s always hope, so always possibility and potential. That’s all good. On another level, I think dashed hope has broken my heart more than any other single element. So in my life I think hope can be very dangerous, as much as it can spur one to better things. Given that awareness, I think I mute my hopes — hope with an eye roll, somewhat guarded, which is barely hope at all. But perhaps it’s psychosomatic hope. I believe but also believe it’s probably not real. That line tries to capture that sentiment, although having laid it down, it could mean something entirely different, indeed many other things, to a reader.

AB: Loss seems to be a recurring theme in your poetry, and I love the idea of “favorite lost things.” Say more about that poem. 

KKF: Oh, that is a wistful one! It’s funny and often unpredictable who and what we fall in love with, at least for me. I’ve found that I often find one’s faults as endearing as one’s strengths. And sometimes it’s hard to take stock of all the things I love about someone until at some late hour, weeks later, I become aware of missing something like how one exhales a certain way, or uses a particular phrase, stammers, scratches his chin, or turns to leave a room. So many little details to love in a person! 

-a name of staccato syllables rich in consonants that blend 

sexy in print, all the lines and curves dancing side-by-side

-a wink from across a room -landscapes of profiles

-a rich voice that sounds of music, whether in speech or song.

I don’t know if a handful of those little traits is enough to build a relationship on but when I wrote that I was thinking, Why not?

AB: People are always interested in a writer’s process. How do you come to poetry and where do you think your poems come from? 

KKF: I think I have a lot of areas to grow as a poet. Recently I wrote a poem about the news story of the baby handed over the barbed wire to the Marines in Afghanistan. It seemed to work and I’d like to do that more — reflect global circumstance in my poetry. I’d also like to write more short stories. I’ve written several, but haven’t yet edited one to my satisfaction. I’m also writing songs these days. For the last one I composed both the music and the lyrics, which was incredibly challenging, since I’m a barely capable guitarist yet, but rewarding. 

Usually my poems come from something I want to explore, to work out, maybe a form of therapy or meditation, often starting with an image. I love to write first thing in the morning when barely awake, still close to my subconscious where less expected connections seem easier to draw. I also love to write in nature. That works anytime — everything’s so magical and dreamlike in the woods. 

I go back and forth on whether devoting time to my art is selfish or generous. I mean, time in my Nook or Writing Fort is time I’m not caring for my children, the house, doing work… It requires a peculiar brand of faith to be a writer. I just need to trust that what I’m compelled to say is worth saying. Sometimes it comes so easy, as though through divine intervention, and sometimes it’s painstaking and laborious. I’m getting better at knowing when to give up the ghost when it’s the latter or keep struggling through. I still have much to learn!

Kristin Kowalski Ferragut

AB: If you could go back and talk to your younger self, what would you like her to know?

KKF: Oh, little Kristin, life will be weirder and harder and more wonderful than you can imagine! I’d let my single-digit-aged self know that. I’d tell my 20’s self to stick with the process and edit. I wrote a lot but rarely finished anything in those days, partially because… Well, I’d also tell me to be careful who you let critique your work. I’m better at knowing who to listen to now and knowing when to care less about feedback. The artistic process can be fragile and can be stymied before a work is even permitted to fully form. I think there are probably millions of could-have-been-brilliant artists who were shut down early. Heck, that’s probably everything! So many individuals could be so much (scientists, musicians, historians…) if given the freedom and support to Be Them! Talk about the theme of loss. I think we lose so much to poverty and oppression every day. Anyway, I’m glad I have the circumstance, support of my children, and welcoming poetry community to enjoy space to create now. So I guess I wouldn’t suggest I change much.

Ann, thank you so much for your questions and space to think some of this through! Your reading at the Joaquin Miller series back in 2015 and your words of encouragement were significant catalysts for my re-commitment to poetry. I love your work. And your support. Thank you! 

Cover artist: Coley Dolmance Ferragut’s Link Tree to Social Media Art: https://linktr.ee/Dolmance.works

Kristin’s bio: Kristin Kowalski Ferragut teaches, plays guitar, hikes, supports her children in becoming who they are meant to be, and enjoys the vibrant writing community in the DMV. She is author of the full-length poetry collection Escape Velocity (Kelsay Books, 2021) and the children’s book Becoming the Enchantress: A Magical Transgender Tale (Loving Healing Press, 2021). Her poetry has appeared in Beltway Quarterly, Nightingale and Sparrow, Bourgeon, Mojave He[Art] Review, Anti-Heroin Chic, Fledgling Rag, and Little Patuxent Review among others. For more information see her website:  https://www.kristinskiferragut.com/

Searching for a Way Out of Pain

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In 2018, I participated in a Baltimore storytelling event called Stoop Stories, hosted by Jessica Henkin and Laura Wexler. At that event, all of us told a story about drugs: addiction, accidents, recreation, and recovery. Here’s a link to my story (at 11:54) where I talk about how a car accident saved my life.

The Medicine is the Madness
Stoop Story with Twigg Harper and Ann Bracken

Warrior Writer: An Interview with Drew Cameron for Memorial Day

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Author’s Note: This interview was previously published in July, 2008, in  The Museletter, a publication of the National Association for Poetry Therapy.

Updated 2015 bio from drew Cameron’s website Warrior Writers: I am a second-generation hand papermaker, trained forester and former Army soldier. I co-founded the Combat Paper Project and have been facilitating workshops with veterans and the community in which they transform military uniforms into handmade paper, prints, books and art since 2007. The portable workshop has reached thousands of people throughout the country in 29 states and more than 125 workshops. My work is represented in 33 public collections and has been shown numerous times including at the Corcoran Gallery, Courtauld Institute, Library of Congress, Museum of Contemporary Craft and Craft and Folk Art Museum among others. Combat Paper is now operating in four locations: New York, New Jersey, Nevada and California, with open and ongoing programming. I am based in San Francisco at Shotwell Paper Mill and continue to practice papermaking, teach and encourage others to do the same.

Drew Cameron, 25, lives in Burlington, Vermont. He served in the United States Army beginning in August 2000 for four years on active duty and subsequently served two years in the Vermont National Guard, separating in August of 2006. As part of his healing work from the trauma of the Iraq War, Drew participated in a therapeutic writing program called Warrior Writers. Out of that came his idea to create Combat Paper, paper made from the uniforms of people who served in Iraq. Drew and his fellow vets have produced numerous journals and two books of poetry from the combined Warrior Writers and Combat Paper programs.

Ann Bracken: Tell me about Iraq.

Drew Cameron: The reality was a lot more chaotic, more callous [than what is portrayed in the media]. And when we weren’t fighting, we’d get in our trucks and tool around the country. We were young guys with lots of bravado; we got complacent. We got very comfortable and did whatever we wanted. We got a kick out of stupid things.

AB: What do you mean, stupid things?

DC: We acted in what they (the officers) called a “show of force.” Guys would get a real kick out of it. You know, we’d drive fast. We’d go out with a number of trucks, all loaded up. If a car was in our way, we’d just push it to the side of the road or run it off the road. We had our sunglasses on and usually had our rifles hanging out of the windows, at the ready. The idea was that if we were really tough and looked like we were ready for a fight, people would be deterred. Instead, people felt harassed, brutalized, hurt and hunted. Innocent people were hurt or driven over. It was a real provocation. But when I got home, I told myself I had nothing to feel bad about since I had never killed anyone.

AB: You said you thought you had nothing to feel bad about since you never killed anyone. Are these the kinds of thing that people would feel bad about when they came home?

DC: Yes, most definitely. I am very fortunate that I never killed anyone. But that kind of behavior is a provocation. And those are the kinds of memories that play in your mind over and over, the kinds of things that wake you up at night. Even worse that that, many people will have a single horrible ex-

Drew Cameron

perience that will play out over and over in their minds. They’ll replay it and replay it, trying to make some sense of it and there is no sense in it.

AB: Describe how writing about your experiences has helped you. How has it helped others?

DC: I went from being quiet and all alone to being involved in art and helping my fellow vets. I am trying to bring about some kind of change through my work, through the art. Cre- ating art comes from a good place inside. This work is also a political statement. My friends come here to the paper studio and hang out. This project of writing and then making paper out of our uniforms spurs a very positive, creative, releasing activity. It’s cathartic for those who get involved in both the writing and the act of making paper. And the healing that happens is not forced. The people are really doing it themselves.

They [vets] come in here and start talking, making pa- per, doing art and the ideas just start bouncing around. And I’m in my studio, which used to be a place for me to hole up in and spend a lot of time alone. Now it’s a place where I just love to bring people in. I can be generous with this and I

6 The Museletter

want to continue in that vein. I went from being quiet and unable to relate to anyone to someone who brings his friends in here and can offer this opportunity to someone just home from Iraq. This healing is important and no one should have to do it alone.

AB: It really is an amazing transformative act to cut up your old uniforms and then use them to make paper for your journals. How did this idea come about?

DC: The story of the soldier, the Marine, the man, the woman, and the journeys within the military service in a time a war is our basis for the project. Creating handmade paper editions of the book and facilitating papermaking with my fellow veterans eventually led to using our combat uniforms. The story of the fiber, the blood, sweat and tears, the months of hardship and brutal violence are held within those old uni- forms. The uniforms often become inhabitants of closets or boxes in the attic. Reclaiming that association of subordina- tion, of warfare and service into something collective and beautiful is our inspiration.

AB: What would you like to see come out of your experi- ence? What do you want people to know?

DC: I want people to know that when we come home, we vets don’t fit in. Everything has changed. We’ve changed. I’ve been slapped in the face with a set of circumstances and I have a lot of choices as to how I can deal with them. I was sent to fight in an illegal, unjust, immoral war. I can wither away. I can reenlist. I can resist. I can organize. I have choices. I chose to write about it, reflect on my experiences, and move forward trying to do something different with my life.

AB: Can you share a writing exercise that was especially helpful for you?

DC: Sure. Here is what I wrote in my first writing workshop with Warrior Writers.

Warrior Writers has been an impetus for me, recollecting old letters and my overseas journal to pick apart the memories that I would carry on paper. Going back to a place that I have left over four years ago. Trying to remember, regard- less there hasn’t been a day that has gone by in the time since when I haven’t though about it. 1,460 days of thinking about war. I feel as though we must go to the beginning to tear apart the shroud of numbness. We have to find the way back, understand it, dig in and continue; there are no short cuts with this.

When I first moved here I didn’t want to be known as a veteran, I would ask my partner not to tell people. I didn’t

think it necessary, nor did I want to be known as Drew the Army guy. Pushing away from the experience only manifested it in undesirable ways. My affliction isn’t flashbacks or in- trusive thoughts, drug use or violent behavior. My affliction is nothing. Absolutely nothing. I didn’t feel, hate, love, fear, or even care. My life was a monotone of going through the motions, I so very wanted to be emotional. I know in my train- ing I enabled myself to build various walls. Methodically constructing walls takes time and effort, it is an effective way to enable positioning one’s self against the brutality of com- bat. Unfortunately they do not teach a soldier how to deconstruct these walls. This is my charge, to find the foun- dations, to understand them and perhaps permit myself to move in—there will be no moving on.

AB: What is the message you’d like readers to take away?

DC: It’s so important that you’re here. We’re nothing with- out a broader push of people in society. There are many dif- ferent components to culture writing, art, the fine arts, com- bat paper. We can encourage others to do this, to participate in this shared experience. We can influence people by inspir- ing others. There are many small things we can do. For me, it’s a unique opportunity. Before, I never spoke about being a vet. Now, it’s a big part of who I am.