The Artist’s Corner – Talking Poetry With Poet Carrie Tangenberg, Part 2

Welcome back to The Artist’s Corner for the second portion of my interview with poet Carrie Tangenberg.  Today, we’ll continue with Carrie’s amazing insight into poetry as well as enjoy one of her original poems.

Why is poetry important?

A literary question for the ages. I can only look through my biased poet’s lens, but I think it’s valuable not just because academia tells us it is.

For me:  Poetry gave me a way to express myself early in life that did not demand absolute clarity or lots of text. I could write what I felt or wanted to feel. I could focus on rhythm and the sounds of words. It didn’t have to make sense to anyone but me, and even then, it took me a long time to be so kind to myself. I used to be quite experimental, moving from puns to invented words and concepts, creating sense out of nonsense. Poetry lets me stretch linguistic connections, explore different word combinations and uses of any given word or phrase, and discover new routes to meaning and beauty.

In general:  Poetry offers a shortcut to evoking reader emotion, making us feel deeply, recalling our humanity. Poems explore, celebrate, articulate, and enhance life, death, love, art, nature, and human connection. Poems invite different ways of seeing everyday things, different ways of thinking about life. Poetry is lyrical, musical, rhythmic, with creative phrase order, language use, lines, and “paragraphs.” Poems present puzzles and riddles to solve and enigmas to wonder at. Poetry can add a touch of class, beauty, spirit, weight, or emotion to more logical or pragmatic ceremonies, presentations, and texts.

Poetry can be challenging, not lying down easily before you just because you showed up to read it. It makes you work by being in stanzas and by making readers pay attention to details to gain meaning. It’s a useful form to renew our concentration abilities, recovering them from Tweet and sound bite, back toward longer literary forms. Among literary modes, poetry pre-dates the novel, the news article, and the textbook. It has longevity. Poetry lets readers and writers approach the depths of meaning to find a way to shine a light and share. Poetry offers greater variety of form than fiction or non-fiction does. It is a diamond of many faces. Poetry offers a niche to fit into when your work or interests don’t fit neatly anywhere else. For instance, poetry lets non-visual artists, listeners, and readers penetrate and fill the spaces between too-reasonable words and wordless music. Songs are poems, and they lend insight into and mark the passage of our culture’s generations.

Beyond that, I refer you to The American Interest online article “Why, Poetry?” by David Kirby (2007). Great stuff. Addressing poetry’s value, he asks, among other things, “Why is there a poet laureate but not a novelist laureate or playwright laureate?” It must mean something to us. Poetry is easier than it used to be, more accessible, and more diverse. New forms are invented on the Internet, and poetry culture moves forward.

As with any art or literature, not all poems work for everyone, but poetry is a unique form with so much mileage that there really is something for everyone.

What do you see as the role of humor in poetry?

As with many aspects of poetry, humor in poetry is often subtle, but there’s no rule against including the comical in a poem that doesn’t also apply to the rest of the poem or non-humorous ones as well. As long as a poem can breathe, that is if it’s of sufficient length, there can be room for humor in even the most serious. The tension between opposing emotions is something that makes art great.

Billy Collins is the perfect example of a poet who has woven humor masterfully into much of his work. See “Paradelle. Silly and/or psycho form from Billy Collins.” – from the Writer’s Digest article “List of 50 Poetic Forms for Poets.

Humor’s role in poetry varies and can be manifold. It can be an effective method of emotional contrast for emphasizing a concept or point, or for deepening a dramatic effect. It can help some readers better relate to a poem’s message. It can be pleasurable in its own right. Then, there are the forms of poetry designed for or generous to humorous content: limericks, rhyming couplets, parody, and others.

There are also poetic forms, such as the elegy, that are meant to be serious. In the end, the poet should aim to match form to content and mood. For a simple example, if a humorous shape emerges from a concrete poetic image, the reader expects funny content.

What is the relationship between your speaking voice and your written voice?

We both tend to be long winded. I’ve always been a formal speaker and an even more formal writer, using words often beyond the understanding or comfort levels of readers and listeners, who in my experience tend to be young or struggling students. But because I dabble in so many different genres, forms, and purposes with my writing, I’m still trying to find a cohesive voice for each. In some ways, just as novelists must put themselves in different frames of mind to get into different characters, a poet can use the poetic space to explore different perspectives and different voices from different characters. The narrator/speaker is not always the author in either poetry or fiction, and they should not be equated. Qualities of an author’s history or personality may echo through his or her work, but not all poetry or fiction is fully or even partially autobiographical.

I think, though, that it is a rare person who is able to speak the same way to every other person encountered in life. Because of this, even our speaking voices are not internally consistent, let alone matched up perfectly with our written voices. On one hand, you wouldn’t want to speak to a stranger the same way you speak to your child or partner. On the other, even when we try to “be ourselves,” we unconsciously hide and reveal, emphasize and downplay, different parts of ourselves depending on who we interact with, our comfort levels, intentions, vulnerabilities, experiences, habits, and modes of being—recreational versus professional atmospheres, for example. People not only can change but do, quite often from moment to moment, in how they represent themselves. It may be dishonest at times, but just as truth can be subjective, so can our identities be flexible. People rarely walk around unfiltered. There’s always a hidden and a visible self. Self-control, invaluable to civilization, means suppressing our first impulses, and that’s a kind of lie, too.

Do you belong to a writing group or community of poets with whom you share your work? Has this been beneficial?

I’m in a writing group, but it’s multi-modal and focused on fiction. Luckily, there are a few members who are also poets, which can add a layer of insight that those less familiar with poetry may not be able to offer. It’s always good to have an outside perspective to consider during revision. With the group, I learn things that apply to all my writing, including poetry.

What do you believe is the measure of success for a poet?

That’s an excellent question. The short answer, unfortunately, is the unsatisfying “It depends.” In this day of self-publishing at the drop of a hat, it’s not the ability to self-publish or be “published.” It’s not solely the ability to get the words on the page with confidence. It’s not necessarily being held in high esteem by authorities with clout, or receiving poetry awards. It’s neither self-defined nor externally defined alone. I suppose it could be a blend of self-perceived success, some degree of circulation of one’s poetry amidst the masses, and some acclaim as a result of that.

If you don’t feel successful, that doesn’t mean you aren’t, but success in poetry can rarely if ever be defined by financial reward or income sustainability. It’s a long-standing sad joke among poets that this just doesn’t happen with poetry alone. A writer has to diversify. Focus on non-fiction of various kinds, including researched biography, instruction books, a cultural niche, or journalism than to rely on poetry for lucrative ends. Once the poet accepts this reality and still commits to the work of writing verse as part of the repertoire, the aim is to continue to develop as an artist, to advance your craft beyond what it was yesterday. If you can do that, and know that you have, you are succeeding as a writer.

What advice do you have for aspiring poets? Do you believe writing poetry can be taught or is it strictly an inherent ability?

Certain principles and several specific forms of poetry must be taught, but writing good poetry also requires innate orientation to the music, cadence, rhythm, sounds, imagery, lyricism, phrasing, or forms of poetry. It requires a thorough understanding of the effective use of language to communicate, to suggest, to imply, and it requires knowing what not to write and how not to write. It requires study, whether self-driven or received in a top-down fashion, as in college or an MFA writing program. True poetry rarely just happens, though I suppose it has occurred and remains possible in that rare individual.

I come from a verse writing education where my professor encouraged further study of certain aspects of my work beyond the scope of my courses. However, I believe a poet can emerge without formal higher education. Poetry is one of those modes of writing with so many variations in approach and form that experimentation and innovation may actually be more readily achieved in poetry than in long-form fiction, for one.

Consistency and cohesion within a poem are key. You can break the rules, but do so across the poem without restoring them at any point. For example, if it’s going to be a poem with end rhymes, you must carry that through to the end. If the first lines are not rhymed, suddenly starting to rhyme part way through is jarring to the reader. If you don’t apply techniques consistently across a piece, you’ve probably written at least two different poems or parts of poems, thinking they’re one when they’re not.

Poetry is all about patterns and the communication of the parts with each other. This is more important in a short form of writing, including short stories, than in longer forms, though novels still do better with some discernible shape—the rising action, conflict, climax, etc.—than without it. If a poem is poorly organized or incoherent or disjointed, it’s really, really noticeable. You can more easily get away with a little nonsense or minor error in a fiction manuscript.

How would you recommend someone reading poetry for the first time approach a poem?

Any poem of significant length, complexity, or difficulty should be read in phases for its layers. First, read it for the basic idea, and then read aloud to listen for its music. Poetry is designed to be read aloud. Next, read it over and over again with a different focus each time, including: (1) prosody, or the elements of versification and metrical structure, (2) meter-related rhythm, (3) form, including stanza division and line breaks, (4) rhyme, alliteration, assonance, consonance, and other sonic devices, (5) use of literary tools such as personification, metaphor, and simile, (6) point of view and speaker vs. author, (7) relationship of title to poem, etc.

Form should reinforce meaning, support and not work against it, so the more you learn about how a poem is constructed, the closer you come to understanding its message. Sometimes, form can be a large part of message. Poetry is a mode not infrequently used in a self-reflexive way, with poems about poetry, to express poetic principles in structure and words. Finally (or first!) and most important of all, try to pinpoint what you like and dislike about a poem and why. This will inform your reading choices, increasing your enjoyment in the future, and help you learn more about poetry and how to write it.

How important is accessibility of meaning? Should one have to work hard to “solve” the poem?

A poet should not make it her primary or even secondary aim to impede the reading of her poem. I don’t believe in purposely self-defeating behavior. If you’re reasonably intelligent and you’ve read a poem repeatedly, discussed it, studied it, and still can’t figure out the major strokes, it’s not worth any more of your time. It’s probably unnecessarily difficult.

However, because there are layers to any good poem that’s not a couplet or simple Haiku, most poems can be appreciated at multiple levels. Something I enjoy most about poetry and any art form is the richness that allows the audience to discover something new with each return to the work. In academia, poetry reading and study involving sustained, diligent effort markedly increase your chances of fulfilling whatever analytical requirements your instructor has assigned. In pure enjoyment especially, however, poetry is in the eye of the beholder. Like all art, it is subject to matters of personal taste. It’s a subjective enterprise and a personal study. If you’re not required to work hard to solve it, why strain?

What do most poorly-written poems have in common?

A bad poem can be bad—or have bad sections—for many reasons. It states the obvious, confuses concepts, turns personal grievance into whining, stops at surface-level emotions and ideas, employs clichéd imagery, demonstrates careless word choice, uses length as a crutch to seem important, applies techniques inconsistently, ends after the first draft, abandons form for content, or, conversely, abandons sensible content to show off a certain structure—or all of the above.

If you start with free verse, let it remain free. Start with metered verse, and it should probably conform to the meter your first lines set, though some poetic forms deliberately shift meter across the poem. Unless your specific purpose is to explore the different effects deliberate shifting between formalism and free verse has on the structure or ideas, pick one or the other and stick to it.

Examples of excessive structural worship include using rhyme in a forced way, writing a sonnet with hackneyed imagery and stale word choice, writing in meter with awkward rhythm (i.e., bad meter), breaking lines in awkward places just keep lines neat, or only ever breaking lines at sentence endings.

There are still other ways poems can be poor in quality, but I think those are the main ones.

What do most well-written poems have in common?

The bottom line is that quality poetry, and any writing, is earned. Achieving quality in most things demands study, careful craft, practice, revision, and polish—and those efforts show in the final product. Beyond the opposite of all of those traits described in the previous answer, freshness and originality, masterful vocabulary, applied nuance, and skilled balancing of all aspects set great poems apart from the herd.

Who is your favorite poet?

Too many to list, but here are the main ones: Emily Dickinson, Elizabeth Bishop, Judith Wright, John Keats, Walt Whitman, W. B. Yeats, William Wordsworth, Amy Clampitt, Philip Larkin, Gerard Manley Hopkins, Billy Collins, Sylvia Plath, Wallace Stevens, Wislawa Szymborska, Matthew Arnold, Wilfred Owen, William Shakespeare, Edgar Allan Poe, William Carlos Williams, Ezra Pound, e. e. cummings, Robert Frost, Louis MacNeice, Marianne Moore, Rita Dove, Theodore Roethke, Adrienne Rich, Derek Walcott, Hugh MacDiarmid, W. H. Auden, Christina Rossetti, Robert Burns, Seamus Heaney, Robert Pinsky, Elizabeth Barrett Browning, and many 20th- and 21st-century songwriters.

Other poets I enjoy: William Matthews, Geoffrey Chaucer, Jane Hirschfield, Carolyn Kizer, Mary Jo Salter, D. H. Lawrence, Henry David Thoreau, Dylan Thomas, Robert Pinsky, James Merrill, Richard Wilbur, Kenneth Koch, Patrick Kavanagh, Paul Laurence Dunbar, Donald Hall, Ted Hughes, Samuel Taylor Coleridge, Gwendolyn Brooks, William Blake, and Elaine Feeney.

What is your favorite poem?

That’s a bit like asking someone to pick a favorite moment in life or art. Some of those I’m most passionate about, which I highly recommend everyone reads, would be:

American trailblazers: “Song of Myself” by Walt Whitman; Emily Dickinson’s “Because I could not stop for Death,” “A Route of Evanescence,” “Hope Is the Thing with Feathers,” “My Life had stood a Loaded Gun”

Best war themed: “Anthem for Doomed Youth” by Wilfred Owen (WWI) and “First Snow in Alsace” by Richard Wilbur (WWII)

A downright favorite: Amy Clampitt’s “Beethoven, Opus 111” and “The Sun Underfoot Among the Sundews” (love, love, love Clampitt!)

Quintessential Romanticism: “I Wandered Lonely as a Cloud” by William Wordsworth and “Ode to a Nightingale” by John Keats

A. E. Housman’s “To an Athlete Dying Young” and Countee Cullen’s “Heritage”

Love breaking the rules: “since feeling is first” by e. e. cummings

Pure contemporary, comic enjoyment: “Forgetfulness” and “I Chop Some Parsley While Listening to Art Blakey’s Version of Three Blind Mice” by Billy Collins

Self-reflexive poem about what poetry should be: “Ars Poetica” by Archibald MacLeish

A good feminist spin-off: “Eve to Her Daughters” by Judith Wright

20th-century metrical verse: “The Sunlight on the Garden” by Louis MacNeice and “One Art” (a villanelle) by Elizabeth Bishop. Most poems by Elizabeth Bishop.

Comparing fish: “The Fish” by Marianne Moore and “The Fish” by Elizabeth Bishop

Oh, the sounds: “Root Cellar” by Theodore Roethke and “Lake Isle of Innisfree” by W. B. Yeats

Avant-garde, nature, ephemeral love & line breaks: Book I of Asphodel, That Greeny Flower by William Carlos Williams and “Thirteen Ways of Looking at a Blackbird” by Wallace Stevens

A favorite Scots poem: “To a Mouse” by Robert Burns

Epic post-colonial poem: Omeros by Derek Walcott (having some French will help)

Best (only?) nonsense poem I know: “Jabberwocky” by Lewis Carroll

Philip Larkin: “Church Going,” “For Sidney Bechet,” “An Arundel Tomb” & “Talking in Bed”

Sylvia Plath’s “Blackberrying,” “Tulips,” “Ariel,” and “Daddy”

Men of Ireland: “When You Are Old” by W. B. Yeats and Seamus Heaney’s “Punishment”

What kind of work are you most drawn to reading yourself? Do you find yourself reading work similar to your own or completely different?

With writing, I think like attracts like. I seek out what I want to emulate, and I try to emulate what I find most precise, original, musical, and beautiful.

What book are you reading right now?

A book club book: The Good Earth, itself written with lyrical, rhythmic prose by Pearl S. Buck. I’ve recently collected some books of poems by Elizabeth Bishop, Wislawa Szymborska, Judith Wright, and Elaine Feeney. I received A Thousand Mornings by Mary Oliver as a gift, but I haven’t been as impressed with her work. Also on my bookshelf are almost all of Billy Collins’ poetry, an old complete works of Emily Dickinson, poems by Rumi, and the Norton Anthology of Poetry, 4th edition, along with many other books of and about poetry.

Do the Internet and social media contribute to the well-being of poetry?

I believe so, though I couldn’t say how at the moment. Or, rather, I can’t tell whether the net effect is positive or negative. But like any major cultural force, it does have impact on art. So much is more readily accessible than before this digital information age. Quoting is a pastime for many. And yet, the impulse to speak constantly to others, to comb and scroll and scan through endless talk must also diminish the preciousness of words. We increasingly employ the short form in communicating with one another—the sound bite, tweet, Facebook shout-out, Instagram posting—but that doesn’t make it poetic, any more than reading print copies of novels makes us necessarily more poetic.

Where can one find you on the Internet?

Blog: “Philosofishal

Twitter @Carrielt37

Facebook: Carrie Tangenberg

LinkedIn: Carrie Tangenberg, Writer, Tutor

Do you have any non-poetry/writing creative outlets?

My most prevalent non-writing hobby would probably have to be photography. I like to draw occasionally. I’ll paint a picture every once in a while, but not without guidance; I’ve enjoyed a couple of those wine and painting events. I love color in general, so I dabble in home decorating, gardening, coloring books, and the occasional craft project.

Please share an original poem.

“Ode to Cantwell” by Carrie Tangenberg © 6/9/01, revised 4/10/16, 11/3/17

First composed at Cantwell Cliffs, Hocking Hills State Park, south central Ohio

Ferns cry up the greenest

moss-kissed stones I’ve seen.

Fellows dress in fringe,

and cascade merriment.

 

Velvet mats outdo

a frond-sprawl of delight—

in one vale, fresh spinach,

another, shamrock shake (or

is that lichen?), then lime

green Jell-O, young

avocado—ever glad

in rained-soaked shade.

 

If trees are chefs and servants,

then falls of ale ensconce

a vast buffet, inviting

calls to Cantwell Cliffs.

 

No hearth yet in view,

we walk, my love and I,

grasp at crags and creases.

A share of these replaces

clasping hands—too fraught,

despite appeasing warmth.

 

Plump rock faces, deep-

set stoned eyes, cliff chins,

talus noses, unkempt

joyful, bearded jaws

of giant height (or depth),

bouldered, flaunt their black-

and-green tartan patterns,

like heady Guinness pints

wrapped in Beltane bands.

 

We lurk the upper lip

and scarce escape the teeth.

 

One walking stick—scepter-

shaped, a hovering torch—

guides a canty man

askance our emerald path.

Swift, glad and keen,

earthen steps from rod to

root, his wordless cant:

 

“I am the fateful ambler,

chief of my migration,

god of my life and strife.

I come here to be, to pass,

to climb, to stir green trails

to sight and sense, imbibe

and feast in any weather,

hearth or no, till I’m full

and satisfied. I’m noble

but free, for I leave it all

here, fulsome as before.

 

“Though I look not behind,

I know return is rare.”

 

Serrated plumage wags

at slightest breath of man.

Untrod, the mosses cling.

Ebullient, verdant things.

The Artist’s Corner – Talking Poetry With Poet Carrie Tangenberg, Part 1

I met Carrie Tangenberg several years ago in a writing group for poets and authors.  Right from the start I could tell she was an intelligent, well-read, and well-spoken woman.  The best part was that Carrie never came across as haughty or unapproachable.  On the contrary, her elegance and calm reserve combined with her intellect positioned her to make the most constructive critiques.  I have also witnessed this in the classical literature book club to which we both belong.

When I realized I needed a poet for The Artist’s Corner, Carrie immediately sprang to mind.  I only wish you could hear her answers in her own sophisticated voice.  I know you’ll enjoy reading them as they are deeply informative, openly transparent, and incredibly encouraging for anyone who has ever had a passion for art.

Tell me a little about yourself.

Creative writing has been part of my life since early childhood. In kindergarten, I wrote a story about a stick of personified butter in its trials and travails. I think that was my first story. Then, it was poetry in elementary school, which has persisted to present day.

After college, I applied my writing talent in office settings of the publishing and higher education fields. Later, I switched focus to teaching English and writing, along with other humanities subjects. Now, I blog about non-fiction, poetry, and novel writing, as well as nature, travel, and film and TV storytelling. I also tutor writing and career help online.

Other ways I stay connected to the writing world include participating in a classic literature book club, a local writing group, and our region’s National Novel Writing Month program. I took a course in memoir writing earlier this year, and I won a local poetry contest in spring 2016.

I also garden, bird-watch, practice photography, and hike in the area’s metro parks. In reading, I favor Outlander, literary fiction, adventure, contemporary realistic fiction, and sci-fi, poetry, and non-fiction works of memoir, writing about writing, and satire. My film preferences are eclectic, but many of my favorites happen to be space/alien sci-fi adventure such as Star Wars.

See the “About me” page of my blog for more philosophical and literary hints to my personality.

What prompted you to begin writing poetry?

I’ve always had a strong sense of rhythm and musicality, so after dancing jazz in first grade and lip-syncing to tunes in the living room, I started writing rhyming poems about birds in fifth grade. Most of my life’s poetry is about nature or wildlife, from the first to the most recent attempts. I also love language and playing with the sounds words make.

Who or what is your inspiration for writing poetry?

Number one, as I said, is wildlife or wilderness, often birds, trees and flowers, landscapes, waterways, and even insects, soil, and rocks, or as broad as the cosmos. I’m fascinated by predator-prey dynamics, the beauty and indifference of nature, and I love all sorts of animals. Favorites include wolves, foxes, African wild dogs, otters, all sorts of birds, chameleons, and meerkats. In an alternate life where I’m better at math and science, if I couldn’t be an ornithologist, I’d be a wildlife or canid biologist.

Other inspirations are existential or spiritual contemplation often intersecting with language and meaning—in other words, the nature of life, death, perception, reality, motivation, and how we express and understand those. Occasionally, I’m inspired by current events such as the death of Leonard Nimoy, for which I wrote my first elegy.

How does a poem begin for you, with an idea, a form, or an image?

It varies. Sometimes I’m attempting to capture an image with description. Other times, I like a phrase or concept and want to see what I can make of it. Mainly, spare impressions guide me forward, and the end result can often remain rather impressionistic. I long ago developed the habit of gravitating toward nature imagery for my similes and metaphors.

I suppose I enjoy the challenge of urging fresh ways of looking at nature, since it’s been done so much by so many poets and songwriters for so long. Nature poetry is typically the first kind that non-poetic types think of or attempt to write, usually a piece of verse about autumn leaves, celestial bodies, or weather. I often aim to upend those expectations or write the usual in an unusual way. So, the prominent starting points are ideas and language, but I might set out to fill a form such as a sonnet, blank verse, or even a limerick—for added, puzzle-solving challenge.

What conditions help you with your writing process? Where do you write? When do you write?

Optimal conditions are the ongoing puzzle I have yet to solve. If only I could figure this out, I’d be in so much greater shape artistically, if not also in terms of publishing. I write mostly at home, but I also find inspiration in local parks, other green spaces, and the occasional cafe. Sometimes I’ll start on the computer, but I keep in touch with the fact that handwriting can boost my creative flow. I write in cursive as often as in print letters, and that lends its own enjoyment of beauty to the exercise. I can write at all hours, whenever the mood or idea strikes, but I’m most productive late at night. I’m not sure when I write best, though.

What is your creative process? Do you have any routines?

Typically, I’ll draft a poem long-hand, then either mark it up or type it up for revision. Next, I’ll try to apply my revision ideas. Often it helps at this point to set the poem aside and come back after a few days or even weeks to see if I still like it enough overall to polish it in its current basic structure. If not, I’ll file it unchanged. If so, I’ll put my best foot forward in finalizing the poem.

I once chronicled my verse writing process on my blog in a series of 4 posts. I learned a lot by doing that, but I don’t know if it helped me set any particular approach in stone or make significant changes to my routine. The posts are cross-linked, and the first one is “On Process: Verse Writing, Introduction and Part I: Motivation.

What books (of poetry or the creative process) or poets have influenced your writing?

Emily Dickinson was my initial influence for imagery, rhythm, and the combined sounds of words. She wrote a lot about death and loss, as well as nature, in her reclusive solitude. As a child, I had few close friends, so I could relate to some of that desolation and loneliness. Those feelings linger with me, but they’ve also evolved as I’ve adjusted how I write about nature. I have become accustomed to melancholy and used it to my artistic advantage.

Other works I find myself imitating are the nature poems of Gerard Manley Hopkins, Amy Clampitt, Elizabeth Bishop, Seamus Heaney, W.B. Yeats, and Judith Wright. I also love poets Philip Larkin and Billy Collins. Derek Walcott’s epic poem Omeros, which I read in college, is simply stunning. Beauty drips from this post-colonial Caribbean take on Homer’s The Odyssey.

How often do you create a new poem? What style or form do you choose for your poems?

I write half a dozen or so poems a year, sometimes working on them for long periods and coming back after a break to revise further. The rest are brief impressions jotted and then affectionately released from my attention into the archives. Most often I write in free verse using internal or near rhyme.

Are there any forms you haven’t tried but would like to?

Let’s see. I’ve written one poem in blank verse, a few sonnets, a syllabic, an elegy, a sestina, a villanelle, couplets, limericks, a handful of concrete poems, free verse, songs with refrains, and I tend to play with line and stanza breaks. If I thought more about it, I would probably find lots of forms I’d like to try. I have a poster with a reference chart of poetic forms on it at home. Some of them are very difficult, though, and it takes real dedication, regular practice, or teaching poetry to be primed for those challenges. I tend to dabble and seldom tutor poetry writing, though I have enjoyed a few sessions.

How much of yourself do you write into your poetry?

That’s a good existential question if I ever saw one. For me, the way I’ve written myself into poetry has progressed in different stages, but sometimes I return to earlier ones. I used to write a lot of confessional poetry about feelings, anxieties, depression, situational impressions, my experiences during study in France, and some poems about playing soccer or about ideas in stories I’ve read.

Nowadays, I still write occasional complaints in poetic form, but I don’t consider those serious or publishable samples. I have a strong aversion to writing, or reading, political poetry. I prefer the essay form for that purpose. I find a lot of slam poetry and poetry focused on political viewpoints to be too whiny, with off-putting ideas or, most frequently, simply incomplete and unpolished. People tend to take liberties with form, clarity, and content when motivated by outrage or ennui.

I’m always somewhere in my own poems—as the speaker and observer, as a character made of shades of myself and my way of thinking and speaking, and sometimes as the subject. I think every writer is to some degree.

Do you find yourself returning to a particular theme in your poetry?

The most prominent themes include natural elements as expressions of mood, marveling at some specimen of the animal kingdom, struggles for personal freedom and comfort in my own skin, or a combination of these. I’ve also focused a lot on nature poetry in my blog, along with book and arts reviews, emphasizing Diana Gabaldon’s Outlander book and the STARZ TV series. I recently added travel writing about our wonderful trip to Scotland inspired by Outlander. My blog title is a throwback to my philosophy roots, a nod to part of a nickname for me, and a portmanteau meant to capture that blend of writing topics: “Philosofishal.

Word choice in poetry seems so important. Do you write with a dictionary or thesaurus next to you or make words choices in the editing process?

I periodically refer to dictionary.com or thesaurus.com and research using the Internet. Word choice is extremely important—one of the most important aspects of poetry in particular and, I believe, any good writing. Precise meaning, the right sounds, the right shapes and lengths for optimal rhythm, and careful phrasing, punctuation, and line breaks all have to work in concert for the best effects.

Punctuation choice is highly under-appreciated as a conveyor of nuanced meaning in writing. In poetry, if it is to be used, which is not required, punctuation must be precisely and consistently applied. That was one of the most memorable lessons my verse writing professor had for me in college: “You really must study punctuation.” As an English teacher and poet, I pay close attention to grammar and mechanics standards. When you know the rules, you can more effectively bend, break or uphold them to fit a poem’s purpose and style.

What is your revision process like?

In a poetry reading event at the Akron-Summit County Public Library last year, former U. S. Poet Laureate Billy Collins, of whom I have been a long-time fan, said his writing process is nearly effortless. This comes with experience, of course, but he also makes a point of intentionally abandoning the task early if it gets too unwieldy, cumbersome, or sticky. I haven’t learned that trick, or earned that freedom, yet.

As I mentioned earlier, if I think I have a good enough start, I’ll draft and revise until it’s finished or until it’s changed too much to salvage. This speaks to the importance of saving versions. It can be unavoidable to struggle, though, and to be disheartened by ruinous results. Revision is the fine art of learning when good enough is good enough, which is very subjective, especially for new or amateur poets or poets without good editors. Perhaps I also feel a sense of urgency to put out a product, abandoning my drafts only after a hefty, strenuous effort, long past the wisest point of letting go.

Writers need to learn to become comfortable with what we call sh**ty first drafts, to expect snags and detours, and to know when it’s time to switch focus to a new or different project. Several factors may need to come together to make a piece work well, so that means a lot can go wrong, too. First, you have to know what the different aspects of a poem are. Then, after carefully assessing each factor and addressing each as needed, you can get a more realistic sense of a poem’s or a painting’s potential.

It’s always going to be something of a process, but we’re better off if we can recognize when we’re courting futility. The key at that moment is not to view this as a failure, which can be quite hard for artists, me included. Instead, finishing may be a simple matter of using a different form for the content, pinpointing that missing language or concept, or waiting a while for it all to coalesce, but that doesn’t necessarily make finishing any quicker or easier.

Is poetry your only type of writing? If not, what other types of writing do you indulge in? What is the relationship between your poetry and other writing?

I write a lot of different things, but not as many as I should or could if I were publishing my verse regularly. I write essays and articles on my blog about creativity, book reviews, TV shows, travel, and nature. I write novels during NaNoWriMo and Camp NaNoWriMo. I write political manifestos I never publish, just to get things off my chest. I recently began trying my hand at memoir and may do more of that in the future. My main focus right now, though, is the non-fiction on my blog.

Has your idea of what poetry is changed since you began writing poems?

My standards for what makes a good poem have definitely risen with education, my own reading, and writing experience. I’ve also found poetry in the prose of certain novels and learned to appreciate different poetic forms and outlets as I’ve aged, realizing how rare poetry really is.

Do poets experience (mental/writing) block (or fear) the way a writer of novels or short stories does? If you have, how did you handle it?

Writing is writing. Working with words or any creative material, in whatever form, brings with it challenges and rewards, as with any job. Furthermore, good writing and holding oneself to a standard of good writing means that, chances are, there will be anxiety. Pressure is useful up to a point. It’s when my own internal pressure to perform and produce becomes too much that I have the most trouble writing.

For me, it’s a periodically recurring problem. I feel as if I’m always searching for ways forward, but that’s also my nature: I’m a seeker. I’m very interested in the “how” of life and writing, so I experiment a lot, resist routine, and tend to suffer the inevitable consequences: interesting process, fewer outcomes, more worry. It’s mentally and emotionally taxing, but it can be creatively fruitful, too, because I’m already slightly outside the box in my thinking sometimes.

What do you hope to achieve with your poems? Do you ask questions in your poetry? If so, are they open ended questions or do you resolve them?

I have several different aims that can either cooperate or compete with each other in a poem for both my audience and myself. Beauty is one. Insight is another. Cleverness and novelty, yet others. Sometimes I write my journaling in verse, but I may not realize it’s just artistic journaling until later. In those cases especially, one of my aims is to convey a certain message or answer a particular question.

With nature poetry, as I mentioned earlier, a typical aim is to upset expectations, to open minds and hearts to new ways of seeing things. Along with these purposes, I’m mindful of craft and improving it. I might focus on developing a keener feel for line breaks or achieving tighter phrasing or using a different literary device than I might typically rely on.

As for solving or leaving unsolved, it depends. I think I often try my best to answer a question my poem poses, but more often than not, it’s only partially resolved or the question has changed or has been revealed to be missing the point by the end.

~~Part 2 of Carrie Tangenberg’s interview continues tomorrow at The Artist’s Corner

 

The Artist’s Corner – Taking Pictures With Rosita Larsson, Photographer

Several years ago, a collection of artists pursuing various art forms found themselves in a group message on Twitter complimenting each other’s work and wishing each other a great day.  This went on for some time, and out of this a few became particularly close.  They followed each other on Facebook and via blogs, and their friendships became closer.  Although they’ve never met (their relationships are still bound up in social media), their separation didn’t reduce the fondness they had for each other or the appreciation they expressed toward the individual’s chosen art form.

As one of those artists, I’d like to feature my friend, Rosita Larsson, and her amazing skill as a photographer.  Rosita was interested and willing to answer my questions for The Artist’s Corner.  The little bit of language barrier between us wasn’t a problem at all.  That’s probably because her English is much better than my Swedish!  Without further ado, allow me to introduce Rosita Larsson, photographer.

Tell me a little bit about yourself.

My name is Rosita Larsson.  I am a bighearted, international, Swedish autodidact and artist born in 1956.  I am the mother for four and grandmother of five.  I am a very kind person who expresses what is on her mind.  In my soul and heart, I hold the freedom and beauty that is art.  Creation has been a driving force and a salvation my whole life and through my own personal illness as well as my career spanning more than thirty years.  The best addition to creation is to put a smile on someone’s face, to inspire, and to help out!  I have always created in some form and began exhibiting intermittently for over thirty years, both as an individual and in group exhibitions.  I’ve exhibited worldwide in places such as the United States, the United Kingdom, Brazil, Bulgaria, and France.

Do you put yourself into your photography?

I put my soul into my photography just like when I create.  And I have the eye as you might say.

What has your experience been?

I see myself as an artist first; one who photographs and does artwork, like painting or drawing.  I’ve always created in some form.  I worked in a laboratory with perfumes and essences, worked in stock and stores that sold beautiful things and clothes. I have worked with kindergarten children doing arts and crafts.  I’ve worked in offices, the latest being the Economy Department.  I’ve created brochures, layouts, etc. outside of my regular office work.  These are my ‘livelihood projects,’ and as I was the sole provider for my family, I created and participated in exhibitions in my free time.  In addition to the above, I’ve worked as a class Ma/PTA worker, a leader for leisure activities, in theater groups, and union work.

Did your work experience lead to the pursuit of photography?

I was always the one who photographed all the conferences, company meetings, my family first and foremost, and quite a lot of people.  I seldom photograph people now days except my family, of course.  But I held back my passion for photographing abstracts and flowers, etc.  It was very expensive with film in addition to the specific camera I wanted.

How did you develop your passion for photography?

From when I was eight years old, I loved to photograph (borrowed my grandmother’s Kodak Instamatic).  I got my first camera a couple years later.  Since then, photography has been one of my major interests.  But things happen, and I had to limit photography to my wonderful family, a flower, or a stone or brick wall now and then.  I have always written, created, and primarily painted and drawn, but when the digital camera made its entry, I began more and more to photograph.  And guess what I always have with me:  my camera.

What or who is your inspiration?

Everything!  The experience rich life, and then I have a passion for flowers and architecture.  I see motivation and beauty in almost everything which makes the ordinary seem extraordinary.  I look upward and see angles to construct photo art.  I see subjects everywhere to the extent that it can be difficult which is why I prefer to be alone when I photograph.  When I’m with others, I give them the focus, show consideration, and listen, but when I photograph, I give the objects the focus!

What do you enjoy photographing?

Multiple POVs in reflections, in water, mirrors, windows.  Wherever I am on earth, I always have a camera with me.  It’s like a treasure hunt:  which designs, patterns, funny things, or flowers does my eye find today?  It doesn’t matter if it’s on a trip abroad or to the local grocery store; the treasure hunt is always there.  This applies to all aspecst of my life, too, when I’m in the woods searching for sticks and material to create with, searching for the best recipes or creating my own personal best.  At flea markets, secondhand stores, and vintage shops, I’m always looking for treasures.

That’s why my photos can be about almost anything.  Some things are my absolute passion such as flowers and stone in all forms (such as walls), water in all forms, and buildings (especially old houses and churches).  I get a lot of inspiration for my photographs, and a lot of people get inspired by my photographs.  It’s a win/win situation!

My photographs are completely true as you see it.  I don’t use Photoshop or other programs, no manipulation, alterations, or processing.

Where can someone find you online?  Do you have a website?

You can find me here:  Rosita Larrson

or here: Rosita Larsson Art Collections

In which contests have you competed?  What awards have you won?

Awards won in Design/Crystal Chandelier/Krebs 2006

Botanical and floral photographs have won awards in Sweden 2012

Photographers Forum/Sigma USA Awarded in 35th Annual 2015

Premio Drops from the World, National Civil War Victims Association

Culture and Peace Education/Honorable Mention

Witness of Peace and Solidarity, Italy, September 2016

Attestato di Meriot Artistico 2012 – 2017, many exhibitions in Italy

Conferisce il titolo di laurea ad honorem, Globalart Galleria, Italy, June 2017

Have you been featured in a magazine or other publication?

Libro Co. italia

The book is in English.  I have three works in this anthology along with other poets and artists from several countries.  The purchase helps supply filters to purify water in Bangladesh.  So far, it’s yielded pure water for three villages.

Right now, I am the Featured Artist of the Month in Sanctuary Magazine on the Internet.

Do you take photos for people?  How does a client contact you?

Yes, and I participate and use my art in different charities.  It’s a passion!  Potential clients may contact me here:  larssonzita@hotmail.com

What is your process for photographing people?

I rarely photograph people nowadays.  I go into photography focused as if in another world.  It’s calmer and almost like meditation for me.

How is what you shoot for yourself different from what you take for other people?

It’s painting with the camera, so no difference.

Has your work ever been used for commercial purposes?

Not that I know of!

What’s your favorite photograph that you’ve taken?

Oh, dear—so many favs!  I have about 25,000 photos on my computer.  Not all of them are favs, of course, but many of them are in different ways because I photograph many different styles and objects, abstracts, macro, still life, nature, etc., etc.  Three is a charm, so I’ll take one of my still lifes, one macro, and my latest from this summer, a multiple POV/reflection photo.  (View Rosita’s photographers throughout the post.)

What’s your dream photograph?

The Aurora Borealis/ Northern Lights and the pyramids without the tourists.

What’s your biggest complaint with photography?

I take too many photographs, and I see too much motivation everywhere!  Also, I need a meaning with everything, so that’s a paradox.

Would you like to work full-time as a photographer?  If so, how do you see your business growing?

No, but as an artist whether it’s with a camera, brush, or pen.  I would like to do book illustrations and covers for example.

Do you work alone or with a partner?

Alone, but after I have done my artwork, I like to work on different projects with others.

The Artist’s Corner – Cooking With Priscilla Smith

I’ve mentioned before that I have a tendency to feed the characters in my stories.  In fact my novel, The Secrets of Dr. John Welles, is replete with the mention of food prompting the sharing of recipes.  So when I began The Artist’s Corner, it made sense to feature someone who enjoys the art of cooking as much as I do.  I don’t believe Priscilla has ever cooked for a fictional person, but if she did, they would enjoy her talent as much as the real people for whom she cooks.

Hello and welcome to the Artist’s Corner.  Tell me a little bit about yourself.

Well, I’ve been married for fifty-one years, and I have two children and two grandchildren.  I have enjoyed being a homemaker for the better part of my marriage.  I was heavily involved in raising my family and my children’s schooling, but I also worked in the banking and legal industry as well as a volunteer at the fire department.

How/when did your love of cooking develop?

I learned to cook under my mother’s instruction, but growing up in West Virginia didn’t expose me to a variety of foods.  My basic cooking skills didn’t develop until my high school home economics class in Ohio.  My final project was to collect recipes, and I gathered some good ones, but they were basic.

I honed my skills through my relationship with my oldest brother’s wife.  Inta is Latvian, and she introduced me to other foods and methods of preparation.  I fell in love with cooking and realized I could do this, too.

Do you consider the food you prepare art?

All of it.  From the first steps of preparation to the finished meal is the creation process resulting in edible art.  That’s why I take pictures of it and put it on Facebook!  At first I thought just the fancy stuff and my baking was art, but I realized it all is.  The quality of the food contributes to the finished product.  Homemade food is art with love infused.  In fact, something as simple as fried green tomatoes when made with good ingredients and love are impressive.

And don’t forget that the table setting is part of it.  Presentation plays an important role.  You eat first with your eyes, then your sense of smell, and finally with your mouth.  Sure, it’s the same food when you hastily prepare it and eat right out of the pans, but beautiful dishes, large platters, place mats, candlelight, napkins, silver, and crystal:  all this enhances the food.  You make it worthy of being presented in a magazine.

Do you put yourself into your cooking?

Absolutely.  How I season, what I choose to cook for a particular meal, how I approach the preparation process:  this is me infusing myself into the food.  I love to cook what I enjoy eating for other people.  It’s a small expression of my personality that I can share with others.  And you really can’t go wrong when you’re cooking something you like to eat; it’s like giving a present of yourself to someone.

My accent is on good, solid food.  Not necessarily fancy, but I’m not afraid to try something new.  Thai food has been of interest to me lately.  But if asked to prepare something that I’m not particularly fond of or have never made, I’ll still make every effort to please whoever I’m feeding.

I don’t consider myself a chef by any means, but I consider myself a cook, and a good one.  I have training in life experience with cooking.  My education comes from searching through cookbooks, vintage recipes, online, and word of mouth which usually provides the best recipes.  And I can never leave a recipe alone; I always tweak it!  Sometimes my recipes are never the same twice, but they’re always good.

What other cooking experience have you had?

On a whim, I took a cake decorating class with women from a craft club I attended years ago when my children were young.  A bunch of us went.  I fell in love with the art of cake decorating and started making my kids’ cakes, cakes for neighbors, cakes for family functions.  I realized I could channel my talent into a small business.  With a lot of practice, I worked my way up to wedding cakes and was quite successful.

Did your non-cooking work experience lead to the pursuit of cooking?

Not exactly, but cooking for my family fed my interest.  I’ve never even been a waitress, but I’ve been involved with hosting tea parties (in my home, at church, and in other people’s homes), guests breakfasts for Pastor Appreciation, luncheons honoring staff or administrators at schools, catered wedding receptions, wedding showers, baby showers, conference luncheons for two hundred people at churches, a week’s worth of meals for an equestrian group with special dietary requests, and company Christmas parties.  In each instance, I worked with my client(s) to create a full menu that would be visually pleasing and delicious, and then I prepared the food.

What or who is your inspiration for cooking?

Julia Child, Ina Garten, and Martha Stewart—they cause me to rise up to their standard of cooking.  I love watching them and reading their cookbooks.  Factor in Graham Kerr and Justin Wilson.

What do you enjoy cooking?

It would be a lot quicker to say what I don’t enjoy.  My favorite things to cook are my childhood comfort foods which are brown beans and cornbread, meatloaf and mashed potatoes.  Simple desserts like Crazy Cake and fudge.  Really, it’s hard to say any one thing since I like to make big meals and serve people.  I love to make pasta, beef roasts, chicken in many forms, roasted vegetables.  I love baking pies, breads, cookies, and cakes in that order.

Do you still cook for others as a business?

No, now it’s all for pure pleasure.  Well, actually, I’d take small jobs for close friends or family.  I’ve done everything I want to do business-wise with cooking.  I could turn all my handwritten recipes into a cookbook.  I could see a market for it based on people’s positive reaction to The Pioneer Woman and Paula Deen.  People like well-prepared, basic food that tastes good and isn’t difficult.  Food you already have in your cupboards.

Have you ever competed in a cooking contest or bake off?  If so, how did you do?

I baked for competition once.  When I was a young mother, I made candy apple pie for a local grocery store’s competition.  I took second place and received a ribbon!  I love watching the competitions on television and thinking, I could beat Bobby Flay, but cooking shouldn’t be under pressure or about throwing food around.  I’m not going to cook octopus, but if Bobby and I competed at potato soup or chili, I know I could take him down in a heartbeat.

How have you shared your cooking skills?

Lately, I’ve been teaching a young girl how to cook because she’s homeschooled.  Her mother asked me if I’d teach her to bake cupcakes and cookies because she’d tasted my stuff.  We slowly progressed into pies (double crust and with meringue), and she’s made palmiers, pudding, and angel food cake.  Next she’s going to make cheesecake.  We keep progressing with more and more difficult techniques.

What’s your opinion on the removal of Home Economics from school, specifically cooking?

It’s sad because young people don’t know how to cook.  They come home from work and buy something frozen or already prepared.  And I’m not talking about just girls.  Boys need to know how to cook, too.  My one grandson is prime example that boys can learn how to cook.  It doesn’t have to be fancy, but they need to learn how to feed themselves.  Breakfast and dinner are essentials because that’s usually when they’re home.  Lunch is often eaten out, so they need to learn how to choose wisely.

How is what you cook for yourself different from what you cook for other people?

If I’m making a grilled cheese for myself, I’m going to grab a couple slices of bread from the fridge, use American cheese, and the fanciest thing I’d include would be a slice of tomato.  But if I’m making grilled cheese for someone else, I’m going to use seven-grain or homemade sourdough bread, gruyere, fontina, or a combination of exceptional melting cheeses, spread one side with Dijon mustard, and put a slice of roasted red pepper on that baby.  Still grilled cheese, but see the difference!

No doubt you’d work presentation into this simple fare?

Absolutely!  And it’s not just dressing up ill-prepared or tasteless food.  Make no mistake; it all starts with delicious food, quality ingredients.  Even how you refer to it is important.  Simple things like cutting the crust off toast or sprinkling chopped green onions over an omelet and serving it on pretty dishes can go a long way to turning the eggs and toast you always have for breakfast into something special.

What’s your favorite meal to cook?

Passover.  I love cooking for Passover.  When I’m cooking the Passover meal, the whole experience becomes holy.  Of course the Seder is beautiful; it’s for Adonai.  It can be quite long, so people are getting hungry.  You’d better serve them your best, and I do.  What I hope they know is that I’ve given my best to them because of my love for Adonai.

What’s your dream meal?

To have lunch with Martha Stewart, but I prepare the food.  There’d be a salad involved, probably a soup and sandwich combination.  The time of year, whether spring or fall, would influence the menu.  And I’d make homemade pie, probably lemon meringue because my crust is excellent.

What’s your biggest complaint with cooking?

The cost of good ingredients can be prohibitive.  One meal could be outrageous.  I’ll buy organic when it’s feasible.  My concern isn’t just for myself, it’s for everyone.  We live in a country that wastes too much food.  The GMOs bother me, too.  Whole foods and organics should be available at reasonable prices to everyone.

So do you have a recipe to share with us?

You know I do!

Homemade Potato Dumpling Soup

6 – 8 Redskin or Yukon Gold potatoes, peeled and diced

3 – 4 ribs of celery, sliced

Medium sweet onion, chopped

4 eggs, beaten

1 ½ c flour

½ t salt

Stick of butter

4 – 6 cups chicken broth, homemade or canned (enough to cover, depends on the size of your potatoes)

Salt and pepper to taste

1 quart half-n-half

Place the potatoes, celery, and onions in a large pot and cover with the broth.  Bring to a boil, reduce to simmer, and cover while you’re making the dumplings.

Combined the eggs, flour, and salt in a mixing bowl and stir thoroughly to make a thick batter for dumplings.  Take a large spoonful of dumpling mixture and cut off pieces with a butter knife, dropping them into the hot soup.  Add a stick of butter.  Cover and let the dumplings cook for 5 – 8 minutes.

Turn the heat off and add the half-and-half until there is plenty of liquid around the ingredients and the soup looks creamy.  Taste to see if you need more salt, then season further with salt and pepper.

My family likes to top the soup with small chunks of Havarti, let it soften ever so slightly, and then eat it!

The Artist’s Corner – Michelle Smith, Photographer

When I seriously started to hone my chosen craft of writing, one of the first things I noticed was how closely related the approach is too many other forms of art.  Whether it’s cooking, painting, composing, dancing, or taking pictures, we all start with desire and ability.  Where it goes from there depends on our level of commitment, how we respond to mistakes, rejection, and criticism, and how we allow ourselves to grow.  The great artists press on and realize that their success isn’t measured by fame or fortune.

In A Snapshot of Writing, I detailed one of my favorite crossover art forms, photography.  After re-reading the post, the idea came to me to feature other artists and discuss their approach to their chosen art form.  I decided to start with brilliant, budding photographer Michelle Smith.

Welcome to The Artist’s Corner.  Tell me a little bit about yourself.

I’m a survivor.  My strength is my compassion.  I’m a pet person with a rescue cat addiction.  I’m destined to be the crazy cat lady, but my husband and son won’t let me.

Do you put yourself into your photography?

I do.  I’ve had some rough spots in my life, so I’m trying to tell a story through what I’m taking pictures of.  They reflect who I am and how I’m trying to find myself.  I want to be seen, and although it’s who I am now, it’s not where I want to stay, it’s not who I want to be.

Ankle deep in commitment.

What has your experience been?

I was a stay-at-home mom for ten years before I started my career at thirty-four as an EMT and then progressed to paramedic.  I worked for a private ambulance company for eight and a half years, three and a half years of that was in training and education.  I currently work in the ER Department of a hospital as an active paramedic.  I love it!

Did your work experience lead to the pursuit of photography?

No, actually it didn’t.  My husband’s job did.  He’s a detective who trained in taking crime scene photos.  His experience piqued my interest in photography.

How did you develop your passion for photography?

I started going with him to take picture outside of the crime scenes.  He shot landscapes, objects, places, and eventually senior class pictures.  I found myself telling him what to take pictures of, and I started taking the camera from him.  He’d just chuckle at me.  Then he started explaining what I was looking for and how to work the settings, but I didn’t pay attention at first because it wasn’t my camera.  I let him move the settings, and I took the picture.

That lasted for about six months until he gave me a camera for Christmas.  We were going on vacation, and he knew I’d want my camera for the trip, so I got it in November.  It was either give me my own camera or lose his!

What’s your inspiration?

Spending time with my husband because it’s something we have in common.  Listening to him patiently tell me how to use my camera.  Taking long car rides to where we’re going to go take pictures and chatting about it on the way.

What do you enjoy photographing?

I enjoy taking pictures of abandoned places because I feel sad for them.  I think of all the things that took place there.  I don’t have memories of these places so I think what happened here?  I wonder about the families that were displaced, the moms who raised their kids there, and the people who lost their jobs.  Where are these people now?  Time has forgotten these places and no one wants to hear the stories, so I take pictures of the abandoned places and tell their story through my photography.

Where can someone find you online?  Do you have a website?

I have some of my pictures posted on ViewBug under the name Just4FunPhotography.  You can find them on the home page newest to oldest.

In which contests have you competed?  What awards have you won?

On ViewBug, I participated in peer-created challenges and received the People’s Choice award in the categories of Lanterns, Save the Rain Forest, and Toy Planes.  I also received the ViewBug Member Selection Award and Staff Winter Selection for 2015.  I took first place in Nature and also in Architecture at the Portage County Randolph Fair.  At the Lake Community Branch of the Stark County District Library’s Annual Photo Contest, I took first place in Nature and second place in Architecture.

Do you take photos for people?  How does a client contact you?

I haven’t yet for major events such as weddings, graduations, but I’m willing to learn.  I think I’m afraid to because you can’t have that moment back like you can with a landscape or object.

What is your process for photographing people?

Well, actually, my focus is on landscapes or objects.  I’m not a big fan of people pictures, so all the movement in my photographs is natural:  waterfalls, wind through the trees.  Right now, I don’t incorporate people.

How is what you shoot for yourself different from what you do for people?

When I shoot for myself, I look at the picture with a more critical eye because I am the photographer.  I’m harder on myself than when I’m shooting for others.  That’s not to say that I don’t put all my effort into shooting for other people.  I take their requests very seriously.

It’s a great satisfaction for me to be able to take a photo for someone and capture it exactly as they wanted.  Recently, I took pictures of pigs at a fair for a friend who grew up raising pigs for 4-H.  I wasn’t sure I got exactly what she wanted because I couldn’t get past the fences to take the pictures.  She loved them because that’s what she remembered:  looking at pigs up close through the fence.  It was a successful shoot because I made her happy.

Has your work ever been used for commercial purposes?

No, but I’d definitely consider it.  For National Geographic; I want that shot!  It’s the dream.  I’d also like to see my picture of a baseball player on a card or the electronic billboard at the game.  Or maybe a hockey player because of their facial expressions.  If you have patience, and capture the right moment, they have some intense expressions.  But then I’d have to photograph people!

What’s your favorite photograph that you’ve taken?

I have to choose one?  I have two!  I captured it on my first day out with my own camera.  Picture this:  With butterflies all around, capturing just one was difficult.  I turned to notice the curls of a flower vine hanging just above my head.  As I admired its beauty, this butterfly fluttered right down onto the dangling vine.  I was filled with excitement and literally shook!  I slowly raised my camera into position, took a deep breath, and then snapped the picture.  Then I recalled my lessons; even though I took the picture, the settings may not have been correct for this situation.  I reined in my excitement and slowly changed the settings to capture the picture as you see it.  I smiled, thinking to myself, Wow that’s going to be amazing.  This photograph has no post-process editing.  I named it Curly Q.

My second favorite is of the 1792 distillery rickhouse in Kentucky.  It’s called Master Distiller Approved.  I applied the rule of thirds and vanishing points to the picture, but when I snapped it, it came out with too much backlight from the windows.  I closed the aperture, and it was perfect.  Plus the smell of bourbon in there was heavenly!

What’s your dream photograph?

Are you really ready?  People are going to think I’m freakin’ crazy.  I want to capture what was left behind after Chernobyl.  After viewing other photographers’ work, I became inspired and decided that’s one of my dream shots.  It’s part of the abandoned place thing.  So many lives were lost, these people had no time to pack, they were evacuated in forty-eight hours, and told they were leaving for just a short time.

The other, I’m claustrophobic so it’s never going to happen, is to photograph the abandoned hulls of underwater shipwrecks.  I’d like to do war ships, but you can’t get close.  Talk about stories to tell!

What’s your biggest beef with photography?

Photoshopping!  Lightroom, a program that fixes the picture and makes it more than it was to begin with.  It’s not real, and photographers are getting awards for this type of work.  The pictures are over processed, over edited.  There’s a minimum of allowable tinkering.  All I’ll do is sharpen, define, and noise reduction which fixes shaking.  If the picture is already good, it’s not even noticeable.  There is some post-processing no matter who you are (National Geographic, Victoria’s Secret, or Sports Illustrated), but you can’t make a bad photo good.  Well, you can, but that’s cheating.

My other complaint is photographers who steal other people’s work.

Would you like to work full-time as a photographer?  If so, how do you see your business growing?

Absolutely!  To enjoy your hobby as a career could be more relaxing than the grind of an everyday job that is so-so.  Not that my job is so-so.  Remember, I love being a paramedic.  Breaking in to the world of photography to make your name takes time and commitment.  There’s the investment in equipment unless you get hired in somewhere that supplies equipment.  So, I’d work for someone commercially to get started.

Then there’s the investment in your craft.  I’m still learning and growing my confidence.  I need to work at handling variables such as people (they’re so unpredictable!) and not putting a picture in my head and trying to make it happen.

Do you work alone or with a partner?

I prefer going with someone else.  I enjoy going with other people whether they’re photographers or not because when they see something they want a picture of, I can give it to them.  I don’t have to guess at what they’ll like.  It’s quite confidence building to deliver a picture right then and have them be pleased.  Plus I like to chat with people!

Baring My Writer’s Soul – Part 22

I am making a transition in my writing life.  The reason for this is the complete derailment I experienced in the earlier part of this year.  I know that isn’t much of an explanation, but this short version is free of negativity and the temptation to succumb to it.  I could go on and on telling you what went wrong and how I allowed it to happen, but I do not want to contaminate anyone’s thought process with my own difficulties.  We’re writers; we’ll manufacture plenty of woes on our own without someone spoon feeding suggestions to us.

The good news for me is that my writing passion is starting to return.  The stories are creeping back into my head like deer tentatively stepping from the security of the forest into the wide-open unknown of the meadow.  It was my own fault they were driven away in the first place, and I must and am taking responsibility for this.

For a short time I did nothing positive toward my writing life.  The only connection I maintained to writing was reading.  I hid out in books, believing what I did was helpful, but I was living in denial.  One piece of writing advice that actually saved me was to do something different altogether.  I was struggling anyhow, so why force something that wasn’t coming to me naturally?  Instead, I walked.

My husband and I began hiking familiar trails close to home.  I welcomed the exercise and fresh air like old friends.  We kept at it, and now we look forward to seeking new places to walk.  I took pictures with my cellphone during our hikes, playing at the most amateur form of photography.  The simple act of creativity spurred my mind.  I began to mentally describe what I saw and fashioned one or two-line stories.

My efforts probably don’t sound very constructive to the writing life except for the simple fact that they placed my focus squarely back on writing.  I felt like an adult who had successfully recaptured the magical thrill of Christmas morning.  All the superfluous baggage that people will try to tell you (or you’ll convince yourself of) is part of the writing life simply disappeared.

Again, I’m avoiding detailing exactly what those bad things were for me so that my followers won’t latch on to them.  I’m also cautious in supplying instruction on how to overcome them because too many times we grasp a particular piece of advice as a hard and fast solution to our problems.  When it doesn’t work, we become more despondent and depressed than we were at the beginning.  In short, you must proceed fearlessly on your own to discover and apply what works for you.  Fellow writers can cheer you from the sidelines, but they cannot prop you up nor do the work for you.

With a deep sigh of relief and contentment, I am single-mindedly focused on writing.  The scales have fallen away from my eyes, the chains from my hands, and I am free to write.

Write Happy!

Washing Dishes

It’s the oldest girl’s chore to wash the dishes.  She will do so without complaint, drying and stacking them on the cupboard shelves.

“Can’t we run the dishwasher?” she asks.

“No—that thing makes too much heat, and it’s already eighty-five degrees in here,” her father replies.  Disgust tinges the edge of his words, and he shakes his head at her like she’s an imbecile for even asking.

The girl’s brother and two younger siblings, a girl and a boy, wear the smiling faces of obedient, compliant children.  They dash away amidst the tension their older sister has created.  Their smiles have more to do with not having to wash dishes in the August heat.

And so the girl suffers alone as her family seeks shade in the darkened family room and cool beneath the ceiling fan.  She’s up to her elbows in hot, sudsy water, thinking about how her father never used to speak to her in that tone when he spoke to her as a child.  He developed the manner in the sixth year of his second marriage when his new wife had their first child, the little girl.  It worsened when the boy was born, as if her father was obligated to speak to her this way.

She’s not paying attention, and her hands slip off a plate.  It lands on the two inches of counter space between her and the sink, bouncing twice, before it shatters into a million shards.  All she can think is that she didn’t know a plate could bounce.

“I’ll replace it,” the girl says, sensing her father’s wife behind her.  No doubt the woman had come to criticize the girl’s work, but a more fortuitous situation presented itself.

“Don’t worry about it,” the woman says.  There is no inflection in her voice, no understanding in her eyes.  “It was ugly and mismatched anyhow.  The last one from your grandmother’s set.”

It is not the last one, but it might as well be.  There’s a saucer under a dying jade plant in the family room, chipped and stained from soil leaching out the hole in the terracotta pot.  The girl will pay for the broken plate with money earned from her job as a lunch counter girl at the golf course because it’s the right thing to do.

Later, when the sun dips behind the pines in the backyard, the girl sits in a lawn chair and drinks iced tea.  Her bare feet brush over the fuzzy, silver leaves of lamb’s ear she planted around the air conditioner compressor last year.  She thinks to herself that she cannot remember a time when there wasn’t lamb’s ear in her life.  Even at the apartment complex where she lived with her mother and brother.  And she thinks that it is stupid to have whole-house air conditioning and not use it.

There was an old couple who lived on the first floor of the complex who kept lamb’s ear in planters on the concrete porch.  She would slip down to visit them while her mother slept off her third-shift weariness.  Her brother sat in his playpen in front of the TV turned to Sesame Street.  The old man and woman knew the girl never had enough to eat, but they were also poor.  They fed her ice cream floats made with Pepsi and sent her home with bouquets of lamb’s ear.  Her mother spanked her when her brother ate one and got sick.  Then her mother got sick, and finally her dad came to visit.  She remembers him calling his new wife from the green phone hanging on the kitchen wall.  His finger absently picked at the peeling, flowered wallpaper.

“Honey, the kids are going to come stay with us for a while.”

With one sentence her life changed forever.  She and her brother had a new home and a new mommy who never let them forget that she sacrificed her career in banking to raise them.  Then came the two new siblings who the girl tried to watch over when she wasn’t being shooed away by her father’s wife.  She didn’t want her new sister and brother to eat lamb’s ear.  They are old enough to know better now.

She remembers when each of those babies came home from the hospital.  Everything smelled new then, like baby powder and plastic toys.  Plenty of pictures exist of these events, pictures with the girl’s profile or arm just barely captured in the frame. That’s when she realized her position was oldest girl, not oldest daughter.  Her brother is nowhere to be seen.  In fact, except for school pictures, there are very few of the girl and her brother since the arrival of their new siblings.

The sky turns dusky, then the shade of a bruise, and when the bats swoop from the trees, the girl goes in.  Her family already retired upstairs for the night without calling to her.  She is old enough to get herself to bed.  First, she must do a load of laundry that includes her bras and pantyhose.  Her father’s wife made her wait until laundry for the rest of the family was done because no one else needed to wash their items on delicate.  The girl doesn’t want her things ruined; she has to buy them herself.  No matter.  It is cool in the basement, and she can doze on the day bed while watching reruns of ‘80s sitcoms on the black and white TV her father keeps on his workbench.

The girl falls asleep to the rhythm of the washer and dreams about the Gibson Girls in the wallpaper behind her father’s bar.  She sees herself in the bust-enhancing gowns with her hair piled elegantly on her head and a bouquet of lamb’s ear in her hand.  Many suitors try to tempt her with ice cream floats, but the girl knows she is not free to accept, and so she runs away, Cinderella-style, to a waiting sinkful of dirty dishes.

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