Chelsea Margaret Bodnar is made of blood, meat, and bones — the usual suspects. Her poems have appeared or are forthcoming in: The Bennington Review, The Birds We Piled Loosely, Freezeray, Leopardskin & Limes, Menacing Hedge, and NANO Fiction, among others.
Well, I wrote Basement Gemini at a time when I was thinking very extensively about The Ring. I think it’s a fascinating movie, and no, I haven’t seen the original Japanese version. I’m a straight-up American Ring poseur. Anyways, The Ring is really interesting to me because of the ambiguity of its message. The takeaway is essentially that a little girl has been abused and ultimately murdered, but the twist is that she was presumably inherently evil the whole time, and you end up with this weird message/ethical dilemma about misplaced empathy, feminine power, and nature vs. nurture. At the end of the day, though, no matter how evil and powerful she was, Samara couldn’t get herself out of that well.
Pamela Taylor is a data guru by day and a poet by night. She has a doctorate in social psychology from UCLA, a MFA in Writing from Vermont College of Fine Arts, and is a Cave Canem Fellow. When she is not working or writing, she’s dancing Argentine tango in the Boston area. Her first chapbook of poetry, My Mother’s Child, was published by Hyacinth Girl Press in June 2015.
You recently published your first book of poetry, My Mother’s Child. Tell us a bit about this project and how it came about. Is this your first collection?
My Mother’s Child is my first chapbook. I wrote these poems over a 5 year span. Until I put a collection together, I never understood it when poets said their books took them years to write. I think the earliest poem (“The Climb”) was written in 2009 when I attended a small poetry generative workshop. Many of the poems about my professional life were written during my MFA program at Vermont College of Fine Arts. Others, like the closing poem (“There’s a Graveyard in My Belly”), were written during the week-long Cave Canem retreats for Black poets.
When I thought I had written enough poems to go into a book, I printed them out, put them in a logical order, and sent it out as a full collection. That strategy got me nowhere. So I focused on the poems I had gotten published in literary magazines and journals and a few others I thought were good poems. This time, I laid them out and let them speak to each other. The poems arranged themselves in two distinct groups. I sent both out as chapbooks to separate contests. This collection was a finalist for the Imaginary Friend Press chapbook competition. One of the readers, Margaret Bashaar, had her own press and asked if I would be willing to let her publish my collection with Hyacinth Girl Press.