Poet Spotlight: Kolleen Carney

Kolleen Carney
Photo by Jessica Lynne Furtado.

Kolleen Carney is a Boston-born, Burbank based poet with an undergraduate degree in English from Salem State University and an MFA in Poetry from Antioch University Los Angeles. She has published two chapbooks — Me and the Twelve Step Program (Salem State Center for Creative and Performing Arts) and Your Hand Has Fixed the Firmament (Grey Books Press, 2017). Kolleen is currently the social media coordinator and managing editor for Zoetic Press, as well as an assistant poetry editor. She is also the editor-in-chief and social media coordinator for Drunk Monkeys.

Your new collection of poetry, Your Hand Has Fixed the Firmament, has recently been published by Grey Books Press. Tell us about the project and how it came into being.

I fell in love! As silly as that sounds. To be honest, some of the poems I had started years before, like “Bestia” and “A Very Distant Rooster”. This collection is obviously an unfolding relationship, the start of a romance, of a true love — something I am not sure I had really experienced in the past, at least not with this intensity. When Fritz and I finally got together, I wrote more and more about our experiences before and after the fact. They came easily. He’s easy to write about. Everything he does is a poem in the making, and I am constantly memorizing it all.

The poems in your collection explore intimacy and sex with a mixture of fire and decay, creation and wonder. They seem to speak to the way love can be both comforting and frightening all at once. Does this reflect your personal belief or understanding of how love is? How do you bring this intimacy to your poetry and how do you bring poetry to intimacy with others?

I absolutely believe love is a terrifying thing. To love someone is to become vulnerable, and I hate being vulnerable. But in the same way, I love the comfort of a life with someone, a routine. A warm shoulder, another body next to you at night.

I used to think I didn’t really know how to love anyone beyond my son; like, I loved people, but not that sort of real love where people die holding hands or whatever. Now I do. Now I know.

I love the idea that decay leads to new life, by the way. That fire that decimated the hill? Because of that, pinecones opened up, seeds fell, and someday that hill will be filled with new trees. It’s amazing.

Love poems are sort of a new thing for me. I have never written anything so positive. I guess yes, that intimacy comes through in the poetry, because I am just trying to frame how I feel in a way that sounds nice. As for bringing poetry to intimacy, I just try to keep this feeling going, to make everything a little magical. Sometimes even going to the store can be an adventure.

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Poet Spotlight: Stacey Balkun on the elusive in history and mythology

Stacey Balkun
Stacey Balkun. (Photo by Karl Ault, Kault Photography.)

Stacey Balkun’s poetry has been described as nuanced, insatiably curious, and fearless. She is the author of two chapbooks, Lost City Museum (ELJ Publications 2016) and Jackalope-Girl Learns to Speak (dancing girl press 2016), which has recently been nominated for an Elgin Award. She is also co-editor along with Catherine Moore of Fiolet & Wing: An Anthology of Domestic Fabulist Women Poets, a teaching artist at The Poetry Barn, and Chapbook Series editor for Sundress Publications.

Your most recent collection of poetry is Lost City Museum. Tell us about the project and how it came into being.

Oddly enough, the phrase “Lost City Museum” came to me after a poetry reading by New Orleans poets Elizabeth Gross and Geoff Munsterman. Both read fascinating poems about loss, water, and preservation: all of the themes linking my most recent poems. The idea of a lost city and a museum commemorating it made me realize exactly how this project would come together.

Lost City Museum by Stacey BalkunI’m interested in how these poems incorporate imagery of both the concept of museums as buildings for artifacts and objects kept static and preserved behind glass cases, untouched, and imagery of water in the form of sea, rivers, and rain as a constantly moving force. Can you talk about what draws you to this kind of imagery? Did the imagery provide a focus for forming the collection or did you discover the theme after having written a number of individual poems?

I’m fascinated by weird, under-known history as well as mythology, both of which seem elusive to a degree and ever changing, ever moving. I wanted to somehow capture that tenuous energy to reflect an emotional landscape. Some of these poems were written during my MFA, and some came later. I lost my father about a month before my wedding. For months I wondered, how can a person feel the most lonely at a gathering of friends and family meant to celebrate her love? I struggled to write about this tension, and I think images of ocean and rain or desert and drought helped me explore and understand that odd momentum of gain and loss. This type of tension has always been there in my work, yes, but as these poems came, I sort of re-discovered it and saw a thematic thread that helped order the poems, though not necessarily narratively.

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Poet Spotlight: Jessie Carty and Shopping After the Apocalypse

Jessie CartyJessie Carty is the author of eight poetry collections, including the full length collection Practicing Disaster (Aldrich Press, 2014) and the the chapbook An Amateur Marriage (Finishing Line, 2012), which was a finalist for the 2011 Robert Watson Prize. Her work has placed third in the St. Louis Poetry Center’s 2008 contest and has been nominated for the Best of the Net Award, and she has been a finalist in a number of poetry and chapbook contests. Her latest collection of poetry, Shopping After the Apocalypse, is now available from dancing girl press and was nominated for an Elgin Award.

Tell us a little about yourself. How did you get started as a writer? What keeps you writing?

I always think of myself first as a reader. I feel very strongly that you can’t be a writer without being a reader. I have very clear memories of wanting to read before I could actually do it. As an avid reader, I found myself, from a very early age, wanting to play with words.

I’m actually in a little bit of a lull as a writer right now, but whenever that happens I return to reading. And not just poems. I read across genres. You just never know what you’ll read that will spark you to write even if it is just for yourself. Never discount the power of just writing for yourself! I also find, when I’m not feeling “the muse,” that it helps to mix things up. I’ll try out a different way of composing: using a pencil instead of a keyboard or a different size notebook.

So what keeps me going? I think at the heart of us all is the storyteller. The troubadour. The record keeper. Because, as I wrote as a teenager, I write to free myself from myself. Or maybe now I’d say, with a little less angst, I write to be and know who I am.

Shopping After the ApocalypseYour most recent chapbook of poetry is Shopping After the Apocalypse. Tell us a bit about this project and how it came about.

This was an unusual project for me in many respects. I had not been writing that much when the title came to me just out of the blue. (I love how the mind works!) I don’t normally write from titles. In fact, I usually don’t title a poem till well after it is done. Heck, when I read poems I don’t always read the title before I read the poem in case it “gives something away.” Instead of immediately writing I just started musing about this idea of what it would be like to shop after the apocalypse. It occurred to me that the first place I’d probably shop would be at my home so that’s where I started. Then I made “myself” into a character and wondering what I would do next? Where would I go? And thus the poems became a journey from location to location with the idea of “shopping” to keep me writing until I got to a final destination.

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Poet Spotlight: Pamela Taylor on balance in life and poetry

Pamela TaylorPamela 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.

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Poet Spotlight: Chella Courington on being “at home with voice and vision”

Chella CouringtonChella Courington grew up in a family of storytellers. Seduced by the written word, she pursued her Ph.D. in literature from the University of South Carolina and her MFA in poetry from New England College. In addition to teaching literature and writing at Santa Barbara City College in California, she writes and publishes poetry and fiction, which has appeared in several books and chapbooks. Here, Chella speaks about her two latest publications, a flash novella and a new collection of poetry.

Tell us a little bit about your recently released novella, The Somewhat Sad Tale of the Pitcher and the Crow.

A life in flashes, it tells of Adele and Tom, a writing couple now in California. Told from both points of view, the novella explores the increasing distance between two artists trying to occupy the same space: one writer’s success is another’s failure.

But finally, the story is Adele’s as she struggles with relationship, self and aging. A woman born in the Appalachian South yet finding home in California, she tries to understand who she is through the past and the present.

The Somewhat Sad Tale of the Pitcher and the Crow by Chella CouringtonYou’ve described The Somewhat Sad Tale of the Pitcher and the Crow as a flash novella. How did flash fiction as a structural form lend itself to the telling of a larger tale

Flash fiction is not naturally a form that lends itself to a longer traditional narrative (one with a mainly linear plot line). But flash fiction does lend itself to a pointillist novel/novella where each flash provides a point, an emotional brushstroke. The combined points, artfully arranged, tell a tale.

The flash novella is a good choice for writers with time constraints because the structure allows for the creation of many individual pieces of art that can be written in bursts of limited time. Each piece is small with a focus on language and imagery, rewarding close attention and revision. The flash novella does not depend on an outline nor require high drama (murder and mayhem).

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