1 - How did your first book change your life? How does your most recent work compare to your previous? How does it feel different?
This most recent publication was my first book. It’s been a really affirming experience to have a full collection go out in the world. It’s scary, too, because when all those poems reach a larger audience, I give up control over them. They become a shared experience. I’ve felt so much support from my community, which has been so beautiful. I dedicated this book to the people I love, and I’m feeling that love in return.
2 - How did you come to poetry first, as opposed to, say, fiction or non-fiction?
I actually majored in fiction with a secondary focus in screenplay. Poetry was what I did to relax when I needed a break from other forms. I started to get really into Richard Siken, Mary Oliver, and Warsan Shire — they just happened to be the first poets I absolutely adored — and from there I just became this big poetry nerd.
3 - How long does it take to start any particular writing project? Does your writing initially come quickly, or is it a slow process? Do first drafts appear looking close to their final shape, or does your work come out of copious notes?
Every once in a while, when I’m lucky, I get a fast first draft that looks a lot like the final version. Those are often my favourite poems. Otherwise I go the notes route. The notes app on my phone and my little hardcover notebook are both strictly for my eyes only. I do some of my messiest, draftiest writing in them.
4 - Where does a poem or work of fiction usually begin for you? Are you an author of short pieces that end up combining into a larger project, or are you working on a "book" from the very beginning?
I’ve never intentionally started a book. Most of the time, I’ll get excited about a certain feeling, aesthetic, or character that’s hard to put into words. The fact that it’s difficult is what makes me want to put it into words. Then it becomes a book from there.
5 - Are public readings part of or counter to your creative process? Are you the sort of writer who enjoys doing readings?
I love doing readings. When I’m not writing, I do improv, theatre, and standup comedy. Readings are a great opportunity to combine performance and writing.
6 - Do you have any theoretical concerns behind your writing? What kinds of questions are you trying to answer with your work? What do you even think the current questions are?
God(s); personal responsibility; reincarnation; what we owe each other; how to stand up to oppression; and, in the words of Chen Chen, how to “stay tender-hearted, despite despite despite.”
7 – What do you see the current role of the writer being in larger culture? Do they even have one? What do you think the role of the writer should be?
I think most artists resist “should”s. The moment there’s a “should,” we find a way around it, and I think that that’s part of what makes art really powerful. I quote Kaveh Akbar’s lecture TOWARDS THE REVELATORY BREAK a lot, and it’s relevant again here: “It wouldn’t be a stretch to call the English language itself one of the deadliest, most murderous colonial weapons ever invented.” So, I think, the role of the writer — at least in English, which is my primary language, and also in French, which is my secondary language and also a colonial tool — is to take responsibility. Whatever we do, we must do carefully and with great attention to intention and potential impacts.
8 - Do you find the process of working with an outside editor difficult or essential (or both)?
I love working with an outside editor. I’ve been lucky enough to work with a lot of great editors, and I work as an editor as my day job. A second pair of eyes is incredibly valuable. Much of writing is about connection, so why not invite that during the creation stage? I’m pretty hard on myself, so actually constructive criticism is a welcome change. My writing/editing partners Shaelin, LJ, Alex, Ciarán, Kurtis, and Ben are deeply treasured people in my life.
9 - What is the best piece of advice you've heard (not necessarily given to you directly)?
My dad always says to always give people the benefit of the doubt up until they have given you every reason not to. He also says: always punch Nazis.
10 - How easy has it been for you to move between genres (poetry to fiction)? What do you see as the appeal?
I used to primarily write fiction, but since the pandemic began, I’ve mostly had the energy for poetry. I write a few lines and then go back to hibernation.
11 - What kind of writing routine do you tend to keep, or do you even have one? How does a typical day (for you) begin?
I write every day, even if it’s only a few lines. I make sure to read and get outside/get active every day too, because otherwise I don’t have any motivation to write. I’m working on living in the moment as much as possible. That helps me notice small details about the world and about how I’m feeling.
12 - When your writing gets stalled, where do you turn or return for (for lack of a better word) inspiration?
Some poets make me want to write whenever I read them — Morgan Parker, Alex Dimitrov, and Paige Lewis, especially — so I’ll read or re-read their work. Other than that, I’ll go on a long walk or try to have a new experience that pushes me out of my comfort zone.
13 - What fragrance reminds you of home?
The fragrances of the ocean, fresh coffee, and my mom’s unscented hand lotions for gardening.
14 - David W. McFadden once said that books come from books, but are there any other forms that influence your work, whether nature, music, science or visual art?
Nature is a huge influence. I think that’s probably true for most poets. And I view cities and city life as the other side of that coin. I love reading or writing an urban pastoral, as much as that sounds like an oxymoron. History influences me a lot, since I’ve worked quite a bit in historical research and education. The Working Class History book and podcast have inspired quite a bit of my work. I also listen to music while drafting, especially Mitski and Phoebe Bridgers.
15 - What other writers or writings are important for your work, or simply your life outside of your work?
I want to write in a way that feels as fantastical as children’s stories felt when I was growing up. It’s hard to find that feeling as an adult. As a kid, the books that made me feel that way included The Secret World of Og and the Bone graphic novels, among many others. The sense of world-building and atmosphere were really strong in those. Novels I’ve read as an adult that made me feel a similar sense of wonder include French Exit, The Mysteries of Pittsburgh, Bel Canto, and basically everything by Nicola Maye Goldberg. They aren’t similar in form or content to the stories I read as a child, but they install a comparable sense of wonder and surprise, which I think is difficult to do in a book written for adults.
16 - What would you like to do that you haven't yet done?
I want to publish a novel. I want to be a Gucci poet — one of those poets who is invited to Gucci parties via a confusing high-fashion invitation. I want to make a short film.
17 - If you could pick any other occupation to attempt, what would it be? Or, alternately, what do you think you would have ended up doing had you not been a writer?
I’d honestly love to act and perform more. I get a real runner’s high from being on stage or in front of a camera. I just love to play pretend.
18 - What made you write, as opposed to doing something else?
The first job I ever wanted to have was wizard. Once I found out that that wasn’t an option, writer was the next best thing. I wanted to create. Books were a huge comfort and constant in my childhood. Once I figured out how books were made — that they didn’t just spontaneously appear out of nothing — I wanted to be the person who made them.
19 - What was the last great book you read? What was the last great film?
I watch a lot of A24. Bodies Bodies Bodies, Marcel the Shell With Shoes On, and Everything Everywhere All At Once all blew me away. For books, I actually reached out to the authors of some of my favourite recent releases for my book blurbs. If you have a chance to pick up My Grief, The Sun by Sanna Wani; Exhibitionist by Molly Cross-Blanchard; and All Day I Dream About Sirens by Domenica Martinello, then please read all three.
20 - What are you currently working on?
I’m working on my next poetry collection, which hopefully will be my thesis. I’m also working on two novels that I’m really excited about.
12 or 20 (second series) questions;
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