Alison Stone is the author of nine full-length collections, Informed (NYQ Books, 2024), To See What Rises (CW Books, 2023), Zombies at the Disco (Jacar Press, 2020), Caught in the Myth (NYQ Books, 2019), Dazzle (Jacar Press, 2017), Masterplan, a book of collaborative poems with Eric Greinke (Presa Press, 2018), Ordinary Magic (NYQ Books, 2016), Dangerous Enough (Presa Press 2014), and They Sing at Midnight, which won the 2003 Many Mountains Moving Poetry Award; as well as three chapbooks. Her poems have appeared in The Paris Review, Poetry, Ploughshares, Barrow Street, Poet Lore, and many other journals and anthologies. She has been awarded Poetry’s Frederick Bock Prize, New York Quarterly’s Madeline Sadin Award, and The Lyric’s Lyric Poetry Prize. She was Writer in Residence at LitSpace St. Pete. She is also a painter and the creator of The Stone Tarot. A licensed psychotherapist, she has private practices in NYC and Nyack. https://alisonstone.info/ Youtube and TikTok – Alison Stone Poetry.
1 - How did your first book or chapbook change your life? How does your most recent work compare to your previous? How does it feel different?
The first book taught me patience and how to change course. It was a finalist in many national contests, beginning when I was in my early 20’s. I thought I’d publish it and that would help me get a teaching position. But it didn’t end up winning until I was 38. By that point I’d gone back to grad school and become a psychotherapist.
My new book is all formal poems, which is different from all my past collections. Most of them are mainly free verse, except for Dazzle (ghazals and anagram poems) and Zombies at the Disco (all ghazals.)
2 - How did you come to poetry first, as opposed to, say, fiction or non-fiction?
I came to fiction first. I wrote a love poem to my beagle when I was 6 (“Your nose is wet and you’re my pet. You’re brown and white, you never bite…”) but I was writing a “novel” (also about a dog) at the same time. I only finished the first two chapters. I was focused on fiction as an undergrad and only took a poetry workshop because I needed to for graduation requirements. But my teacher, Hugo Williams, converted me.
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?
It completely depends on the project. For Ordinary Magic (a book with one poem for each tarot card), I did a lot of research. The same with Caught in the Myth. I was asked by a photographer to write poems to go with photos he’d taken of ancient sculptures. So I needed to learn about these historical figures in order to write. Some of the other poems are from Greek myths, so I’d research those as well.
The speed varies according to different projects as well. Some poems come out almost finished. Others need more substantial revisions.
4 - Where does a poem 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?
Again, it depends. Usually I start with poems and then they start to coalesce.
For individual poems, I usually start with a phrase or a line. For ghazals, I start either with a sound I want to explore or else a refrain.
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! I’m an introvert, but somehow I find them really enjoyable.
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?
That’s a great question! I’m interested in stories – whose voices haven’t been heard? How would this tale be told from a different point of view? I’m also interested in how traditional forms can work with contemporary subject matter. I’m not sure if there are any “current questions” for all poets. This is such a diverse, exciting time in poetry – so many different voices and perspectives.
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?
Writers help people feel less alone. At least that’s what writing (including song lyrics) did and does for me. It’s a way of helping people open their hearts and minds.
8 - Do you find the process of working with an outside editor difficult or essential (or both)?
I’ve never had one, but I’d love to. All my books have been published by small literary presses. Only once did I even get a copy editor. But no one to help me shape or improve the work, like at the big houses.
9 - What is the best piece of advice you've heard (not necessarily given to you directly)?
Have something else in your life you love as much as writing (Louis Simpson).
10 - How easy has it been for you to move between genres (poetry to painting)? What do you see as the appeal?
They are such different processes. Once I had children, I mostly stopped painting. I work in oil and couldn’t be covered in toxic paint if the baby needed me. Then I hurt my arm/shoulder so I gave over doing the art for my book covers to my kid. But I’m going to do the next one.
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 have no writing routine, except during POMO, when I write a poem a day.
I get up at 6, do yoga, walk the dog, eat breakfast. During the school year I sometimes do drop off. Then I start seeing clients.
12 - When your writing gets stalled, where do you turn or return for (for lack of a better word) inspiration?
Reading poetry makes me want to write it. But I also let myself take breaks. Olga Broumas told me when I was 24 to respect my silences, and I think that’s important. Capitalism is all about production, but art isn’t commerce.
13 - What fragrance reminds you of home?
On rainy days, the smell of dog. Otherwise I’d say cooking smells. Lots of garlic.
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?
Music, nature, visual art. Politics, too, though that’s hardly an art form
15 - What other writers or writings are important for your work, or simply your life outside of your work?
Gluck, Plath, Rilke are my top three. Then Patricia Smith, Rita Dove, Diane Seuss.
16 - What would you like to do that you haven't yet done?
Win a major poetry prize. See the Northern Lights. Be a grandmother (But no rush!).
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 have a full-time practice as a Gestalt therapist. It counters the self-involvement of being an artist because it’s all about the other person.
18 - What made you write, as opposed to doing something else?
I can’t carry a tune. If I’d been able to, I would have wanted to front a band. But I’m too off-key, even for punk.
19 - What was the last great book you read? What was the last great film?
I just finished rereading Middlemarch, and I’m sad to be done. I don’t see a lot of films. This year we watched the Oscar finalists, and I enjoyed them all.
20 - What are you currently working on?
I have 3
manuscripts in progress. I also invented a new poetic form.
12 or 20 (second series) questions;
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