Danielle Vogel is a poet
and interdisciplinary artist working at the intersections of queer and feminist
ecologies, somatics, and ceremony. She is the author of the hybrid poetry
collections
A Library of Light (Wesleyan University Press
2024),
Edges & Fray (Wesleyan University Press 2020),
The Way a Line Hallucinates Its Own Linearity (Red Hen Press 2020),
and
Between Grammars (Noemi Press 2015).
Vogel’s installations and site responsive works have been displayed at
RISD Museum, among other art venues, and adaptations of her work have been
performed at such places as Carnegie Hall in New York and the Tjarnarbíó
Theater in Reykjavík, Iceland.
Vogel is committed to an
embodied, ceremonial approach to poetics and relies heavily on field research,
cross-disciplinary studies, inter-species collaborations, and archives of all
kinds. Her installations and site-responsive works—or “ceremonies for language”—are
often extensions of her manuscripts and tend to the living archives of memory
shared between bodies, languages, and landscapes.
Born in Queens, New York, and
raised on the South Shore of Long Island, Vogel earned a PhD in literature and
creative writing from the University of Denver and an MFA in creative writing
and poetics from Naropa University. She is currently associate professor
at Wesleyan University where she teaches workshops in experimental poetics,
investigative and documentary poetics, ecopoetics, hybrid forms, memory and
memoir, the lyric essay, and composing across the arts.
Vogel lives in the Connecticut
River Valley with her partner, the writer and artist Renee Gladman, where she
also runs a private practice as an herbalist and flower essence practitioner.
Learn more at: https://www.danielle-vogel.com/
1 - How did your first book change your life? How does your most recent
work compare to your previous? How does it feel different?
When Carmen Giménez and
Noemi Press picked up Between Grammars for publication back in 2015, after the initial immense joy and
gratitude, I was flooded with an intense fear of being seen in a new way. I was
estranged from my family and felt that the published book-object would be a raw
extension of my own form, a conduit through which they would have access to me
in a way that filled me with a kind of terror. This fear became conflated with a
fear of the reader, a reader who might possibly not like the book.
When Between Grammars came out, I had to really ground myself in a new
kind of poetics, one that included “the audience” in a way I hadn’t had to
consider before. I was no longer a poet without a book. And this book, Between
Grammars, was a book about a book. About an author being met by a
reader through the unique and intimate ecosystem a physical book-object can
create. I had to transmute that fear into intention. And this intention is
present in each of my subsequent books: how can the book become a haven for my
own story and the reader’s? This question is, in varying forms, at the
root of all of my collections.
A Library of Light, published nearly ten years later, is very directly about my
family and maternal lineage, my motherline, as I say in the book. That
fear, which grew from estrangement, that I mention above became a kind of
chapel I climbed inside of to write this book.
2 - How did you come to hybrid writing, as opposed to, say, a stricter
delineation of literary forms?
Honestly? Through the liner
notes on a Bob Dylan album called, Desire. When I was 19 or 20, I picked
up this album from some hole-in-the-wall record shop in Manhattan. On the
inside sleeve, the envelope that holds the LP, is a lyric essay, “Songs of
Redemption,” about the album written by Allen Ginsberg. Ginsberg’s signature
says:
Allen Ginsberg
Co-Director
Jack Kerouac
School
of Disembodied
Poetics,
Naropa Institute
York Harbor, Maine
10 November
1975
I was like, hmmm, I know and love Ginsberg’s work and I’m totally
disembodied and I’m sort of a poet, what the heck is Naropa Institute? It
was the early days of the internet, so I was able to find Naropa’s website,
which was, by then, a university in a state (Colorado) I had never in my young
life considered moving to or even visiting. I knew I needed to leave home if I
was going to survive my life. I requested an application, applied (in fiction),
was accepted, settled in Boulder, and within a few weeks had met the phenomenal
Anne Waldman and felt safe enough to come out as a lesbian. It was at Naropa
that I was introduced to hybrid writing, book arts, and where I met and studied
with writers like Akilah Oliver, Cecilia Vicuña, and Mei-mei Berssenbrugge,
among endless other luminaries of hybrid and experimental forms.
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?
I work like a bird
building her nest. But instead of that nest being built fairly quickly, as the
bird must lay her eggs, my nests often take around a decade to be plaited into
their final and sustainable forms.
4 - Where does a poem or hybrid text 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?
Each of my texts begin with a question glowing
at its center. If tended, this question acts as guiding and organizing force. I
never want to answer this question, only live with it devotionally letting my
days and manuscripts be sculpted by the ceremony. Because I think of the book
as a ceremonial container, a place within which a kind of transformation can
take place, I am always working on “a book” or “a ceremony” from the very
beginning.
I tend to write book-length poems or hybrid
meditations. Often these are composed of a series of longer pieces. Although
right now, I’m working on brief “veils,” “visions” and “drifts” in two of my
manuscripts-in-process. I let the project shape itself through the ceremony of
ongoing attention.
5 - Are public readings part of or counter to your creative process? Are
you the sort of writer who enjoys doing readings?
I would say public
readings are neither a part of nor counter to my creative process. But because,
ideally, the book-as-intimate-object is central to all of my collections, I
often wonder what is lost (or activated) when I become, in a way, the book
embodied or the object at a remove, not in the hands and minds and
breathing bodies of my readers.
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?
Oh, yes. As mentioned
above, each of my books has a question glowing at its center. Some of my
earlier questions were: What is language’s relationship with
trauma and embodiment? (for The
Way a Line Hallucinates Its Own Linearity) What is my responsibility
as a weaver of books, of habitations, for the bodies of others? (for Edges &
Fray) If light had a translatable syntax, what would it be? (for
A Library of Light) While those will always resound through my writing, one
of the questions I am holding close now is: What happens when we return
language to Land, when we invite Earth into our bodies, when we remember that
language weaves us (by way of breath, light, and consciousness) with others,
with place?
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?
To remember. To weave. In
a time when many are hopelessly and infuriatingly watching the devastating
live-streaming of multiple genocides, particularly of the Palestinian people,
their homeland and ecosystems, it is more important than ever that we find ways
to remember. What needs to be remembered is a very individual question.
But that we, as artists, find ways to remember our shared humanity, our
connection with lineage, place, language, one another, especially across
distances and differences, feels vital.
8 - Do you find the process of working with an outside editor difficult
or essential (or both)?
I love the editor/author
relationship and have been blessed by working with Suzanna Tamminen of Wesleyan University Press for my last two collections. She understands my work on a
cellular level and her editorial advice, instead of being line-based or
structural, is often what I think of as essential energy based. It’s as
if she’s reading the vibrational field of my collections. She gives me that
level of editorial advice, which has been essential to my editorial rituals at
both macro and micro levels.
9 - What is the best piece of advice you've heard (not necessarily given
to you directly)?
Give your body what
it needs. Told to me very recently by the brilliant poet and astrologer
Sara Renee Marshall. I needed that reminder, especially in this time of
political overwhelm where the powers that be are trying to flood and disorient
us. As an herbalist and professor/mentor, I’m always helping others find
balance and nourishment in how they tend to their creative projects and living.
I can forget to turn that care and attention toward myself.
10 - How easy has it been for you to move between genres (hybrid writing
to installation)? What do you see as the appeal?
My practice has always
taken place both on and off the page. It is what my manuscripts and their
questions necessitate of me. Each of my manuscripts have in-the-field companion
projects through which I explore the core concerns and mysteries of a
manuscript. These are often ephemeral, durational, private, and site-responsive
works. Because so much of my work, once published, has to do with my devotion
to reintegrating a reader within their inner and outer environments, I see
installation or any of the work I do off the page as essential. My hope is
always to activate both inner and outer terrains, the visible and invisible,
the conscious and subconscious, the known and unknowable and to bring them into
symbiosis. Right now, a lot of that work is made manifest through my
collaborations with plants and with/in herbals.
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?
On a day when I don’t
have to be on campus or go somewhere, I like to wake early. I press my herbal
infusion that I always set to steep overnight before heading up to bed, pour a
glass, and sip it as a kind of morning prayer. Renee makes us a moka pot of
coffee. Then I’ll light a candle and get to some kind of creative work for a
few hours. Maybe I write. Edit photos. Blend client formulas. Then we often
close the morning’s work with a family hike in the woods. And then we come home
and cook a beautiful meal.
12 - When your writing gets stalled, where do you turn or return for (for
lack of a better word) inspiration?
Each of my manuscripts
has a journal or a series of journals within which I’ve traced the evolution of
its central question or intention. I think of these journals as living altars
for the book. I always return to the beginning. Tend the altar. Relight the
taper of the earliest question. And see what rises in the glow of that renewed
intimacy.
13 - What fragrance reminds you of home?
Shallots and garlic
sauteing in a rich extra virgin olive oil. Wild roses. Sandalwood.
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?
Oh, yes! I can’t help
but think here of The Poetics of Space by Gaston Bachelard. Everything
from a cupboard to a nautilus shell to the contracting spiral of DNA to a
bird’s nest to a crystalline grain of pollen. In terms of A Library of Light,
I held the drawings of Emma Kunz, Swiss healer and researcher, close over the
decade of writing. Epigenetic theory and the science of biophotonics were also
central avenues of research while I was writing the collection. I’m also an
herbalist and flower essence practitioner and what I learn about poetry as a
healing modality through my ongoing collaborations with plants are at the root
of a lot of what I compose.
15 - What other writers or writings are important for your work, or
simply your life outside of your work?
I mentioned some of them
earlier, but the work and lives and devotions of writers like Cecilia Vicuña, Mei-mei Berssenbrugge, and M. NourbeSe Philip are incredibly important to me. I’m in
awe of what their work, which feels inseparable from a kind of sacred practice,
makes manifest. And then there are numerous brilliant friends who I write in
community with like a. rawlings, fahima ife, Jen Bervin, Carolina Ebeid, Lucía Hinojosa Gaxiola (among many others!) and, of course, my love, Renee Gladman.
16 - What would you like to do that you haven't yet done?
I would like to meet
Antarctica.
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?
Something in ecological
restoration. I’m very moved by the work of United Plant Savers and have often
fantasized about joining them.
18 - What made you write, as opposed to doing something else?
Writing is essential.
It’s kept me alive.
19 - What was the last great book you read? What was the last great film?
It was a while ago, but
Lauren Groff’s Matrix really still has a hold of me. I also can’t stop
thinking about the film Petite Maman.
20 - What are you currently working on?
I
work on many projects at once, but for the last couple of years I’ve been
collaborating with the multidisciplinary artist and director Samantha Shay, her
Source
Material collective, and the Icelandic musician Sóley on a film project,
which has my heart and attention this summer. As a part of that collaboration,
I’ve been working on a manuscript tentatively titled Oracle Net, as well
as a lineage of flower and mineral essences that work with/in the text.
12 or 20 (second series) questions;
