Tuesday, July 22, 2025

a fool and his monastaries are soon parted: church and castle ruins, Inishmore (Aran Islands) and Galway quarters, (part two,

[see part one of these notes here

Monday, July 7, 2025: We woke in Belfast, as one does, and made our way to the shared bus with Rose and her choir, en route to Galway, where the choir would be setting the second city of their three-city tour. I made my slow way through Toronto writer Miranda Schreiber's fiction debut, Iris and The Dead (Book*hug Press, 2025), an intriguing novel composed as a series of journal entries on youth and trauma, seeking to articulate and clarify the past tense (a very readable book, leaning into the young adult, almost). We passed a sign for the Brontë Homeland, ancestral home of Patrick Brontë (b. March 17, 1777), father of writers Charlotte, Emily and Anne, as well as a sign for a Game of Thrones tour, the counterpoint slightly jarring, but providing a particular kind of Irish expansiveness in a very short stretch.

Peat bricks in rows, again. The silence of cows, sheep. Finally, leaning off the highway, a roller coaster (why must they drive so fast, I swear to god) of narrow, ancient roads (often two narrow for passing cars) that took us to the Clonmacnoise (Cluain Mhic Nóis) Monastic Site, the ruins of a monastery originally founded on a slight hill in 544 on the River Shannon, providing a full view of the river distance. And the tower, also, providing an even better view, for when the Viking ships would have arrived for their usual plunder.


The views were stunning, and we even managed a short tour by one of the staff, an archaeologist (who specified that this is very different than a historian): how his job is to interpret the sites, and not simply what is already known (a bit of a slant on his part, I thought, but it made sense; but one can still "discover" new information through discovering new ways to interpret archival materials, but whatever). His name was Ruairí, the Irish name that anglicizes as "Rory" (I have a niece named such, as you might know), which also has the full Scottish variation as Ruairidh (such as the current Clan MacLennan Chief; do you remember when I met him?) (Rory can also be an abbreviation of Roderick). When I offered such, the guide suggested the Scottish was from the original Irish, which I'd be interested to know more about, actually (I had thought Irish Gaelic and Scottish both emerged from a single Gaelic language circa 1200, but I wasn't about to argue with an archaeologist).

Can you imagine this tower was originally twice the height? Apparently it got cut in half not long after it was built, so they made a whole new tower down the hill with the ruin, which is amazing to consider. Would such a tower have remained intact for near a millennium if it had been twice the height?

Our guide conjectured that the historians were incorrect that this was a tower for the sake of protection or as a longer view (one can see pretty far simply by being on a hill), but one of securing valuable items in case of a raid. If the vikings en route, a monk would climb inside (as the doorway is  raised up from ground level) with the valuable books, and lift the rope ladder up, thus preventing anyone from following. The only drawback being, of course, that the vikings would have simply tossed in a torch, and lit the whole thing up to either burn or smoke them out (not a perfect system, certainly).



The tour guide also introduced us to a whispering doorway, where one could whisper quietly into one side of the doorway and be heard if one were to place an ear on the other side of the doorway, as a kind of open-air confessional. Whisper quietly, to be barely heard, but to be heard. Some of the choir tested it, and apparently it worked.

Near the end, the choir leader, James, organized the young ladies within the bounds of the ruin of the main building, as they did an impromptu performance [I took photos but do not include here, as one does not post photos of other people's children upon the internet sans consent]. It was incredible, and brought tourists in from all corners of the site to quietly listen, take photographs and recordings (which I wasn't terribly fond of them doing) and simply take in. I've seen versions of this before in other places, other sites, but the experience is far more resonant when one of the participants is your child, after all.

I was curious about this particular ruin [above] just outside the boundaries of the monastery, as we were leaving, but it had not been mentioned. I would presume this an extension of the same thing, possibly. Hm?

From there, we returned to the bus, and the roller coaster of ancient roads (it made for a number of us to feel quite loopy/queasy), and eventually landed in Galway, a very pleasant and seaside tourist town. The whole time, I had a particular Waterboys song in my head, as I'd once heard they from here (although they're from all over Scotland and Ireland, it would seem). Galway smelled like Vancouver, a bit. There were little flags everywhere, as we seem to have found ourselves in a tourist area for dinner attempts. Once we landed, the whole crew, at our university residence, the choir went in one direction, and we went into another, everyone pulling bags and seeking rooms and figuring ourselves out. Although by the time we had completely figured ourselves out from our room, the choir had already been out and was returning from the city centre, where they'd had dinner (roughly a thirty minute walk, we eventually figured out), so we used their cab for our own attempt out into the world.


Upon landing, we saw our pal Susan with some of the older choir members, catching some bubble tea. An old resident sidled up to me there, a bag of wine bottles clattering along, as he insisted he knew me, he knew me. I gave him a "poem" handout, and he said, about time. He knew me, oh yes, he knew me. He was a Bishop, once. Oh, yes. The choir girls looked worried, a bit confused. When Christine mentioned I'd been in Galway back in 2002, he, what? No, he didn't live here then, he was somewhere else. [Reader: I do not think he knew me.]


Tuesday, July 8, 2025: We woke and quickly got on a waiting bus and accompanied the choir on a day-trip to Inishmore, the largest of the Aran Islands in Galway Bay. At the ferry docks, an outcrop of tourist businesses (including bicycle rental, for those wishing to explore the island on their own) and an array of shops, pubs, horse and buggy rentals, that sort of thing. There were Bed and Breakfasts everywhere, scattered around the island as well. Thirty-one square kilometres and a population of less than a thousand. Enough stone everywhere (fencelines, houses, other structures) that one might think they grew from the ground (something I recall from when Stephen Brockwell and I drove across the west coast of Ireland back in 2002, even seeing some houses, roofs et al, made of stone).


We immediately went for a tour bus that rolls and strolls an hour around the island, slow meanderings into and beyond. Half-through, we landed in a bit of a courtyard, with some shops, and the bus driver told us we had about ninety minutes or so, before we needed to head back down to the ferry. 

The choir and their minders headed up the hill, an hour's walk or so to see some fort ruins, without much time for much else, so we decided to remain where we were, wandering a bit for the shops, the food trucks, the view. To be in a place, a moment, after all. Neither Christine nor myself felt much like rushing up a hill (and discovering later that there wasn't any information upon said hill on the fort or environs, which would have made for a less interesting vista). We're in Ireland: must we rush up a hill to catch a stone? There's stone down here, son.

I picked up postcards with local folklore imagery, akin to the animation of The Secret of Kells (2009), locally produced, of course. A t-shirt with one of them, also (of an old wizard, which I'm sure the children would have said I look like, anyway). You should look them up, they do absolutely beautiful work. I wrote postcards and made my plans for who might be the recipients of such. Throughout the trip, I had Aoife write postcards for each of her grandparents (they got two each: one from Northern Ireland, another from Ireland) and both of her sisters (I thought Rose might appreciate a postcard from Aoife once home). I wrote my usual thousands, and tens of thousands.

It is a curious thing, to be in this place of stone, of hills and grass. And bicycles. And tour buses.

Christine and Aoife purchased some lovely handmade sweaters from the Aran Sweater Market (as did a couple of the choir grown-ups). We saw they've a shop in Galway, also. It was cool on those islands, cool in the breeze, cool across the stones, the wind coming up across the water. Fourteen degrees, at most. An east wind, there.

While we were waiting for the group to make their way back down the hill, we wandered over to the remains of a small church, a space at the front where folk would leave coins. I suggested to Aoife that she leave where they were, as she was picking them up, uncertain why they were there. A photograph, that someone had left. I offered a small coin to her to leave as well, if she wished. A small token.

Dear spouse did not appreciate my suggestion that this building, this small church, was related to Donald Duck. Uncle Scrooge, proud member of the McDuck clan, could be a variation of Mac Duach, don't you think? I mean, it makes you think. The Scots and the Irish, never as far apart as both sides prefer to imagine.



A land of stone, this. A land of markers and moments and monuments, held in space. Stone left as footprints, so others might follow.


And then back to the bus, once the rest of the group made their way down that hill. And the bus rolled along, up and down the rolling paths and plinths of stone boundaries and small roads, held together by stone; held together against the boundary of sea, and of wind. The were more donkeys here than I would have thought, and mounds of horses, sheep. Little houses, spread out. Some new construction, often set alongside ancient stone homes left abandoned, fallow. And back down the hills to the bay where the main tour shops, pub. We hadn't much time, so I made my way to the pub and had a wee dram of their local Aran Islands Irish Whiskey. It was a lovely thing. I was tempted to pick up a bottle to take with, but there wasn't the time. I slightly regret it, as I couldn't find it elsewhere, including the duty-free in the Dublin Airport as we were heading back [the whisky I had on the Isle of Skye, at least, I can get from here]. 

The ferry ride back to Galway had a bit of a detour, heading over to the Cliffs of Mohar and Hag's Head, with the overhead informing us that the view had been included in the H*arry P*tter films, as well as The Princess Bride (1997), which I thought a good pairing, catching the age-range of most of the passengers, who would have to be familiar with at least one of those films. Inconceivable! (You keep using this word. I do not think it means what you think it means.). It took some time, and the boat veered here, there, up and down the waves. I tried to sleep for a part of it, worn out from our days (hiding beneath the hood of the coat Christine pushed me to purchase in Belfast, for warmth and cover; there were blue sunglasses also, but they kept getting mangled).

And then back to Galway again, City Centre. Dinner. Where are we? Back in the tourist centre, filled with churches, restaurants, shops, cobblestone. We needed to find our Aoife a name-plate with her name on it, near impossible on this side (finding Rose is simple enough, naturally). And apparently Lynch is quite the local name, with a castle, even. Might Chaudiere Books poet Meghan Jackson, formerly above/ground press author Meghan Lynch, know of such a connection? (Probably)


Wednesday, July 9, 2025:
Outside the university residence, this Fairy Trail. I kept telling Aoife, as well as the choir children, not to take any food from the fairies (they kept looking at me strangely whenever I said this). Do not play with the fairies. Do they not know of fairies?


We made our slow way back towards the Galway core as Rose and her choir performed as part of a midweek service at the Collegiate Church of St. Nicholas (founded 1320), a church that local legend dictates Christopher Columbus visited when he came to Galway. A church dedicated to Saint Nicholas of Myra, the patron saint of seafarers (and possibly for explorers set on discovering places and things that others already knew about). As I saw in Belfast, also, I'm not quite used to seeing a church of any sort with a gift shop, but we picked up a thing or two, as we had there. Items for Rose as keepsakes, for her to remember the churches where she has performed. As ever, I've been quietly picking up city-specific fridge magnets, broadening our collection of such at home, each for a location that Christine and I have been to together (and since, with an accompanying Rose and/or both Rose and Aoife). A family collection, say. See all the places we've been! (Although Christine finds the whole thing rather irritating, it would seem)


The building is obviously an old one, and I'm fascinated by the history, and the building, as a tourist site, as well as one of active worship, is a curiosity, the blend of two sides that might not always meet. There were some very cool displays within the building, and just outside (it was closed to the public, beyond the service, that particular afternoon). Stocks!

I'm finding it interesting, also, participating in services. We're there for Rose, certainly, but I've attempted to remain as far away from churches and religion since I left the farm at nineteen (churchgoing wasn't optional in our household). I've always been somewhere between atheist and agnostic, and raised Protestant, so the structures and rituals of the Anglican Church are quite foreign, and even a bit confusing, to me. We're there for Rose, who seems to be starting to lean in that direction, which is fine enough, as long as hers a considered faith, and not merely a following-along (it has led to some interesting conversations between us over the months that she has been in the choir). At the end of the service, I went over to the older minister to give my greetings (as it were), and compliment his younger co-hort on his service. He was a nice enough fella, although at the end, he turns to me and offers: Has anyone ever told you that you look like Billy Connolly?

Yes. Yes they have. (At least five times on this trip, overall, I'd say). Sigh.

And then, back into the light of midday, mid-week, we encountered this statue of Irish poet, playwright, and novelist Oscar Wilde (1854-1900) and Estonian journalist, critic and novelist Eduard Vilde (1856-1933). Check the link to find out why they are there.


There was an odd tourist-y train that rolled around the downtown that we decided to board, seeking out a medieval wall supposedly set in the basement of a mall (the mall having been constructed around it, naturally). We couldn't find the mall until the train pointed it out, but we got there. The walls began construction in 1270, and now they sit beside the food court.

And then an afternoon of laundry (on site, one space for the entire university residence), which the whole crew worked on, it would seem. I just happened to be first one in. The grown-ups came through to put through loads, and then, as the time went on, they sent various of the young ones in to retrieve. It was a credit card system for the machines, soap included. Although I did have to run my two loads twice, as I wasn't smart enough to put soap in the first time. Ah well. But where I was able to sit for a couple of hours with laptop and write out at least the first half of my notes from Belfast.

After that was all figured out (our trio did require fresh laundry, half-way through our twelve days), we stepped out for dinner (walking by the wooded space where the fairies actually live), and headed back towards the city core.

I saw this sign [above] as we walked. And while we didn't wander over to this particular island, I did look it up. Nun's Island, the Irish name for such means 'island of the flock of birds.' Lovely.

We saw a handful of locals fly-fishing in the water, also. You can see them, there, on the right, just in the distance. 

I don't know who this fella was (I'm a bit disappointed I can't find him online anywhere, given "red chair poetry" seems a very deliberate designation), but he was sitting with table and typewriter (and red folding chair), right in the tourist area, offering to write poems for passers-by, so I couldn't not stop. I gave Aoife some cash to offer him, and he composed a poem for her, about a pickle, as was her particular prompt. I gave him a "poem" handout, of course, but said no more than that.

And Galway, in one of the local tourist shops, as I kept asking where I could find items with Aoife's name (we only have last names here, not first names), before I found one where the fella said, Oh, not here, but in the other location, about ten stores that way! We landed, and Aoife emerged with a bag, including chocolate bars with her name, a nameplate, key chains and god knows what else (I've lost track); the young lady was extremely pleased.

The third most common girl's name in Ireland, I've heard. Although we didn't meet a single Aoife. There was certainly a head or two that would turn whenever I called her name.

Dinner, of course. And a quiet evening, otherwise. Aoife has a scrapbook she spent the trip working on, writing out her own report on what had occurred on our grand trip (with the extra page or two offered for tic-tac-toe).

next up: Dublin,




Monday, July 21, 2025

Mia Kang, All Empires Must

 

Travelogue

I faint
in flight and fall and fall. I come to 

a hill above the city.
There’s Rome, at a nice 

remove—seems like
itself from here. Each day, retrieve 

book from shelf. Out
the windows, in the pages 

figures of
a wall that might 

as well be mine. Aureliana
suits me; each gate opening 

new ways
not to arrive.

The full-length debut by Philadelphia poet Mia Kang, following her pamphlet debut, City Poems (ignitionpress, 2020), is the impressive All Empires Must (Portland OR: Airlie Press, 2025), a title I found unexpectedly second-hand at Books Upstairs in Dublin, of all places. “I summon my cruelty / but cannot / name him.” she writes, to open the poem “The Author Calls Him X,” “I am // failed / by my rage, / love // embodied in / an ardent relation / with limits, voice // made by not / doing, not saying.”

All roads lead to, and away from, Rome in these poems, as Kang writes around and through an empire and a series of moments across the stories of ancient history, specifically the founding of Rome. There’s a coyness to her directness and vice versa, writing specific and slant through figures and stories known and less-known, getting to the heart of each character and encounter across a wonderfully delicate lyric. As the poem “In a Roman Story” offers, writing Rhea Silvia: “That wasn’t / what she wanted: she asked // to face the wall / to more fully be // -come the gate he sought. / Oh Mars, you mistook me // for someone / I briefly was.” There is such thoughtful and incredible pacing across these poems, one reminiscent, slightly, of Canadian poets George Bowering or D.G. Jones, the slow hush and halt and play and propulsion of Canadian postmodernism an accidental (I can only presume) patter across her lines. “I have to tell you: I made two. / Didn’t know how else // to make it.” begins the poem “Roman Couplets,” “I put them / a double return a // -part on the page, let them / fall through sky // side by side. I oppose / these maneuvers, but the truth // is there were two— / one left me, one loved me, // they were the same.”

There’s something magnificent in the way Kang articulates elements of Roman history, offering elements on how to hold to a single thought, or reach across decades, attempting to articulate the ways in which one might live, might be; each poem a small moment, each of which together collect and pool into accumulations of large movements. Through Kang, poems and books are composed out of moments, providing a powerful precision of thought, story and word. She writes a book-length narrative, one that provides both an expansiveness and a pointed specificness, held in space, in amber. As the poem “Mars Falls / Honeymoon Suite” begins:

Mars at the podium, Mars in his gmail, Mars on the platform, Mars in the elevator, Mars in the park, Mars in his office, Mars on the steps, Mars at the door, Mars in his kitchen, Mars in his room, Mars on the couch, Mars on the floor, Mars at the river, Mars on the phone, Mars at work, Mars at a conference, Mars in a paper, Mars by text message, Mars in a daydream, Mars in midtown, Mars across town, Mars in the heat, Mars at his desk, Mars at his books, Mars on the train, Mars in the mind, Mars in a memory, Mars in the summer, in May, as in May I?, but it was too soon, we were wrong, it was spring.

 

Sunday, July 20, 2025

12 or 20 (second series) questions with Anthony Immergluck

Anthony Immergluck is a poet, publishing professional, and musician out of Madison, Wisconsin. His debut poetry collection, The Worried Well, received the Rising Writer Prize from Autumn House Press, and his work has been widely published in journals including Copper Nickel, Pleiades, Beloit Poetry Review, and TriQuarterly. Immergluck holds an MFA in Creative Writing (Poetry) from NYU-Paris and works for W. W. Norton.

1 - How did your first book change your life? How does your most recent work compare to your previous? How does it feel different?

My debut book hasn’t been out for very long, so it’s a little early to say if or how things will change materially in my life. But I certainly feel different post-book. It’s always meant a lot to me to get a book professionally published and out in the world, which isn’t necessarily a healthy way to think about writing. I believe, and I’ve always believed, that the value of someone’s art and artistic practice has nothing to do with any external measure of “success.” But despite my own advice, I put myself through plenty of dark nights of the soul, wondering whether I was wasting my life chipping away at a vain folly. The years of rejection really wore on me. But ever since the book got accepted for publication, I’ve felt like I have a broader capacity to focus more of my energy in positive, external directions.

I’m also trying to reacclimatize to becoming a somewhat more public figure now that the book is out. Independent debut poets aren’t movie stars, of course, but I’ve always been a very private person. After decades of desperately trying to avoid too much public exposure and embarrassment, it became trivially easy, literally overnight, for coworkers, relatives, and strangers to access the types of vulnerabilities I’ve only ever shared with four or five people over the course of my entire life. Obviously, this is the path I pursued knowing exactly what I was getting myself into, so I don’t regret or resent it. I’m deeply grateful for it, and I think it will probably make me a kinder and happier person in the long run. But it doesn’t come naturally to me. I’m going to have to learn how to navigate this awkward new social reality in which anyone I meet has the ability to get know me in this radically intimate but totally one-sided way.

2 - How did you come to poetry first, as opposed to, say, fiction or non-fiction?

I’ve always written poetry, but I wouldn’t really say I came to it before other types of writing. As a kid, I wrote silly little fantasy epics. Songwriting was a major passion for most of my teenage years and early twenties. I’ve dabbled in criticism, drama, essays, and short stories, and I’m currently writing a novel. But poetry has always been the most constant and consistent creative outlet for me, no matter what else I’m working on. Other projects ebb and flow, but If I go a few days without writing or reading poetry, I get twitchy.  

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’m a slow poet. Ideas have to germinate for a long time before they ever make it to a page. Then, I overwork the hell out of everything. Drafts on drafts on drafts on drafts. Multiple documents with different edits over the course of months. At any given point, I have ten or twenty poems rotating in and out of the grinder, and it takes a long, long time for me to feel comfortable submitting anything for publication. The Worried Well actually contains a handful of poems that had existed, in some form, for ten years or so. To be honest, I’m a little afraid it will take me another ten years to pull my second collection together.

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?

The poems in The Worried Well weren’t originally written as a “book,” for the most part. They existed as individual pieces first, and I tried to assemble them into lots of different book-length projects with different titles, structures, and themes. I have dozens of manuscript drafts buried in document folders that technically contain many or most of the poems that wound up in The Worried Well, but they’re barely recognizable as part of the same process. Once I discovered what I truly, finally wanted the arc of book to become, I cut out a lot of poems, wrote some new ones, and edited nearly all of them to engage in a richer conversation with one another. So, I guess the micro-projects generated the macro-project, which then reflected its influence back onto the component parts that made it.

5 - Are public readings part of or counter to your creative process? Are you the sort of writer who enjoys doing readings?

I’ve only recently started giving public readings, at least for the first time since my early twenties. They terrify me, but I also find them deeply fulfilling and enriching, especially when I have the opportunity to talk shop with other writers and readers. I gather a lot of inspiration from public events, so hopefully the stage fright will subside over time.

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?

I think pretty obsessively about theory in the revision process, but I also try to remember that poems should always start and end from a place of emotion. Poetics, and art theory in general, is a lot of fun for those of us who have already bought in to its world, but it’s only really useful insofar as it helps us describe and understand our relationship with the things that move us. I have a lot of theoretical questions I hope my poems ask or address, but I don’t really think I would be doing my job as an artist or art lover if I were attempting to answer any questions.

For example, I noticed early on that my poems tend to feature a lot of refrains. I didn’t “choose” this technique at first, necessarily. It just felt right to me, perhaps as a carry-over from my parallel interest in songwriting or my love for the poetic forms of Old Testament prayer. But as I started to seriously analyze my poetic voice, I interrogated the function of this style more intensely. I came to appreciate how the inclusion of refrains imposes a loose form upon contemporary free verse. Repetition implies a rhythmic structure and allows for a tighter control over emphasis via assonance and rhyme. But more importantly for a book about anxiety, it replicates the cyclical, recursive nature of intrusive thoughts and other forms of neurodivergent experience. As I put this manuscript together, I taught myself how writing or reading a poem can formally mirror, reframe, or elucidate the disorders and imprecisions of the mind. I’m far from the first poet to tackle this idea, but I’ve been leaning into it heavily, both in my writing and reading projects.

I’m also very interested in how the lessons of other artistic media can be applied to poetry, and I spend a lot of time asking myself how I might approach a problem in a poem as if it were a photograph, stage play, etc. For example, I’ve discovered that I really prefer poems with some element of the character conflict we expect in fiction. If my poems are written in the first person, I want the voice to demonstrate the types of “flaws,” hypocrisies, and idiosyncrasies we would expect in a good novel or memoir. I want the reader to feel like they’re walking in on the “I” of the poem in the midst of some kind of moral or emotional uncertainty. And I want to be sure that moral or emotional uncertainly is unresolved at the end of the poem. If anything, I want it to end with further complications. Mise-en-scène is important to me. Shot composition. What is in the room, and how is it framed relative to the action? I wouldn’t say I want my poems to “tell a story,” necessarily, but I do want them to appear as though they exist within a story. I want them to imply, insinuate, and ripple.

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?

This is an important question, but I’m afraid it’s one I can’t really answer to my own satisfaction. I struggle with this a lot, especially in an era when reactionary, fascistic politics are snowballing across the world and the arts are becoming increasingly automated, mass produced, and algorithmically commodified. A part of me wonders whether it’s wasteful to write about anything other than urgent human rights abuses or environmental degradation. But another part of me feels that, while I respect and love plenty of explicitly “activist” art, there’s also something to be said for the creation and consumption of art that deals primarily with the abstract or interior. Poetry addresses those things so well, and we need those things addressed.

Sometimes, writing a poem about my dumb little feelings seems like such an indulgence. Like I’m standing next to a burning building full of screaming people, and I take the opportunity to make s’mores. Other times, I remember how existentially crucial other people’s art has always been for me. That includes impassioned, well-researched exposés of injustice, but it also includes monster movies and songs about breakups. I don’t want to take it for granted that my own art could meaningfully enrich someone else’s life one day, but I also don’t want to rule out the possibility.

I definitely believe all art is inherently political, but I don’t think I believe all art necessarily has to be “activism” in order to be valuable or even to affect political change. I think the primary function of good art, and good writing in particular, is for authors and readers to communicate empathetically, back and forth with one another and the people around them. When we read and write, we’re honing our ability to relate to other people on an emotional and cognitive level. We’re asking ourselves to parse the difference between what was said and what was meant. We’re engaging with the power of omission and emphasis, order, syntax, implication, reference, etc. We’re always exploring what if, why not, so what? And I think those skills are roundly applicable to local and global politics. I don’t want to imply that people who love literature are in any way superior to people who don’t, but I will swear by literature as an effective method for broadening and deepening one’s perspective on being a human and sharing a planet with other humans.

So maybe I’m naïve, or maybe I’m just trying to inject some self-importance into this thing that takes up all my time. But I hope and suspect that the literary arts – and the humanities in general – make a positive cultural impact just by virtue of existing. I know this has been a rambling, contradictory answer, but I promise it’s much less clear in my own head.

8 - Do you find the process of working with an outside editor difficult or essential (or both)?

Both, but with a special emphasis on essential. I’m as sensitive and stubborn about my work as anyone else, and I’m not immune to having my feelings hurt. But I’m a strong believer that the writing only really gets good once it’s been opened up to constructive criticism. My editors at Autumn House Press have been spectacular to work with, and my book would never have gotten accepted for publication in the first place without the wisdom of the friends and peers that read early drafts. Writing is a lonely pursuit, and it often benefits from the singularity of vision it represents. But the intimacy we all have with our own work easily transforms into codependency, and we lose our ability to evaluate it with the kind of clarity a good edit requires. You don’t always have to take outside advice, of course, but it’s only ever healthy and productive to receive and consider it. Even when you feel like your readers or editors are missing the point, it’s invaluable to understand where the experience of your work isn’t landing how you’d intend or expect it to. Notes can be painful, but they’re necessary for creative growth.

9 - What is the best piece of advice you've heard (not necessarily given to you directly)?

I’ve heard a lot of variations on the idea that inspiration follows from writing, not the other way around, and I totally stand by that. If you wait for your best ideas, they’ll never come. They generate in the process.

10 - How easy has it been for you to move between genres (poetry to songwriting)? What do you see as the appeal?

As I mentioned before, I write pretty fluidly between genres. Poetry absolutely occupies the majority of my time and output simply because, for whatever reason, most of my ideas happen to take shape in the form of poems. But I love all the arts, even the ones I’ve never spent any time with, and I wish I could live for thousands of years so I could dabble in everything. I resent that I won’t be able to explore woodworking and tango dancing and oil painting to the extent that they deserve. My problem isn’t fluidity – it’s focus. I have to train myself to stop pivoting to writing a short story or a song midway through writing a poem, or vice-versa.

All literary genres are load-bearing. Poetry is unique in its ability to reframe language and open the mind to new conceptual bridges. Song lyrics, at their best, are able to interact with their melodic and rhythmic structures in ways that transcend the sum of their parts. Theatre can play with artifice and the chaos of live human interaction in a way that nothing else can. The novel offers a type of depth and complexity that can only be achieved through time, and words, spent. There’s no weak or redundant genre.

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 a day job and a family and several chronic health issues, so I just need to find little cracks in my day and cram in as much writing as I can. Early mornings work well, and I try to set aside time on the weekends. I also travel a lot for work, and airports and hotel rooms can offer the type of isolation and boredom that tend to be conducive to writing. I’d love to have a more regular schedule, but it’s not usually an option.

12 - When your writing gets stalled, where do you turn or return for (for lack of a better word) inspiration?

Reading! It takes me forever to read a great collection of poems, because I’m constantly getting new ideas that I have to go jot down.

13 - What was your last Hallowe'en costume?

Samwise Gamgee

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?

Absolutely. All the above, really. As I touched on before, I draw inspiration across the arts. Music is my secondary creative love after literature, and I see the two disciplines as operating in constant conversation. I keep books of my favorite visual artists, like Hokusai and Klimpt, right on my desk and I regularly leaf through them for motivation and stimulation. I find video games to be extraordinarily meditative and centering, and I often find that the “flow states” they generate help me disentangle the knots I write myself into.

Outside of the arts, I get a huge amount of inspiration and joy from nature and travel. A quiet walk in the woods with my wife and dog will almost always generate poetry later on. And I think the ability to transplant oneself into a cultural environment one isn’t used to does wonders for the imagination. I know we’re not all lucky enough to travel the world whenever we want, but even spending some time in unfamiliar parts of our own communities can really refresh and rekindle our excitement for the world around us. I’m also profoundly inspired by animals. I think watching another form of life closely, trying to understand how its patterns of motion and behavior echo or contrast with our own, is very similar to the process of reading and writing poetry.

15 - What other writers or writings are important for your work, or simply your life outside of your work?

The book that made me fall in love with literature was The Lord of the Rings. And although I read and wrote poetry as a hobby since childhood, the book that made me realize I wanted to “take it seriously” as a life pursuit was Actual Air by David Berman. As a teenager, I basically just wrote rip-offs of his poems and songs. These days, some of my favorite poets are Mary Ruefle, Tracy K. Smith, Solmaz Sharif, and Larry Levis. But that’s just a tiny excerpt of an enormous and ever-changing list.

16 - What would you like to do that you haven't yet done?

I’ve never taught poetry formally, and I’d love to give that a go one day. I’ve done lots of tutoring/mentoring/manuscript consulting, etc., but I wonder how I’d do with a college class or writers’ workshop.

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?

When I was younger, there came a point at which I did sort of choose writing over music. The stage fright and imposter syndrome hit me hard, and I felt safer developing my skills in a medium that didn’t require such a heavy performance component. I don’t regret focusing my energy on literature whatsoever, but I’ve always reserved a bit of grief for the opportunity cost. I write as a serious vocation, and I play music as a serious hobby, but there’s a significant part of me that wonders how life would have progressed if that focus had been flipped. I know it’s silly, but I get desperately jealous of great musicians, particularly ones whose musical practice is an integral, scheduled part of their lifestyle. I realize I could always try to reopen that avenue one day, but I’d have to shake off a lot of cobwebs and put a lot of other projects on the backburner. Also, I’m pretty over-the-hill by musician standards, and I’m only getting sleepier and achier. Sometimes I try to look up which of my favorite musicians released their first albums in their thirties or later, and it’s not an encouraging list. Leonard Cohen was 33. I’m older.

18 - What made you write, as opposed to doing something else?

Again, I wish I could spend a lifetime with all the arts. But writing has always felt obvious to me. Unavoidable. It’s just the way I process thoughts and emotions whether I like it or not. That’s not to say writing comes easily or that I think I have any natural aptitude that other people don’t have or can’t learn. It’s just to say that I can’t imagine what a non-writing life would feel like.

19 - What was the last great book you read? What was the last great film?

The last great book I read was Late to the Search Party, the debut poetry collection from Madison’s poet laureate, Steven Espada Dawson. I can’t possibly overstate how brilliant this book is. How moving, how delicate in its craft, how dynamic and singular its voice. This is the type of book that inspires people to become poets, and I urge everyone reading this interview to order their copies immediately.

I’ll also join the chorus on Sinners. One of the most purely entertaining movies I’ve seen in years, but also one that’s just dripping in depth and passion. It’s a crazy mish-mash of genres, overflowing with references to history, music, folklore, and other movies. But it maintains such a clear and focused vision, with so much to say and so much love for its characters and world.

20 - What are you currently working on?

I’m currently working on a novel! It’s a fairly big and ambitious project, at least for someone who’s more accustomed to writing poems. So it’s slow going, but I’m giving it my love and attention.

12 or 20 (second series) questions;

Saturday, July 19, 2025

Ongoing notes: the ottawa small press book fair (part four : Grant Wilkins + Salma Hussain,

[see the first part of these notes here; see the second part of these notes here; see the third part of these notes here] And you already know about the dates of our next three fairs, yes? Saturday, November 22, 2025 (thirty-first anniversary event!), Saturday, June 20, 2026 and Saturday, November 14, 2026 (thirty-second anniversary event!), all at our usual (new) location of Tom Brown Arena. Strange to be booked that far ahead, but there you go. As ever, check for updates here when there are any (although if you already know the dates, I’m not sure what further updates you’d need, beyond the pre-fair reading announcements, which would only happen a couple of weeks before each fair).

ottawa small press book fair co-founder James Spyker + Ottawa poet Grant Wilkins

Montreal QC/Ottawa ON:
It is always good to see new work from Ottawa poet and performer Grant Wilkins [catch a recent essay he wrote on his work here], and his latest chapbook (and to my immediate knowledge, his first non-above/ground press chapbook, beyond the privately printed hardcover The Kamouraska Codex: A Preliminary Translation with Commentary that he self-produced in 2019 in an edition of fifteen copies) is the chapbook-length sequence LEGENDARY THINGS (in which Phyllis Webb sings Motörhead to Basho) (Montreal QC: Turret House Press, 2025), a sequence “variously gathered, sifted, nicked or otherwise drawn” from Webb’s The Vision Tree (Vancouver BC: Talonbooks, 1982), Basho’s On Love and Barley – Haiku of Basho (Penguin Books, 1985) “and the lyrics of various songs by Motörhead (Lemmy Kilnister et al.).” “That weather-beaten skeleton / at the secret heart of your poem / has nowhere to hide,” he writes, to open the second page of the sequence. Half a page down, offering: “Laying there drunk on the cobblestones / I studied your graceful script / Sans serif and righteously stoned [.]”

There is something quite fascinating in the way Wilkins approaches his recombinations, finding new threads through not only the source material he selects, but the collision of what might otherwise seem contradictory sources, from “The echoes of music and poetry / are shredded by summer’s end / and the bombs going off at night” to “I’ve lost my passion / for burning skies / and riders wearing black [.]” There are other poets working creative work through similar processes of recombination, providing both original works and threads of critical response to their source materials, including a couple of recent titles such as Edmonton writer and critic Joel Katelnikoff’s Recombinant Theory (Calgary AB: University of Calgary Press, 2024) [see my review of such here] and Toronto poet R. Kolewe A Net of Momentary Sapphire (Vancouver BC: Talonbooks, 2023) [see my review of such here], not to mention Philadelphia poet and critic Laynie Browne’s ongoing work [see an interview I did with her on such here; see my review of her latest here]. Wilkins is doing some interesting things, and I very much hope he keeps going. I want to see what he does next.

Ottawa poet (and Brick Books tabler) Manahil Bandukwala and Ottawa poet Mahaila Smith

London/Toronto ON:
Okay, so Baseline Press wasn’t actually at the small press fair this time around, but this chapbook landed in the mail around about the same time (and they’ve been at fairs before, so it still totally counts). The latest from the press is What if Maybe and other poems (July 2025) by Toronto-based writer Salma Hussain, a poet and fiction writer, author of the debut young adult novel The Secret Diary of Mona Hasan (Tundra/Random House, 2022). A sleek collection of nine poems, the pieces in What if Maybe and other poems follow a trajectory of the narrative, first-person lyric, but one that holds to smallness, to precision; one that speaks in points of light across distances, step upon step upon step. “Math was not math     until / the Greeks saw the value in how the Arabs used zero,” she writes, to open the poem “THE VALUE OF ZERO,” “They needed zero / for calculating prayer times / for weighing za’ka:t dues / for shirking interest // but also / they were counting stars / mapping patterns in the light beyond their grasp [.]”

I’m curious, intrigued, even, about Hussain’s lyric precisions, and would be interested to see what she might do in the space of a full-length collection. Her lines pull the stretch between small and expansive, often simultaneously, in interesting ways. There’s a fine line between her poem’s ungencies and propulsion, and the ability to hold to the moment, to stand peacefully and utterly still. Or, the first two stanzas of the poem “SCREAMSONG,” that begin:

Belligerent with the nurses I pulled
the feeding tube out of my nose
like a birthday party magician    pulling out yards of silky red ribbon
from an upturned top hat 

The white coats recommend a two-week residential stay
at a physio rehab clinic    but I insisted I be sent back home
I felt then and I know today that I have two little daughters who unknowingly
unwittingly are the only gurus I need(ed) for my healing
We signed a mountain of release forms
liability waivers    other papers
and my trembling husband bit his lip    his tongue the entire drive home