We asked Dane Swan five questions about his journey as a poet and his collection of poems dedicated to musician Charles Mingus. You can find him at IFOA 2017.
Toronto’s International Festival of Authors is proud to announce the authors participating in the 2017 festival! The IFOA takes place from October 19 to the 29th at the Harbourfront Center. These eleven days are packed with readings, one-on-one interviews, thought-provoking panel discussions, special events and free book signings. Tickets go on sale on September 16th!
Majlinda Bashllari, Amanda Earl, Patricia Keeny, Jennifer LoveGrove, Nicholas Power and Dane Swan are six of the 20 participating poets competing in the Poetry NOW: Battle of the Bards. IFOA asked them about writing poetry and where they find their inspiration.
Want to hear them read live on March 29th? Event info, here!
IFOA: What do you look for when reading poetry?
Majlinda Bashllari: New territories, striking images, brave figures of speech. Poetry is the highest form of human knowledge and the first exploratory tool of new realities. Through imagination and intuition, it enters in the darkest and most unknown macro and micro zones of the universe and opens up the ways for other forms of knowledge such as the philosophy, the exact sciences and technology to thrive and succeed.
Amanda Earl: I try not to look for anything. My mind’s open. Most recently I’ve been reading Lisa Robertson’s “3 Summers” and “Cinema of the Present.” I enjoy the intensity and sensuality of her imagery, the humour and play in her writing, the way she poses questions rather than answers them. In general I like poetry that is whimsical, imperfect, awkward and humble, connects with me in some way, and leads to more exploration.
Patricia Keeney: To go where I haven’t been.
Jennifer LoveGrove: I value the unexpected, whether that’s in the language, the imagery, or conceptual concerns, I look for inventive ways these elements have been engaged and structured in a poem. I like to be surprised, unsettled, destabilized by poetry.
Nicholas Power: I look for play in the form and tension in the line. I like to read poetry that somehow goes beyond the limits of the one writing it. I also enjoy the poet’s particular leaps, their sense of rhythm, and their understanding of poetic tradition without conformity. I look for poetry that isn’t simply about something, poetry that is something.
Dane Swan: Soul. When reading poetry I look for soul. If a poem has life, or is dirty, grimy and honest it will usually pique my interest. I’m not particularly interested in antiseptic writing that even an immature child can imitate. Poetry needs to have an energy that pulls the reader along. If the poem is dense, or is technically a lot to take in, as well as soulful, even better. Poetry is best when you’re driven to read it more than once.
IFOA: What do you love most about writing poetry?
Majlinda Bashllari: The hope that you can bring to life some good lines. When poetry is good, it turns into something bigger than the culture it springs from. Writing poetry is a challenge. Each time you sit and start a new poem, you realize that previous experiences mean very little or nothing at all. The fear of being repetitive, shallow, outdated is part of the process. You might become a master of the structure and lexicon, but could easily fail to give the right message. Timing is also another challenge even though we are taught to believe that poetry is timeless.
Amanda Earl: I like that I’m not beholden to convention. There are so many styles of poetry and no one style is the right one. This leaves the genre open to the possibilities of being broken (open).
Patricia Keeney: Going where I haven’t been.
Jennifer LoveGrove: Editing. I love best that stage of making a poem come together, when it finally begins to coalesce after a series of relentless tweaks and alterations – changing a word, a line break, a comma, deleting, rearranging, expanding, paring- until intuitively I know I’ve got it.
Nicholas Power: The surprises.
Dane Swan: I’m not sure love is the right word. Mind you, I’m not sure I even understand the word love. I’m simply personally driven to write. Whether people consider me a writer, or not, I’ll continue to write in some way, shape or form.
IFOA: If you could only read one poet’s work for the rest of your life who would it be?
Majlinda Bashllari: The Polish poet, Wislawa Szymborska. One of the finest poets of all times. Her poetry embraces the wisdom of old and new times; she can see through the core of human nature. It’s a unique school for everyone who aspires to write about almost anything.
Amanda Earl: Anne Carson. She always surprises. (But I’d like to mention Lisa Robertson again, also Mary Ruefle, Adrienne Rich, Sylvia Plath, Gwendolyn MacEwen, Anne Sexton.)
Patricia Keeney: Ted Hughes
Jennifer LoveGrove: Right now, it would be Kim Hyesoon. Her work contains much of what I prioritize: strange, disturbing neo-surrealist imagery and logic, feminism, the grotesque, emotional confrontation. Her poems surprise, amaze and excite me.
Nicholas Power: Jack Gilbert (The Great Fires, The Dance Most of All, Refusing Heaven)
Dane Swan: Probably Langston Hughes
IFOA: What inspires you?
Majlinda Bashllari: Human resilience. The ability to start fresh. Also Greek and Roman mythology has been a great source of inspiration for me.
Amanda Earl: A good kiss, the forbidden, new lovers, my husband’s Sunday crepes, meandering conversations with dear friends over a pot of strong tea, solitary walks downtown early mornings in the cold spring air, drinking a peaty whiskey and listening to Nine Inch Nails while soaking in the tub, Agnès Varda’s film, “Les glaneurs et la glaneuse (the Gleaners and I), Hélène Cixous’ “firstdays of the year,” Djuna Barnes, “Nightwood,” the music of Tom Waits, gin, the stark bone white of Georgia O’Keefe’s desert paintings, the glass flowers at the Harvard Museum of Natural History, dark eyes in the paintings of Leonora Carrington, the green of Max Ernst’s paintings, tangled gardens, broken glass, candour and integrity, quirky lingo, tall, handsome men, wearing red, saying no, saying yes.
Patricia Keeney: Life.
Jennifer LoveGrove: Other poets’ work. And life, especially the bad parts.
Nicholas Power: What inspires me as a writer are (to use Gerard Manley Hopkins list) All things counter, original, spare strange; found phrases and objects, quantum physics, paradoxes, particularities of gesture, tone and humour, literary non-fiction and science writing, poets and writers who have stayed with the struggle to advance the art form over time.
Dane Swan: What doesn’t inspire me? I’m inspired by everyone and everything I meet. The skill is in culling my inspirations; understanding which are worthy of sharing, and when to share each inspiration.
IFOA: What is one thing you have learned about yourself from writing your most recent collection?
Majlinda Bashllari: I am hard to please. (j/k!)
Amanda Earl: I learned that I love to do research, especially concerning the 20s and 30s. For “Kiki,” which is inspired and informed by artists and unbridled creative and licentious acts that took place in Montparnasse between the Wars, I read a lot of books and saw silent films, listened to music and watched a few documentaries about the era. I am still fascinated with that time period and continue to learn as much as I can about the personalities of that time and the work they produced.
Patricia Keeney: That the imaginative adventure never stops.
Jennifer LoveGrove: That the more I record and note my dreams, the more and better I remember them.
Nicholas Power: I feel that my work as a writer, especially in the form of poetry, where I freely associate through a wide range of source materials, has helped my receptivity in general. I also feel that this solitary work has helped me learn to sit with uncertainty, with imperfection and incompleteness.I’m also seeing how much I like to edit, in a positive way but also to rewrite, mess with, deviate from given texts.
Dane Swan: I’m not sure that I learned anything from A Mingus Lullaby. There’s a fair amount of research behind the collection, but I was more confirming what I already knew about Mingus. Technically, I merely put to practice concepts that I learned in the editing stages of Bending the Continuum with Elana Wolfe. I certainly didn’t come out of the experience writing this book as if it was spiritual — it’s a book. It’s a really good book. But, it’s just a book. Part of being a writer is becoming a good observer of others. The best way to hone that skill, is to initially observe yourself. A writer shouldn’t be suddenly surprised about themselves during the writing process. That’s a romanticized idea of how writing works. I’m constantly learning.