As National Poetry Month winds down with the month of April, I hope the tour was able to inspire you to read different poetry books and poets. Today, I’ve got a special edition to the blog tour, an interview with poet Arisa White, author of Hurrah’s Nest, which I reviewed earlier last week.
I really enjoyed the variation in this collection, the imagery, and the personal story. If you’re looking for poetry that makes you think, but is entertaining at the same time, White’s work is for you.
Without further ado, please welcome Arisa White:
1. What are your poetic roots? When did you begin reading and writing poetry and who has influenced you?
My family is an artistic bunch. There are poets, rappers, and writers, and dancers, and shit-talkers, which takes skill and craft as well! It’s in the blood and some of us have been fortunate to have the opportunity to pursue those dreams.
When my aunt, the oldest of seven, found out that I was writing and publishing poetry, she would call me on the phone and read me her poems and tell me her ideas for writing a memoir. It’s beautiful to be a source of inspiration for a woman I admire. My paternal uncle Aubrey has a book of poetry published called Implantation. It’s funny how you look back on your life and can see that this has always been your path.
I began writing poetry in elementary school, really took a liking to limericks in junior high, and in high school I won a city-wide contest for a poem I wrote about women’s history month and I just kept going from there. I frequented the Brooklyn spoken word scene and was influenced by Jessica Care Moore, Mahogany, Saul Williams, Carl Hancock Rux, even the movie Love Jones had a positive impact.
My first book of poetry was an anthology of women poets, given to me by my global studies teacher. From that book, I memorized “Nikki Rosa” by Nikki Giovanni. Even at one point, I interned and was mentored by a local Brooklyn poet, India DuBois (I wonder how she’s doing?) who wrote Jazz and the Evening Sun. It is when I went off to Sarah Lawrence, I feel like the reading and delving into the craft of poetry began.
2. Hurrah’s Nest is a lot about the scars that shape us. How much of your poems are autobiographical?
Hurrah’s Nest is an autobiographical collection, rendered poetically. Mostly and lately, I have been writing from personal experiences–through the lens of self. I’m making sense of what’s going around me, as well as to investigate what is going inside of me. Who am I? I feel that urgency to know, even more so, having relocated to the West six years ago and removed from the people, places, and things that I have defined myself with and by. The poems I’m writing now are an expression of my heroic journey.
3. As an MFA graduate, how do you feel the degree has helped you and/or hurt you? And what made you decide to obtain your MFA from UMass Amherst?
The MFA degree was what I wanted to get–I wanted to be skilled in my art. To be seen as an artist. I wasn’t really thinking about how I could use it. I don’t think I have consciously used my degree to get a job or a teaching gig–it’s been my writing and experiences I have relied so much on to open doors for me. In the end, it all works together.
I loved my MFA program at UMass, Amherst. It’s a three-year program and it’s a perfect amount of time. I received a three-year fellowship that covered my tuition, health care, and I gained valuable teaching experience. Also, the time to write was priceless. When deciding on MFA programs, this was my criterion, in order of importance: region, financial support, and faculty. At the time, I was living in NYC and I wanted to be somewhat close to my hometown. Also, I didn’t want to add to my debt. I really wanted to be financially supported so that I could concentrate on writing. UMass, Amherst, has a great faculty (Peter Gizzi, James Tate, Dara Wier) and is a part of the five-college system (Amherst College, Smith College, Hampshire, and Holyoke). In addition to my graduate course work, I took poetry and dance classes at Smith–I had a wonderful time during my graduate years. Because I did not have the distraction of NYC, I really focused in on my writing and point of view. Hurrah’s Nest is essentially my thesis (thank you, Dara!).
4. Poetry is often solitary, more so than other art forms on occasion, because it is deeply personal, but there are efforts like the Split This Rock Poetry Festival and others that attempt to bring poetry to the masses and to bring about a social connection and call attention to a particular cause. Do you feel the need to do the same in your work? If so, why or why not? What do you think of these poetic movements?
I totally feel the need to call attention to particular causes in my writing. As a poet, it is how I engage–by interrogating how we relate or are not relating to each other and the social, economic, and political ramifications that has on certain groups within our culture. Poetry can be humanizing and restorative and believing that gives my poetry purpose, gives me purpose.
In thinking about the work I’ve created and want to create, I’m moving from the personal and to a social “I”. Hurrah’s Nest looks closely at the family unit, where it all starts, where we form a sense of self and how that self relates to others and the world. Then we step outside of the home and often time are in the habit of repeating what we have been told about who we are and what we can do.
I think we have to know our particular stories, so we can take responsibility for how they shape and recreate experiences. My second collection, A Penny Saved, which will be published by Willow Books in 2013, is about a woman who was held captive in her home for 11 years. I loosely based the collection on Polly Mitchell, a Nebraskan woman who finally escaped from her home and husband, with her four kids, in 2003. It’s mind blowing what we do to each other!
I’m in the process of adapting Post Pardon, a chapbook length long poem that explores the post-partum experience, into a libretto. My composer friend Jessica Jones is writing the music. And then, I’m applying for grants and residencies to write a series of eclogues that depict the lives of four sexually-exploited minors and their pimp, in an urban setting. For me, I’m very much focused on writing about women in extreme situations, calling attention to those realities.
5. What are you reading now in poetry and what poetry would you recommend others read and why? Also feel free to share anything about your upcoming poetry collections and projects?
I would recommend others read Bitters by Rebecca Seiferle, Cranial Guitar by Bob Kaufman, Sleeping with the Dictionary by Harryette Mullen, leadbelly by Tyehimba Jess, Brutal Imagination by Cornelius Eady, Don’t Let Me Be Lonely by Claudia Rankine, and anything by Medbh McGuckian, because these poets have these fresh ways of saying/seeing things, a charge that makes you love and appreciate poetry, and an intelligence that makes me jealous! There are so many more poets whom I’m discovering too–so I recommend: never stop reading.
Thanks Arisa for answering my questions. I look forward to reading A Penny Saved and your eclogues.
***For Today’s National Poetry Month Blog Tour stop, visit Reading Rendezvous.