This week at the Poetry Blog of 32 Poems Magazine my interview with poet Lesley Jenike was posted. She’s a contributor to the magazine and was a delight to interview, especially since she seems to gravitate toward self-deprecation like I do.
First, let me tantalize you with a bit from the interview, and then you can go on over and check the rest out for yourself.
Without further ado, here’s the interview.
How would you introduce yourself to a crowded room eager to hang on your every word? Are you just a poet, what else should people know about you?
I think my first approach would be self-deprecation; in fact, I’d probably make a joke about having spent quite a few years in costumes and wigs singing and dancing. I find that once one admits to an improbable love for musical theatre, any crowd immediately relaxes.
When writing poetry, prose, essays, and other works do you listen to music, do you have a particular playlist for each genre you work in or does the playlist stay the same? What are the top 5 songs on that playlist? If you don’t listen to music while writing, do you have any other routines or habits?
I love listening to music as I write! I used to listen to music with lyrics, but, much in the same way that I can’t stay up too late anymore, I can’t focus on my own songs these days while someone else is singing to me. So lately I’ve been listening to, and trying to teach myself something about, traditional Indian music and orchestral music. I like what it does to my brain and what it does for a budding poem’s potential tone or atmosphere. At the moment I’m especially into Arvo Pärt, John Adams, and Erik Satie.
How do you stay fit and healthy as a writer?
I run quite a bit, but I don’t have any desire to run in races or anything like that. For some reason (and this may sound unreasonably kinky and/or ascetic), pounding my body into submission gives my mind more clarity. Plus my regular running route takes me through the park so I can check out the birds. Hawks! Herons!
Also check out a sample of her poetry:
A Rauschenberg Conversation
“The artist’s job is to be a witness to his time in history.”
-Robert RauschenbergHe asked me about the painting that’s black. Just black.
And wondered if its blackness is somehow representativeof the twenty-first century dead, dead because we had
every opportunity and blew every opportunity and I sd,No. This was painted during the twentieth and so reflects
an apocalyptic return to what’s original and what’s moreoriginal? No. I see possibility in futures that will contain
the hum of a breathing machine carried in an easy breezethrough a window just to catch in the arms of a potted tree.
This is the twenty-first century. Encoded in the DNAof every living thing is a sketch of the man or woman
that will bear witness to your demise, my demise,the demise of a pet that in sleep twitches in an incalculable
pet dream world and all the while Florida will grow moreFlorida with its sun, prehistoric mid-section sprouting
embarrassingly thick, dark hair where hair should nevergrow. And I reminded him: Below the black is a strip
of news and the news, I guess, never ends even afterhistory has etched its loss and its gain into recusant
material, I mean recyclable. In the middle of the galleryhe just looked at me, at the painting, back at me
and said, Where is the human figure? What happenedto the figure who in terrible gesture remakes the air
around him? Isn’t he both the blackness and the newsand isn’t he, asleep in amnion, even then, before birth
and after stellar reconnaissance, the textbook definition,the end and the all that is and was—no god , no fall?
Please check out the rest of the interview on 32 Poems Blog.