I have a new essay out in Sycamore Review. I'm so thrilled to have my essay about falling in love with MMA, masculinity, crying and the labor of violence in here!
Molly is a witch exceedingly dear to my heart and I'm so chuffed I got to talk to her about saints, witches and being a feminist poet over at Brooklyn Magazine. You can read it here! And here a lil bit about the space between nonfiction and poetry:
You also write a fair amount of nonfiction—you recently had an essay in Conjunctions. How did you come to write in this mode? What about nonfiction interesting about it to you?
I came to nonfiction through poems. It was a natural move—so many of my favorite essays seem so close to poems. And so many of my favorite nonfiction writers are poets. For me it really came out of researching poems. I wrote a little chapbook about poems based on saints’ lives calledCAROLINE WHO WILL YOU PRAY TO NOW THAT YOU ARE DEAD and I’m kind of a nuts researcher. While I was working on that book, I’d make a lot of notes to myself. I’d write in the margins about Catherine of Sienna, “she did what?” Those little asides to myself in my research notes were essays. That’s how I first started getting into nonfiction.
I love poetry and I love political poetry, and I think it has a huge capacity to say important things. But so does nonfiction. There are things I need to grapple with in sentences. I know that the distinction between fiction and nonfiction and poetry are pretty arbitrary, but having the label of nonfiction for myself keeps me somewhat accountable. It gives me a different level of transparency. It prods me to think a lot more deeply. It’s not necessarily about honesty. I also really enjoy the collage element of nonfiction and being able to include other people’s ideas in a much more elegant way than I can achieve in poetry. That’s really appealing to me, to create a bigger space in which to put Kathy Acker and cage fighting together.
Thanks so much to D. Gilson for inviting me to Lunch!
I am so thrilled to have a poem from PINK MUSEUM showcased here, and I love the concept of a journal dedicated to conversing with other writers and artists. PINK MUSEUM was my way of talking to the dead, to Elizabeth Barrett-Browning.
JoAnna Novak reviews PINK MUSEUM at American Microreviews & Interviews. You can read the whole review here.
How fitting, then, that the rot and ruin of female expression concerns, somewhat obliquely, the speaker(s) in a book that’s title refers to a space where old and revered relics converge. In Crew’s hands, the conflation of motherhood and literature is framed and mounted, announced in a prefacing, untitled poem when the speaker observes: “I built for you this grand opening/how to give life is nothing/until I fetch it again in my mouth.” These lines suggest that a procreative act is simple, “nothing,”; what requires skill—and a sort of teachable skill—is the ability to convey, to “fetch.”
While throughout Pink Museum poems like “How Do I Love Thee?” bloom up and perish (I mean, only, that they sometimes end rather quickly), the book’s strength lies in its two long poems, sequences, really, that accomplish, in short, dense lines, tremendous work. I especially liked “Pink Museum,” where the aforementioned themes are grounded in an imaginary physical space. “Well-lacquered [shelves],” “the catalogue of selected silence,” “a new corridor”: in this poem, a group of girls wanders, “proceeding as expected just the same,” showing what it is to be complicit in history, “what it is to be surrounded by glass.”
So excited to pick up my contributor's copy of PLEIADES over the holidays, including a short essay about the fear of false rape statistics and Zoe Rana Mungin's immaculate conception phobia. Awesome to see faves here like Jessica Morey-Collins, Hannah Rebecca Gamble, Emily Skillings and David Bartone.
Oh my goodness. OH MY GOODNESS.
My first book PINK MUSEUM is now available for pre-order. So amazed by the wonderful words in support of it from Dara Wier, Danielle Pafunda & Heather Christle, and completely in love with the cover designed by Mary Austin Speaker, who understands the allure of ugly wallpaper.
So thrilled to be included in this stellar and supernova sized commpendium of amazing lady poets.
So excited about this killer issue of Drunken Boat! Happy to have a poem in it from a new manuscript. MUCH MORE EXCITING is this folio from the MONGREL COALITION http://www.drunkenboat.com/db22/mongrel-coalition
happy to have poems from my book PINK MUSEUM (this summer! big lucks!) in Sixth Finch, with my favourite Max, Max Cohen.
Chris Rife wrote a lovely lovely review of my lady saints chapbook, CAROLINE WHO WILL YOU PRAY TO NOW THAT YOU ARE DEAD, over at Probably Crying Review. <3
I’m so so thrilled that my chapbook of lady saint poems, CAROLINE WHO WILL YOU PRAY TO NOW THAT YOU ARE DEAD, arrived early for AWP and is now out from Coconut! (also forever in love with Christine Shan Shan Hou for the awesome cover)
Describe yourself as a poet in three words: lady fragment undone
What is your chief misery as a poet? too many birds and not enough language
What you appreciate the most in a poem: a swerve I don’t see coming
If not a poet, what would you be? geologist, chef or lawyer
Who is your poetry hero and why? Historically, Elizabeth Barrett-Browning– a hero so much I wrote my first book with her by re-writing Sonnets from the Portuguese. Contemporaneously, Alexis Pope, Morgan Parker and Carrie Lorig, for starters. There are some many amazing female poets right now trying to navigate being alive and they are heroes every day.
What is your idea of happiness?
What is your present state of mind? Winter is melting, emergence from constantly being tired, craft clue marred nails, returning “home” and hunger.
Your favorite poem, ever: I don’t think I have one favourite poem, but Louise Glück’s “Mock Orange” always comes back to remind me it changed me: http://www.poetryfoundation.org/poem/179759
Read Caroline’s poem “Plastic Sonnet #38″ at The Adroit Journal
I forgot happiness! Oh no!