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A native of California, Karla Kelsey is a graduate of the Iowa
Writer's Workshop and currently finds herself in Colorado grafting
the modes of academia to the movements of poetry at the University
of Denver.
Question #4: Susan Maxwell writes, “The
poem furrows a way out of the white by running over it, while still
white underneath ink.” Brian Kitely composes “postcard
stories” that are, quite literally, started on the back of
postcards that are then mailed to friends and family, after which
the stories are rewritten and revised. And Bin Ramke finds that, “the
necessity to make the tiny announcements that are line-ends in ‘standard’ verse
becomes sometimes, often, annoying, arbitrary, and ultimately misleading.” Why
do you write pp/ffs? How are your stories and poems brought into
the world?
Sound of the word, clock ticking, the clicking of a modem, fluorescent
buzz of lights on and on and off. These sounds of the everyday
spark more words, spark poems and thought, the logical patterning
of a Why pausing the poem, stuttering syntax into normalcy until
the How seeps in, mixing the words thoughts sounds back into poem.
The Why of writing always plunges into the How into the How Breathe,
How Think, How Neighbor, How Be. Not that the logic of the Why
is not a poem, it is the pause of the poem, the slowing into connectors--in
the prose poem the Why seeps into a particular How of a particular
form, turning the form into a logical box that the sound the word
the line exceeds.
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