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Interview with Poet Ace Boggess

Ace Boggess
Ace Boggess

CONTRIBUTOR INTERVIEW

  1. Thanks for agreeing to let us interview you for Gyroscope Review. We’re pleased that you are one of our contributing poets. Will you please begin by telling us where you’re from, where you write, and why poetry?

I’m from West Virginia—Charleston, currently, but I’ve lived in many parts of the state. I write wherever I happen to be. I’ve been writing in bed a lot lately for some reason. As for why poetry, well, that’s complicated. Until a few years ago, I never thought of myself as a poet. I considered myself a novelist and just wrote poetry along the way. Then, while my novels were out there floundering under the weight of rejection letters, my poems were popping up in journals and e-zines all over the place. It got so bad that everyone I knew referred to me as a poet. It took me a while to accept that. Now, I write mostly poetry and call myself a poet, so of course I have a novel out. Funny how that works.

  1. Who, or what, are your poetical influences?

Early on, I loved reading Neruda and Ferlinghetti. An odd mix, I know. From there, I started reading whatever I could get my hands on. Probably the two books that have had the biggest influence on me though are David Lehman’s The Evening Sun and Without End by Adam Zagajewski. The way I like to describe is that when I’m reading those two books, I can feel the tone of my own writing shift—more kinetic and chaotic in terms of Lehman’s book, and more serious and subtle, almost soulful, with Zagajewski’s.

  1. How do you decide what ‘form’ a poem should take?

I rarely do until the poem is on paper. When I’m typing and revising, I play around with the lines and stanzas until they feel right. I rarely write in traditional forms, and when I do it’s a conscious choice in advance. With my new book, Ultra Deep Field (forthcoming from Brick Road Poetry Press), I forced myself into a form just to see if I could do it. What I decided on was a series of poems in unpunctuated couplets. I tried to see how much could go in a line or a stanza without the missing punctuation causing a problem for the reader (I quickly learned that the one bit of punctuation you can’t live without is the question mark). I wrote almost exclusively in that form for three years, carving out about 400 poems, of which half didn’t work at all. The other half mostly found homes in journals, and the better of those are included in the book.

  1. What is your writing process like? 

I read for a while to get in the writing mood—usually half an hour to 45 minutes. That’s a habit I picked up years ago when I was a drug addict. I’d take my drugs and read until they kicked in, then write. The drugs are gone now, but the habit remains, and I find it an effective way to focus. When I’m ready, I write longhand in a little notebook, make a few corrections, then do all the revising and form-seeking as I type. After a poem has been typed, I revise it once and send it out. If it’s rejected, I revise again and submit again. I almost never send the same piece out twice without having tweaked it a bit. I repeat that process until the poem is either right and published or hopelessly broken and ready for assisted suicide.

  1. Do you belong to any writer’s groups – face-to-face or online? If so, are they part of your process?

I used to. Not anymore.

  1. What do you look for in the poetry you like to read? Any favorite poets?

I look for a sense of connection to the strange. I want to feel what the poets feel and experiences their lives as if my own. If they’re exhausted or fascinated or turned on, that’s what I expect to come away with. If they’re meditative, that’s the state I want to find myself in. If they’re looking at deer or rabbits or ax-wielding clowns, I want to see them too as if they’re standing in my front yard right now … which they very well might be.

  1. What is the most important role for poets today?

I think the best thing poets can do is to help strangers understand each other.

  1. Which poets have you had the opportunity to hear read? Alternatively, what is the most recent book you’ve read?

I’ve attending too many readings to remember them all. Some of the earlier ones were Ferlinghetti, David Rigsbee, Erin Belieu, Kirk Judd, and Mark Halliday. As for books, the one I’m reading at the moment is Ada Limon’s Bright Dead Things.

  1. Any future plans for your work that you’d like to talk about?

Right now, I’m excited about the publication of Ultra Deep Field, which will be my third full-length collection. In the meantime, I have three other full-length collections for which I’m trying to find homes.

  1. What other interests do you have beyond literature?

Music and movies, mostly. I used to be a news junkie, but I’m trying to break myself of that habit. It’s not good for my ulcer.

Thank you for sharing your thoughts with us. Please let our readers know where they can find more information about you or your work:

https://www.amazon.com/dp/1988292050/ref=sr_1_1?s=books&ie=UTF8&qid=1482608778&sr=1-1

https://www.amazon.com/Prisoners-Ace-Boggess/dp/0983530475/ref=sr_1_1?s=books&ie=UTF8&qid=1407071309&sr=1-1&keywords=ace+boggess

http://brickroadpoetrypress.com/

On Twitter: @AceBoggess

 

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INTERVIEW WITH POET ALEXIS RHONE FANCHER

GR: Thanks for agreeing to let us interview you for Gyroscope Review. We’re pleased that you are one of our contributing poets. Will you please begin by telling us where you’re from, where you write, and why poetry?

ARF: A life-long Los Angeleno, I’ve lived all over L.A. county, including a childhood in the wilds of Topanga, and a decade on the beach in Venice. These days, my husband and I live and work in an 8th floor, 2,000 sq. foot loft/studio in downtown Los Angeles, where I write on my iMac computer. I write poetry because I am a minimalist at heart and take pleasure in telling stories that are reduced to their bare bones, stories that have room for the reader to step inside.

Alexis Rhone Fancher reflected in a Los Angeles window
Alexis Rhone Fancher reflected in a Los Angeles window

GR: Who, or what, are your poetical influences? 

ARF: Influences include Dorianne Laux, Ellen Bass, Matthew Dickman, Karl Shapiro, Lawrence Ferlinghetti, Anne Sexton, Thomas Tranströmer, Wislawa Szymborska, Edward Field, Louise Glück, and e.e. cummings. I studied for five years with the poet Jack Grapes, who taught me practically everything I know about writing.

GR: How do you decide what ‘form’ a poem should take? 

ARF: That’s an interesting question. Sometimes I have the form in my head before I’ve written a word, sometimes the poem decides. But usually I play around with form, writing a poem in various ways until it feels “right.”

GR: What is your writing process like? 

ARF: I’m a creature of habit. Up and writing daily by 6 a.m., a huge mug of French Roast coffee within reach. I write a minimum of four hours a day. First drafts are often long, and include pages of notes and (sometimes) research. The poem begins to take shape around the third or fourth draft. Then it goes to my peer editor. After she edits the poem it goes to my paid editor, who may put the poem through up to a dozen drafts before we consider it finished.

GR: Do you belong to any writer’s groups – face-to-face or online? If so, are they part of your process? 

ARF: No writers groups these days, just the editing process mentioned above. I’ve taken my share of classes and workshops, but find my time best spent working one on one.

GR: What do you look for in the poetry you like to read? Any favorite poets? 

ARF: I’m a great fan of narrative poetry, a fool for a well-told story. I look for the “zinger” at the end of a poem – that ‘aha moment’ when a chill runs through me, along with a tinge of jealousy, because I wish I’d written it. I want to read poems that move me, change me in some magical way. Favorite poets include: Dorianne Laux, Ellen Bass, Federico Garcia Lorca, Gerald Locklin, Sharon Olds, Louise Glück, Jeffrey McDaniel, Richard Jones, Frank O’Hara, Rita Dove, Francesca Bell, Mark Strand, Tony Gloeggler, Carolyn Forché, and Laura Kasischke, to name but a few.

GR: What is the most important role for poets today?

ARF: Poets hold up a mirror to society. At our best, we reduce life to digestible morsels, bits of insight and reflection, served up as poems.

GR: Which poets have you had the opportunity to hear read? Alternatively, what is the most recent book you’ve read?

ARF: I’m a fool for live poetry! In December I was at the Orpheum Theatre for the launch of Patti Smith’s new book, M Train. She read. She sang. She was brilliant; she’s been a hero of mine for decades. Sharon Olds recently wowed me at the Hammer Museum, where Louise Glück had astonished me the year before. I’m a big fan of local poets who are also performers, especially Nicelle Nicelle, Rich Ferguson, Rick Lupert, Michael C. Ford, Brendan Constantine, Laurel Ann Bogen, Linda J. Albertano, and the always brilliant Suzanne Lummis, who sparkles on stage as no other. World Stage artist, Conney Williams, is another poet I try never to miss.

GR: Any future plans for your work that you’d like to talk about?

ARF: My latest book, a full-length collection of erotic poems, Enter Here, has just begun the poetry contest rounds. I’m working on two chapbooks, Gidget Goes To The Ghetto, and Junkie Wife. And a coffee table book of my photos of over 50 Southern California poets is in the works.

GR: What other interests do you have beyond literature?

ARF: I have a monthly photo column in Cultural Weekly, (http://www.culturalweekly.com), “The Poet’s Eye,” in which I explore the streets of Los Angeles with my lens. Photography is one of three passions in my life. The other two being poetry (of course) and my delicious husband, Fancher, who, after almost sixteen years together, still makes my heart sing.

GR: Thank you for sharing your thoughts with us. Please let our readers know where they can find more information about you or your work.

ARF: You can find out more about me at: alexisrhonefancher.com

Or find me on Facebook: https://www.facebook.com/alexis.fancher

Both my books, How I Lost My Virginity to Michael Cohen & other heart stab poems, and State of Grace: The Joshua Elegies, are available on Amazon: http://www.amazon.com

Editor’s note: Alexis’s poems,  “Daylight Savings Won’t Save Us”, “Never Forget Why Your Wrist Throbs”, and “When You Think You’re Ready to Pack Up Your Grief” appear in Gyroscope Review Issue 16-1, Winter 2016.

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