In an interview with transnational poet Lisa Samuels, she suggests that at the heart of her poetry and her process is a multiplicity of reference and background. When asked by interviewer Jack Ross, in the first issue of the revamped Poetry New Zealand Yearbook, which writers inspire her she answers in terms of categories, and says that she is as likely to be inspired by, “patterns, sounds, place histories, images, philosophy, statistics for a country’s fabric imports, dictionaries, encyclopedias, poetry, experimental drama, strange comics, physics hypotheses, theory, and manifestos,” as writers (41).
In this exploration of poetic process, I’ve been gathering what can be gleaned from existing interviews when the subject of process bubbles up. Jamaican-born US poet Claudia Rankine responds to a question from interviewer Katy Lederer about the differences between her first two collections Nothing in Nature is Private and The End of the Alphabet by saying that, from her point of view, part of the problem with her first book was that, “the subject did not determine the form” (in Henry & Zawacki 2005, 147). This, she says, led to a situation where the point of view of the book started to “typecast itself” into a pre-conceived portrait of blackness and immigration which meant that her own consciousness seemed to become lost (147).
I came across a fascinating interview with Indigenous poet Alison Whittaker in a recent issue of the Melbourne-based journal Rabbit. Whittaker is both a lawyer and a poet. She believes that poetry and law have much in common, since they both “litigate meaning and try to persuade people,” and both have rules and codes. They differ in their degree of formality, and Whittaker’s progress in both domains has become less about balancing and more about harmonising. This has resulted in the emergence of an intriguing process at work in some of her poetry.
Smith makes a lot of art. She is a poet willing to experiment, and, invariably,
the experiments pay off. Whether with form, or seeking out incisive and vital
new content, her work interrogates language and society. It’s reaped the
rewards of recognition in the form of the Australian Prime Minister’s Literary
Award for Poetry and in being viewed as a poet who balances openness and play with
a concern for social justice.
We have a society . . . in which artists are free to do and say mostly what they like without being . . . thrown into jail for it, and we should celebrate that fact and use it to aspire to be a society in which there is a lot of art for everyone.