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While many of my poems are true to a certain emotional mindset that I have existed in, a great deal of the details from my work are only partially based in actual experience. Thus the distance would have to be defined by the shifting plane of events that come together in my writing. The idea is always true, even if the event is not. True or not, how important is narrative (defined in the broadest possible way so as to include a kind of event-based narrative, but also the kind of emotional/intellectual narrative becoming more prevalent today) to your work? I would say that narrative is perhaps the most important strain to 90% of my work. While there appears to be a move toward poetry for the sake of words alone, I believe this sucks the proverbial "heart" from a piece. In my opinion, it is an absolute mix of sound and narrative that creates the best poetry. Have you ever yet run up against anything you wanted to write but couldn’t work it out as a poem? If not, what stretches has this required from you &, if so, where are the city limits for Po-Town? With time, I have been able to write about just about everything ... but for me, I need that time to bring perspective. A great number of my poems deal with a particularly devastating relationship that I had in my teen years. While poems stemming from that event flooded my collection for the next couple years, it wasn't until significantly afterwards that I was able to write the definitive poem from that era of my life. Because I am so young, it is hard to mine my life for specific events. So often, instead of repeating motifs or digging through the more banal elements of my rearing, I have taken the emotion of these happenings and painted them again through a persona, thus making the “I” in many of my poems a hybrid of myself and another.
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| Interview finalized October 2004 |
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