Posted tagged ‘art’

The Next Big Thing: interview project

February 20, 2013

The Next Big Thing 

A good friend and fellow writer, Nicholas Alexander Hayes, tagged me in this ongoing chain of self-interviews:

What’s the title of the book? Two books in one interview: heart speech this (2009) and Beautiful Laceration (2012)

Where did the idea come from for the book? heart speech this came from working with reinterpreting/revoicing Greek and Roman mythical heroines through designing formal settings (sonnets, octava rima, Spenserian stanzas) to narrate each woman’s journey through passion, violence, love, and resolution.

Beautiful Laceration came together after new and older poems began to sort themselves into themes of love, family, loss, nature, and healing.  The title refers to the experience of what cannot be healed but can be embraced and accepted, the “proud flesh” of the scar, the wounding necessary for emotional and experiential growth. The title was a serendipitous moment: a surgeon took a look at an accidental wound on my hand and said, “Ah! That’s a beautiful laceration!”

What genre does your book fall under? Poetry (both books)

What actors would you choose to play the parts in a movie rendition? So many good, small parts here that could be rewoven across poems and themes: Juliette Binoche, Willem Dafoe, Carmen Maura, Ken Takakura, Zhang Ziyi, and many more. Zhang Yimou and Alfonso Cuarón should direct.

What is the one sentence synopsis of your book? heart speech this: All women can be goddesses; all goddesses can be women.

Beautiful Laceration: Life, love, and healing are found through compassionate wonder.

How long did it take you to write the first draft of your manuscript? heart speech this took about eight months to write, on the trains, buses, and in the hospital. Beautiful Laceration contains at least one poem I wrote in college (1988) and several I wrote in 2011.

Who or what inspired you to write this book? Most of the core poems in heart speech this were written when my former fiancé was in and recovering from a coma in local hospitals. Beautiful Laceration came from small, medium, and large impulses to write to and from experience, to experiment with form, and to respond to other artists and thinkers who made my blood dance and thoughts sing.

What else about your book might pique the reader’s interest? Both books speak to a number of readers, both those familiar and unfamiliar with the traditions of poetry across several cultures. Anyone who has experienced desire, loss, love, violence, wonder, depression, self-fracturing, healing, joy, loneliness, solitude, and connection will find poems and images that reflect and resonate individual and collective lives.

Will your book be self-published or represented by an agency? Both books have been published by Atropos Press and are available on Amazon.com. Daily quotes from the poems appear on my Facebook artist page, Gina Rae Foster, and blogs, readings, and publications can be found there, through my Amazon author’s page, and my WordPress heartspeechthis blog.

Look for upcoming interviews with Lorena Fernandez, Dawn Diez Willis Plechl, Felecia Caton-Garcia, and Jill Leininger!

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Matrimony: Chrome, Utility, and Vision

February 26, 2010

“Matrimony” can be read on p. 117 of heart speech this (Atropos Press, 2009, ISBN 9 780982 530948)

He photographed his wife’s hand splayed across the hubcap of a tire, his wife the painter’s hand spread to cover the core of an object rather than to reveal the shape and movement of exposure. The deliberate layering and tension of light on the black gloss of the car, on the chrome between and beyond fingers, on the back of the hand that seems to be its own source of light—Georgia O’Keeffe and Alfred Stieglitz are not necessary, yet the photo would not exist without their interplay and intention.

I was in Dubuque, Iowa, helping install an art exhibit, “Moved by the Machine,” curated by my dear and extraordinarily talented cousin Josephine Shea. Two Steiglitz photos were on display, accompanied by art devoted to the American (and in some cases, European) fascination with the automobile. There had been a cross-country road trip in which I picked up and delivered Shannon Goff’s cardboard “Dashboard”, six feet of cardboard sculpted into a larger than life, yes, dashboard, from Boston to Detroit, then collected the curator and more art and drove through Chicago to Dubuque to the museum. Two days later, I was helping to finish the installation and write labels and vinyl text while I soaked in the interplay of sculpture, painting, photography, video, and bird calls. And O’Keeffe’s hand in Stieglitz’s image hummed in me.

What did he do, drag her by the wrist from her easel and canvas out to place her hand on the car? She must not have been painting: nothing is caught in her knuckles; nothing clings to her cuticles. Yet what impatience must she have breathed to be pulled into his work when so much of her own remained to be done!

Yes, projection, projection, projection. And yet, imagine the push and pull so often written about, these two visual artists with such different creative compulsions, generational assumptions, married in spite of their individuality, partnered in spite of each wanting to lead. And so, “Matrimony”: competing arts, visions, and perceptions of the hand. For one an object to portray as an image, for the other, a tool to create images. And for both, this tension of relation between man and woman, man/woman and machine, the viewer and the viewed. The placement of the represented to be presented. What we look at tells us so much about who we are.