Interviews

I think that we have to go forward and say, “I’m not going to wait for patriarchal structures to catch up to women poets.” We just have to go forward, and if they are not going to read us in the way that we deserve to be read, then it’s not worth our time in arguing.

Human life is invested in epistemological difficulties—just finding your ass with both hands these days is a challenge. But I think that nature, if we involve ourselves in it, if we just spend time [deeply inhales] looking at trees, smelling rocks… I like to crawl, I like to lie down in the woods a lot, I do that a lot, which has made me famous to the animals and my neighbors too.

So when I opened that back up, all the fear and pain and terror I should have been feeling then, but didn’t, came back on me. I was catatonic. My editor called me and said, “Kim, the book’s past due, honey. Where is it?” I said, “The manuscript, the hard copy, well… it’s in my trunk, and it’s bound in twine.” I couldn’t believe it. I was carrying it around hostage. Psychology 101.

Whenever I’m writing, I have a “different brain.” As a writer, my main goal is to protect that first brain which is the first-draft-brain. And I just have to let this brain get from beginning to end. After that, I can do whatever I want with the page. That’s how I approach my work now.

First off, for me, sonnets are great for telling stories. A crown of sonnets can tell a great story. And I’m pretty much a storyteller. Secondly, folks in the 19th century loved sonnets. They dug Shakespeare, it was a familiar form. So, in a psychological or spiritual way for connecting with the people in the book, they were an avenue for making that happen.