Contemporary Arts
Tracking fellows: Elizabeth Edwards
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Elizabeth Edwards is currently working on a second poetry collection, tentatively entitled, 'O Positive.' |
The following is taken from an interview with the artist.
How has receiving the Maine Arts Commission Fellowship in poetry advanced your work personally and professionally?
It's always personally satisfying to have your work singled out by people in your field. Whether you're a potter or a plumber, having
people admire your work is rewarding. Sometimes I say, why are you doing this? But then I start a new poem and ride on its adrenaline
for awhile. Winning the Maine Arts Fellowship felt like that. The money was nice but I certainly didn't get into poetry to make money.
I'm grateful for the support I've received. The people at the commission have been terrific.
Is your work deeply connected to Maine, to a sense of place?
Well I live in Kittery and am very Seacoast-oriented. The ocean and the Piscataqua River affect me daily. Just to be able to smell
the ocean is still amazing to me after 12 years. I remain constantly aware of what a beautiful place Maine is. Aware too, that at any
moment, someone will notice and say, "Hey you're from Pittsburgh!" and I'll be forced to leave.
Could you speak to us about inspiration and influences?
Regular people: people at the bars at noon on a Tuesday; the woman making my cheeseburger at Wendy's; the one guy at the drive-through
bank who always puts a lollipop in for me in that plastic tube. I wonder about their lives, and if they're happy, and imagine secret
identities for them. My six-year-old daughter is also a source of inspiration with "found poems." She said the other day, "How can I
see who I am when I'm myself?" There's a poem there and I'll steal it.
Could the literary arts in Maine have a more cohesive voice, a stronger union and presence, if you will?
I really resist the idea of "bringing poetry to the masses." What does that mean? I'm not sure the masses want poetry or frankly care.
I think it's important to make sure poetry is available in schools and libraries so if you like that sort of thing, it's there. As far
as Maine having a more cohesive literary voice, I don't know. Maybe we could bring together all the Maine poets and create a poetic
movement that could be named the "Ya cahn't git they-ah from he-ah" school and make shirts with little lobsters on them, or potatoes.
Do you attend or support writing groups in the state?
Honestly, I don't attend any writing groups but I support the idea. None of my friends are writers or poets. In fact, when the book came
out it was a surprise to my friends and very interesting to see how they responded. I know some thought I was a little weird and it made
them uncomfortable. But it was neat to experience that.
Tell us about the revision process when you're writing poems.
My husband is really my sounding board. I once wrote a poem from the viewpoint of a woodchuck who was starving because his lower teeth
had grown up into his head. My husband read it and said, "Is this a joke? This is the worst poem I've ever read." So now when I hand
him a new poem he says, "Hope it's not a woodchuck." But mostly I'm my own editor.
What poets or poems do you admire?
I like James Dickey, Stephen Dunn, Gerald Stern, Philip Levine, Mark Doty, Emily Dickinson, Frank O'Hara, Yusef Komanyakaa. Gosh there
are so many. One of my favorite poetry books is Across the Mutual Landscape by Christopher Gilbert. I like illuminating everyday
occurrences and elevating the normal. I also like powerful, risky language. I don't much care for poems that show off the poet's acrobatic
verbal skills but have no roots in the real.
Read a poem by Elizabeth Edwards.
