It's not every day that I get an opportunity to interview a former poet laureate. So when I was afforded the chance to read Patricia Fargnoli's Duties of the Spirit (Tupelo Press), I jumped at the chance to interview the former New Hampshire Poet Laureate (her term ended earlier this year).

Though Fargnoli is a retired psychotherapist, she just published her first collection of poems Necessary Light (Utah State University Press) in 1999. And has made her presence felt in the poetry community in a very short period of time with another full-length collection and chapbook in the same 10-year span. Oh yeah, Fargnoli is also in the final stages of publishing another collection with Tupelo Press.

Here's one of my favorites (I have many) from Duties of the Spirit:

The Undeniable Pressure of Existence

I saw the fox running by the side of the road
past the turned-away brick faces of the condominiums
past the Citco gas station with its line of cars and trucks
and he ran, limping, gaunt, matted dull haired
past Jim's Pizza, past the Wash-O-Mat
past the Thai Garden, his sides heaving like bellows
and he kept running to where the interstate
crossed the state road and he reached it and ran on
under the underpass and beyond it past the perfect
rows of split-levels, their identical driveways
their brookless and forestless yards,
and from my moving car, I watched him,
helpless to do anything to help him, certain he was beyond
any aid, any desire to save him, and he ran loping on,
far out of his element, sick, panting, starving,
his eyes fixed on some point ahead of him,
some possible salvation
in all this hopelessness, that only only he could see.

*****

What are you currently up to?

On March 22, I finished my 3 1/2-year term as New Hampshire's Poet Laureate.   And my new book, Then, Something, which is due to be published in fall by Tupelo Press, is at the publishers and soon to go into production.  We've already decided on the cover.  I've also recently finished work with two private tutorial students...all of which should mean that I could rest a while, and, hopefully, turn my energies toward writing new work. But March's calendar is full of readings I want to attend and lunches with poet/friends and teaching my private class.  And April's only a little freer.  The last week in April and the beginning of May I'm going to The Dorset Writer's Colony in Vermont for a week  (and would go longer if I didn't have a cat and no one for him to live with in my absence).  In June, I'm teaching at an Elderhostel for a week, and leading an Ekphrasis workshop in July and a workshop for Teachers in August.  In between, I'm giving a couple of readings....and will be working at proofreading my manuscript for the press...and writing a reader's guide. Whew!  Would you believe I've been "retired" for 10 years now?

You've just recently finished up a stint as New Hampshire's Poet Laureate. What were your duties? Were you able to accomplish everything you wanted?

As poet laureate, I had no official duties.  Some poet laureates do a little or nothing; some do a lot. I like that what I did was left entirely up to me so that I could use the skills and interests I have in the way I wanted to.  I'd decided from the outset that I wanted to do something for children, something for libraries and something for New Hampshire poets.  And I'm proud that I accomplished all three. With the support of the NH State Library, The Writer's Project and the NH Council on the Arts, I was able to recruit 43 poet-volunteers from around the state, and to organize a "Children's Poetry Day in the Libraries Day" the first April after I was elected. The Governor issued a proclamation proclaiming April 14th as statewide "Children's Poetry Day;"  and each volunteer put on a program for children in a library near him/her.  We published articles in almost every regional magazine promoting the importance of poetry in children's lives and served about 350 children and parents on that day.

I also initiated (again with the help of Art Council personnel) a "New Hampshire Poets Showcase" link to the Arts Council website.  Every two weeks we featured a new NH poet with a poem, bio, photo, links and a paragraph about how their poem came to be. 

I also did readings and workshops around the state and attended civil functions occasionally. And I delivered a poem at the Governor's Inauguration.

When I look back at what I accomplished I'm amazed that I could do it.  I had reservations about accepting the position in the beginning because of some chronic health problems that have limited my mobility and energy.  But I'm glad I didn't turn it down; the position was life-enriching. I made many friends and have some wonderful memories.

When and why did you begin publishing poetry?

I began writing and studying poetry seriously when I was in my mid-30's in a graduate class with Brendan Galvin at Central CT State University.  Along with 7 other women who became my close friends (and are to this day), I took the class for several years.  My first poems were published in Tendril (which has been gone for years) and Poet Lore.  In fact, Brendan sent out my work to Tendril without telling me and when, one of the poems was accepted, he called me from his vacationing on Cape Cod to give me the news.

I was hooked.  I've always loved poetry and had written it earlier...publishing in the high school newspaper etc., but I knew nothing then about contemporary poetry and the only two poets' names I was familiar with were Sylvia Plath and Robert Lowell.  However, it was many years later, when I was 62, that I published my first book, Necessary Light, after Mary Oliver chose it as the May Swenson Award winner.

The "why" is harder to explain.  Besides the love of poetry, there's the challenge of getting what can't be easily said into words; the thrill of connecting in a deep way to readers,  the adrenaline rush when you open an acceptance letter and the way writing a poem can somehow make sense of your life.

Do you have any method to where and when you submit your poems?

Hmmm.  I usually submit about 3 times a year....in late September,  January, and maybe June (to those journals that accept summer submissions).  But this isn't rigid and if I have some poems I want to send out and have the time, I'll send them.  I have a list of journals I'd like to have my poems in...a rather long list.  Over the years, I've subscribed to many of them and I know what kind of work they take.  I believe strongly that poets shouldn't be expecting editors to publish them if they, themselves, aren't supporting the work of presses, literary journals, and other poets.

I only occasionally do simultaneous submissions because it's hard to keep track of them. But I do them more lately because I am 71 and time is passing far too quickly...I can't afford to wait a year to hear results anymore...especially since the competition is so fierce and rejection so frequent.  And when I do submit simultaneously, I don't send to more than 3 journals at a time, or to journals that don't accept them.   But other than that, I have no specific method.

Duties of the Spirit (Tupelo Press) won the Jane Kenyon Poetry Book Award and your first collection Necessary Light (Utah State University Press) won the May Swenson Book Award. What do you think makes a good collection?

Oh Robert, it is so, so subjective!  I've several times been a judge or early-round judge of a book competition so I've read hundreds of manuscripts and I can tell what impresses me....though it probably would be different for someone else.  At the top of my list is "Vision."   I mean that the book presents the poet's unique way of looking at the world....some fragment of the whole.  And the poems must "matter" and, when taken together, seem like a cohesive whole (even though there may be single poems that are different from most of the others)....I don't have patience with the superficial or pretentious language that reveals nothing when you look under it.  I look for depth.  Craft matters to me greatly. And once I gave top prize to a book (a novel in verse) mainly because I fell in love with the "voice" of the protagonist. (He was an ironic everyman.) Of course, the craft was impeccable too.

What do you look for in a good poem?

Depth, beauty, spirit, craft, sound, humanity.  Sometimes fracturing and remaking of reality, so that I as a reader can see a thing newly. Some news to help me understand my own life and its meaning.

In Duties of the Spirit, you deal with nature and aging--even confronting death. These topics are big and well-traveled, yet you make them your own. I'm sure part of your success comes back to revision. So, how much time do you commit to revision? And how do you know a poem is done?

Revision is, for me, the process by which a poem comes into being. My early drafts are terrible.  I often overwrite pushing myself past all the voices in my head that say "Ugh" just in order to get words onto the page where they can be worked at.  I then will do maybe 3 or 4 quick revisions and put it away for at least a few days.  Then I work at it again.  If I can get it into what begins to feel to me like a poem and I'm as far as I can go, I'll bring it to one of my workshops (there are 2; one of them is online). That usually results in another revision. I have what I call my "WP file,"  which stands for "Working Poems."   The revised draft (if I'm still not satisfied which is usually the case) goes into that file...and periodically, I'll pull it up and work some more.

In later drafts, often, I'm picking at single words, or perhaps upping the ante on a phrase that feels flat...or experimenting with shifting the order around or changing line-breaks...that kind of thing.  I've often worked this way on a poem for years before I'm satisfied...if I ever am. And even when I send out a poem, I'll later revise it... or even after it's published.  I don't know when a poem is done....it's mostly just let go.

I think of revision as being like a sculptor with a block of marble.  The poet chips and chips away at the poem until the real poem (hopefully) emerges from the block of words.

Who (or what) have you been reading recently?

I read poetry every day...and not just a little. I have 7 bookcases (3 of them tall ones) in my 2 room apartment and they are all filled with books of poetry. I spend more on poetry than I do on anything else except food and rent.  Currently on my bedstand (which means I'm reading them) are: Robert Hass Time and Materials (which I'm reading for the second time); Mary Oliver's New Evidence; Louise Gluck's Averno (also reading for the 2nd time); Borges This Craft of Verse; Rebecca Seiferle, Bitters; BAP, Charles Wright, ed;  Henri Coles, Blackbird and Wolf; Charles Bennett's How to Make a Woman Out of Water; Ruth Stone's What Love Comes to; The Making of A Sonnet, Edward Hirsch and Eavan Boland; Dante's Divine Comedy; and the current issues of several journals: The Georgia Review, Shenandoah,The Harvard Review and The American Poetry Journal.

On order are Ann Fisher-Wirth's Carta Marina and Jack Gilbert's new book (which I've forgotten the name of).

If you could offer only one piece of advice to your fellow poets, what would it be?

Read, read, read, and support other poets, publishers and the poetry community.

*****

To learn more about Patricia Fargnoli, check out her website at www.patriciafargnoli.com.

Gregory K. Pincus wanted to share the following announcement from his blog about April: http://gottabook.blogspot.com/2009/03/announcing-30-poets30-days.html

Basically, he's going to post a previously unpublished poem by a different children's poet each day in April, including poets like Jack Prelutsky, Jane Yolen, Nikki Giovanni, and many more.

Should be fun reading for all ages!

This is the last Wednesday Poetry Prompt before the 2009 April PAD Challenge, which is when we'll be writing a poem every single day (oh yeah!). The Wednesday Poetry Prompts will resume in May.

For this prompt, I want you to write a character study poem. Think about people you know or complete strangers. Like an artist, study them and then write. Stick to the facts; or speculate. I suppose you could even write a character study of a fictional character (such as Wonder Woman or Darth Vader).

Here's my attempt for the day:

"Little Marc"

The lights go out when he walks down the street.
No one wants to mess with him as he struts
over sidewalk chalk--this man who smiles at
a fight and knows every woman's name.
I've lived near him my whole life and never
once wanted to see him coming my way,
always relieved when our conversations
come to an end and no punches thrown. I'm
not sure how he got his name, and never
have heard it used in his presence. But once,
Johnny Andrews told me he saw Little
Marc so drunk that he'd stripped all his clothes down
to his tighty-whiteys. "He was going
on and on about how nobody knows
what it's like to be feared, how nobody's
ever got the guts to talk to him. So,
Darryl Pokerman--from southside--puts his
arms around him and says, 'It's okay, man.
Everything's gonna be okay.' But
Little Marc just pushed him off and called him
a fag," said Johnny. I didn't need Johnny
to go on, but he did anyway, "So,
of course, Little Marc busted a stick on
Darryl's head and kept kicking him until
some guys peeled him off, because you know how
he can get." And, of course, everyone
who knows Little Marc knows how he can get.

Seems like many writers often lament they don't have enough time to write. Some of these writers ask me how I do it, or wonder aloud how writers like Joyce Carol Oates or Stephen King publish so much so often. I can't speak for other writers, but I can give my own take on the topic of making time to write: I've almost always got time.

That's not to say I'm not busy-busy-busy. As anyone who knows me in real life can attest, I'm tremendously busy and productive all the time--from cooking and cleaning at home to editing books and coding databases for work (which also just happens to take place at home). I say I've almost always got time, because I make time for my writing. And I improvise.

For instance, this past Saturday, I spent a delightful afternoon in Atlanta with my wife, son, and mother (who was visiting from Ohio) by eating at The Varsity, strolling past the Fox Theatre, and walking around Stone Mountain. Ideas and images flooded my brain, but I had neither pen nor paper. In fact, many of the no-time writers mentioned above would say I had no time either. Quite a predicament!

Here's how I improvised: I still had a cell phone, so I started typing a text message to myself of the lines rolling around in my head. When I finished, I saved the text to my drafts (I could've also sent them to my email address). Since the day was an inspiring one, I did this a few times on Saturday--all while enjoying the day with my wife, son, and mother.

Other ways I've written through the years have included (but are not limited to) writing on napkins, receipts, placemats, business cards, flyers, menus, Post-It notes, etc. If there's the tiniest bit of white space (and you have a writing utensil--even a crayon will do), then you can write.

Since I usually like to carry a pen and paper (folded in my pocket), I've written in several locations and situations, including conferences, meetings, nature trails, family reunions, theaters, restaurants, playgrounds (with my boys), sporting events, etc. And while I don't encourage others to do this--because it's extremely dangerous (for yourself and others)--I write when I'm driving. Basically, I write almost anywhere and everywhere. No excuses about time or location.

If you really want to write, I'm sure you're always ready and able to do the same.

Skeltonic verse is named after the poet John Skelton (1460-1529), who wrote short rhyming lines that just sort of go on from one rhyme to the next for however long you wish to take it. Most skeltonic poems average less than six words a line, but keeping the short rhymes moving down the page is the real key to this form.

Here's my attempt at one:

"My weekend with Tammy"

We perused
all the shoes
in Syracuse
and then cut my hair
until little was there,
and everyone stared,
though I didn't care--
more focused on wining
and elegant dining
with Tammy opining
she'd rather go mining
in the mountains for coal;
so we had a new goal,
but somebody stole
our beautiful car
delivered from Mars
(made from old stars
after the alien wars);
instead, we decided to sit
and not throw a fit
or pout or spit
(our plan already quit)
at the crowded park
where we waited 'til dark
for the invisible balloon
to carry us soon
to the crescent moon
where we'll live until June.

In anticipation of National Poetry Month, here are some poetic forms to investigate and/or play with. I know forms can seem a little intimidating for some, but they can often lead you to unexpected destinations with your writing.

• Abstract (or Sound) Poetry
  
• Acrostic Poems
  
• Alphabet Poetry
  
• Anagrammatic Poetry
  
• Concrete Poems
  
• Elegy
  
• Epitaphs
  
• Fibonacci Poetry
  
• Found Poetry
  
• Haiku
  
• Hay(na)ku
  
• Insult Poetry
  
• Kyrielle
  
• Limericks
  
• List Poems
  
• Occasional Poems
  
• Odes
  
• Pantoum
  
• Parody Poems
  
• Rondeau
  
• The Roundabout
  
• Sestina
  
• Shadorma
  
• Tanka
  
• Triolet

I hope you have fun playing around with these forms. My personal faves are the triolet, sestina and shadorma.

So I'm excited that some of our April PAD Challenge participants will have a chance to be featured in a well-designed eBook. The purpose of this project is not to exclude participants but to shine light on some of the very good poetry that happens on this blog in April. If you were here last year, you know what I mean.

Well, here's how the April PAD Challenge eBook is going to work. I'm going to make the deadline for consideration at midnight on April 30 (whether you're posting a poem to Day 1, Day 30, or sometime between). At that point, I'm going to go through each day (possibly with the help of my amazingly awesome wife and poet, Tammy) and select a Top 5 for each day.

(Note: As you know, a Top 5 in poetry is very, very subjective. And if this year is anything like last year, there is bound to be a ton of great poems each and every day. So please don't have any bruised feelings if you're not in this group.)

So, I choose a Top 5 each day. 5 poems per day X 30 days = 150 poems, right? But only the Top 50 poems during the month will appear in the eBook. And this is how we'll narrow it down:

* I'll be passing a group of Top 5 poems for each day to a guest judge (list below). That guest judge will pick a favorite from the Top 5 list to be the top of the day. So that'll take care of 30 of the 50 poems.

* I'll then pick out 20 from the 120 remaining poems. That'll get us to 50 poems.

Last year, more than 400 poets submitted more than 4,000 poems. So I definitely want y'all to know just how exceptional these 50 poems poems will be. And that those who are selected should feel proud, and those who aren't should feel just as good about themselves.

Apart from making it into the eBook, all those who complete the April PAD Challenge this year should receive a certificate of completion and badge for their websites/blogs (as we did last year). Plus, you should be able to make plenty of new friends (as we did last year).

So, here's the very distinguished list of judges (who are all volunteering their time and effort to the cause for free):

* Seth Abramson
* Sandra Beasley
* Shaindel Beers
* Mary Biddinger
* Jericho Brown
* Edward Byrne
* Sage Cohen
* J.P. Dancing Bear
* Jim Daniels
* Mark Doty
* Annie Finch
* Nick Flynn
* Jeannine Hall Gailey
* Guy LeCharles Gonzalez
* Vince Gotera
* S.A. Griffin
* Tom C. Hunley
* Collin Kelley
* Amy King
* Dorianne Laux
* Alex Lemon
* Reb Livingston
* Diane Lockward
* Marilyn Nelson
* Aimee Nezhukumatathil
* Chad Prevost
* Don Share
* Martha Silano
* Patricia Smith
* Anne Tardos

If I were running a literary journal, I would be overwhelmed with joy to have these fine poets published within my pages. To have them volunteering their time to help us out here is a great honor. (And if you want to learn more about them, just click on their names above.)

I won't be revealing which days they're going to judge (even to the judges themselves) until after the April 30 midnight deadline. I have several reasons for this--not least among them that I want poets to focus on writing a poem-a-day in April (as opposed to writing only on particular days). Hey, I'll be writing every day; you should, too, right?

Anyway, I'm super excited, and I hope you are as well.

I read this story off CNN this morning: http://www.cnn.com/2009/TECH/space/03/18/bat.shuttle/index.html.

Talk about weird. For those who need a quick re-cap: A bat was seen hitching a ride into outer space on a space shuttle. So, a bat stowaway. Of course, part of me thought, what a poor bat. But then, this being Wednesday and all, another part thought, what a cool prompt!

Now before you get too excited (or outraged), the prompt is NOT to write a poem about a bat burning up in the atmosphere. No, I want you to write a poem about something that does not belong. Can be about a person, an animal, an inanimate object--whatever.

Here's my attempt for the day:

"Recess"

He balances along the outline of the playground
trying not to tip too far to the left or right.

He talks to himself about Megatron and Star
Wars. Optimus Prime and Luke Skywalker team up

to defend the galaxy. Meanwhile, the other boys
and girls play tag and four-square. He barely notices

what's happening on Earth. After all, it's just one
of many inhabitable planets within

the universe. Anyway, when he's not in space,
he's digging away at the earth, searching for ants,

snakes, and other creepy crawlies. The other kids
continue their games without notice. Every

once in a while, one may make a comment. But that's
okay, because he's just searching for his own space.

Soooo... What was that special updated news about the April PAD Challenge I was hinting at during yesterday's prompt? What got me all excited? Well...

My awesome writing community leader here at F+W has given the green light on making an eBook anthology for the top 50 poems from the April PAD Challenge. This eBook will be designed by our F+W design team and will be made available for free to anyone and everyone. Isn't that awesome?!?

The eBook will include 50 poems (30 poems will be the top poem from each day's prompt; the other 20 poems will be the best of the rest). And yes, I don't mean to say that the 50 poems in the eBook will literally be the best, since that's super subjective, but it will be 50 excellent poems from the many, many, many that are part of the challenge.

But wait! Could it get even better?

This morning, pondering making the announcement of the eBook, I thought, Hey! I wonder if I could gather some guest judges to judge each day's top poem. Hmm...

Soooo, long-story short: I've already lined up 10 guest judges with 20 more to come. As soon as I have all 30 judges (for 30 days) confirmed, I'll send around another update that lists them.

I didn't think I could be even more excited about this year's challenge than last year's, but... Wow!

We'll still be offering the certificate and badge to people who complete the 30-day challenge. And I'll send around complete rules when we get even closer to April, but I just wanted to share the awesomely amazing news!

As you probably noticed in yesterday's prompt, it's time to start gearing up for the April PAD (Poem-A-Day) Challenge. Yesterday afternoon, I received confirmation on a very, very exciting new wrinkle for the challenge. I'll be sharing that announcement tomorrow. (Don't you love teasers?)

*****

For today's prompt, I want you to take the phrase "Why I Don't (blank)" and fill in the blank. Then, make that your title. From there, write a poem. Some possibilities include "Why I don't look both ways," "Why I don't tie my shoestrings," and "Why I don't watch the evening news." So many possibilities, so little time.

Here's my attempt for the day:

"Why I don't ride roller coasters"

Two men walk into a bar, but one was
blind. He had an excuse; the other just
followed blindly. The lines stretch forever
at amusement parks, and I love to watch
the people as they wait and wander from
one ride to another. My brothers both
love them. But I can stand in line and think
of rusty bolts loosening, scattering
several screaming thrillseekers across
the earth. I'm not a thrillseeker. They would
have an excuse. I'm just that other guy.

Whether it's concerning fiction, nonfiction, poetry, script writing, etc., one of the more common questions I get asked by writers is something along the lines of, "What is getting published now?," which also can be re-phrased as, "What is currently hot in publishing?"

Writers naturally want to find success in their craft and trade--just as people who golf or run seek success at whatever level they participate. In golfing and running, it's easier to track progress. For golfing, you know you're doing better if your scores are going down. For running, you know you're doing better when your times are dropping or when you're covering longer distances. So writers naturally look for a way to measure their success in writing and often use publishing, financial reward, and/or critical acceptance as their measures. And these can be good measures if you're following your own path.

In publishing (and writing), you don't want to follow trends for the sake of getting published, seeking financial reward, and/or critical acceptance. And here's why: Trends are moving targets. 

Usually by the time a trend is established, there are already experts working the trend backwards and forwards. So, there isn't room for newbies unless you have a significantly different take on the established trend. In other words, following what's hot now doesn't guarantee publication in the future.

So, of course, if publication is guaranteed, then financial compensation isn't guaranteed either.

Since we're talking poetry here, financial compensation shouldn't be a big concern anyway, because there's not a lot of money to go around in the first place. But even if you secure publication, you may want critical recognition, which will be very hard to come by if it's perceived that you're just following a trend.

No. You need to pay attention to what's happening around you, including what you like and don't like. But then, you've got to march forward with your own vision. You need to do YOUR thing.

Rejections will happen whether you follow the trends or not. Acceptances will, too. But if you're marching to your own beat, then you'll find that eventually other writers may be following you. Plus, as you find success, you'll realize there's more reason to feel confident with your own voice.

Jericho Brown worked as the speechwriter for the Mayor of New Orleans before receiving his Ph.D. in Creative Writing and Literature from the University of Houston. He also holds an M.F.A. from the University of New Orleans and a B.A. from Dillard University, and he has served as poetry editor at Gulf Coast: A Journal of Literature and Fine Arts. His poems have appeared in Callaloo, The Iowa Review, jubilat, New England Review, and Prairie Schooner. The recipient of the Bunting Fellowship at Harvard University, a Cave Canem Fellowship, and two travel fellowships to the Krakow Poetry Seminar in Poland, Brown is currently an Assistant Professor of English at the University of San Diego where he teaches creative writing.  Western Michigan University's New Issues Poetry & Prose published his first book, Please.

Brown's name has been flying around quite a bit recently--with multiple poets either praising his collection Please (New Issues) or e-mailing me directly to ask if I'd interview him. That's not typical. So, I hunted him down, and he took some time out of his busy schedule to let me interview him.

His collection Please was a great read from the very beginning. He even names the first section Repeat, which is funny, because I felt like repeating the experience of reading the beginning once I finished the end. But I'll let his words do the talking--this being one of my favorite pieces in the collection:

Why I Cannot Leave You

You bring home the food. I'm your hungry man,
Captive damsel dragged by the hair from her favorite
Streetlight to the trap of your tower, hollow icebox,
No magnets with things-to-do. No rules. It wouldn't
Be fair--you bring home the food--you can't read
Or write. I pace, check the window for my hunter. You
Bring home food and toss it onto the card table.
My teeth barely miss my fingertips--I rip
Into the bag. You like to kiss me, my mouth
Packed with the faintest franchise you could find, animal
Blood at each lip. Say carnivore, and I kiss back. I eat
My meat rare. You bare your sharpest grin. Bum
I say I love, you're my place to stay. We're against the law.
No one keeps me big as you. Fatten me, sweet ogre.
Get me some meat. Bring home food. Feed.

*****

What are you currently up to?

I'm trying to get a hold of any footage I can that shows news anchors Max Robinson and Jessica Savitch in action.  I'm working on a few poems about and in the voices of the two of them as well as poems based on scriptures from the Bible.  The second book is tentatively titled The New Testament, and I just learned that I got a Bunting Fellowship which should give me plenty of time for writing.  

I'm grateful that I've been traveling a lot in order to give readings.  I now get to meet really interesting people from all over the nation who love good poetry.  Also, I try to make sure I have enough reading material to keep me busy on planes.

Other than that, I go to the gym a lot.  I eat a lot.  I talk with friends over the phone a lot.  I teach a lot and read a lot in preparation for teaching.  I usually go clubbing when I get the chance because I like flirting and dancing.

Please is your debut collection of poems. How long did you go about getting them together and published?

The oldest drafts of some poems in Please were written in 2000, and I wrote them when I first attended the Cave Canem workshop/retreat for African American poets.  Some poems were first drafted 2007, the same year New Issues asked to publish the book. 

But seven years seems dishonest when I think of how I'm prone to reading and thinking more than to writing.  In the last eight years of my life, there were times I couldn't stop writing. Over a short period of weeks, I'd have many drafts of very different things and begin to think I may be quite literally possessed. Once, I actually had a car accident trying to get some scribbling done while driving. These periods were thrilling for me, but during them, I felt vulnerable in a way I have a hard time characterizing.

At other times, for periods as long as two years within the last eight, I didn't write at all. I couldn't even think to revise. This is, of course, painful and scary in a very different way. Today, I think I managed to get through these silences because I was much more interested in figuring how to write poems than I was in how to write a book. I had no goal other than the poem itself and could almost satisfy my yearnings to write by reading and discovering other poets. 

The voices are strong in Please. Is there a type of sound or voice (or both) you go for in your writing?

I think of writing, first, as a process of listening and, second, as a process of embodying.  I don't know that I "go for" anything in particular because I try and leave as much as I can to instinct, intuition, and reflex—even in the final stages of revision. 

For me, poems usually begin with a line from which I do some vocal repeating and pushing in order to generate other lines.  The lines that follow the first one often mimic the sound or make what seems to me some sort of counter-sound based on the first one.  Then, because I'm so interested in both music and voice, I find myself trying to figure the personality of the sounds as I am composing.  At some point in the writing of a first draft, I start to take on the characteristics of the voice that is asking to be channeled.  An example of this might be something as simple as punching the computer if the voice is pissed to the point of violence. 

You have a very nice website. Did you put it together, or did your publisher? Also, how helpful do you think having a website is in spreading the word about your writing?

Thanks, Robert.  Jerichobrown.com is the brainchild of Nick Walker, one of my undergraduate students at the University of San Diego.  He's an amazing poet, and he writes wonderful fiction too.  Nick and I argued for more than a semester.  He insisted that the website would be necessary, and I kept reassuring him that I had enough to do without thinking about ways to publicize my book and spending mounds of money to do it. 

At any rate, Nick started making moves without me being aware of it, and the next thing I knew he had come in contact with Arlene Valdes, a very talented web designer who was looking to build a portfolio for her business.  The portfolio would include a few clients for whom she'd create sites for one-tenth of what I imagine she charges now.  Nick and Arlene made all the decisions and did all the work.  My only job was to provide them with what I had already gathered for New Issues: a bio, the blurbs, the dates for readings, and of course, a few poems.

I don't think having a website hurts, but Buddha never had one, and the word spread pretty decently about things he had to say. 

Your bio mentions that you previously worked as a speechwriter for the Mayor of New Orleans. What was that job like? And did your experience as a speechwriter help with your poetry?

I served the City of New Orleans for four years working for Mayor Marc H. Morial, who is now President and CEO of the National Urban League.  He's an amazing leader who made his love for that city absolutely contagious.  He is also a major role model for me as my fraternity brother and the man willing to take a chance on me and give me my first job right out of college.  (The word "give" is supremely important here, considering the desperate shape I was in.)

A speechwriter goes into each speech knowing the message and figuring the best way to communicate the message as he goes.  A poet figures ways of communicating and wonders if he has a message.  I prefer the latter because it gives me a chance to question beliefs that I myself hold dear.  There is no room for such questions when working to drive a message home.

While researching you online, I noticed people commenting positively on your readings. Do you have any special reading tips for other poets?

Slow down.

Who are you currently reading?

Today, I read Versed by Rae Armantrout, some Gwendolyn Brooks, a few poems online by Rodney Jack and Wayne Johns, some George Oppen, some C.S. Lewis, a little bit from Barbara Walters'memoir Audition, and the Bible.   

If you could pass on only one piece of advice to other poets, what would it be?

Make love.

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To learn more about Jericho, go to www.jerichobrown.com.

To learn more about his publisher, go to www.wmich.edu/~newissue/.