KAREN PAUL HOLMES INTERVIEW
WITH
GLENDA COUNCIL BEALL
May 14,
2018
GCB: Your new book is No Such Thing as Distance, published by Terrapin Books. Did you
have a particular audience in mind with this collection?
KPH: First of all, thanks so much for this interview,
Glenda.
My goal is to create poems that touch people in some way—through
an aha-moment, a connection to the subject or image, a shared laugh, etc. By people, I mean anyone, not a specific
audience. When I chose poems for this manuscript, I did have themes in mind but
hoped the book would appeal to a variety of readers. The interwoven themes are
family (especially Macedonian cultural traditions), music, nature, grief, and
healing. I included a few traditional recipes at the back of the book, because
cooking together is one ways my family connects, and, of course, that’s pretty
much universal.
GCB: I like getting to know your parents in the
poems in your latest book. I had the pleasure of meeting your mother when she
came to my studio, when my dog stole her lunch. She was a good sport. She must
have loved your father intensely to leave Australia to marry him and live in
the United States. In the poem, “Matilda
Waltzing,” we sense she harbored homesickness, as any of us would likely feel.
Did she tell you she was homesick and that she missed her family in Australia?
KPH: It’s funny you brought up your dog stealing her
lunch, because my dog stole her Angelo’s Coney Island hot dog once! That was my
dad’s restaurant in Flint, Michigan, and the recipe for the secret sauce is in
the book. Anyway, I don’t ever remember my mother using the word “homesick,”
but she always talked longingly about Australia, and she really hated Michigan
winters. After she moved to Florida, she felt more at home in the tropical
climate, but I think she remained nostalgic about the home and family she left Down
Under—she only returned twice to visit. My siblings and I used to time how long
it would take her to tell a stranger that she was from Australia – usually
under five minutes. To be fair, though, she still had some of her accent, and
people would often ask where she was from. But when she answered, she made it
seem like she was just visiting the US temporarily, which says a lot about her
strong roots.
GCB: “Macedonian Bean Soup” surprised me. It hails
back to your marriage, your ex-husband, and your father. Food brings forth
stronger memories than almost anything, and I enjoyed the image of your husband
and your father cooking the soup. Have you made this soup?
KPH: Yes, I found my ex’s handwritten notes and made the
soup for the first time last year. The poem says “Perhaps one day, I’ll make it
myself,” and so I thought, “What’s stopping me?” It was yummy and just like my
dad would make. I’m kind of sorry some of the poems mention my ex, but certain
events or themes always seem to slip into our writing, don’t they? So I just
have to accept that. The 31-year marriage was a huge part of my life, after
all, and affects how I am today.
GCB: You make poems from the most mundane sometimes.
We see how observant you are of nature and the world around you. Tell me about
your writing process for “Ant Fest.”
KPH: My process is almost always the same. Something gets
into my head—usually a line or a title—and sometimes that something turns into
a whole poem that might meander into an entirely different something, like how
killing the ants turns into releasing frustrations for all sorts of past
events. I think in this case, the ants’ drunkenness seemed funny and
interesting to me, hence the first two lines, “Drunk on liquid bait, they
stumble/ across the white bathroom tile.” If I remember correctly, those lines
started out as the poem’s opening and remained through all my revisions, though
often I move things around when editing.
GCB: “Confessions of an Ugly Nightgown” is one of
my favorite poems. This is a persona poem. How did this idea come to you? Did
your mother talk about her life growing up in Australia?
KPH: That’s quite an old poem, perhaps the first one I
wrote about my mother. The title came to me first, so then I had to try telling
the story through the nightgown’s viewpoint, and it seemed to work. Yes, my mom
talked about Australia all the time, and she had lots of old family photos. Aussie
relatives had come to visit over the years, so I heard their stories too. My
mother really didn’t keep many things from her past, but the nightgown was
always just sort of there in a box, and then somehow I ended up with it. As I
grew into young adulthood, I started appreciating the loyalty and bravery it
took for my mother to sail across the world to marry someone she couldn’t have
known all that well. I felt compelled to write about that, and the nightgown’s
journey seemed like one way to do it.
GCB: I have always been drawn to looking into lit
windows of houses as I pass by, where strangers live and families gather. Your
poem, “Road Stories,” grabbed me, and I will read this one often. What prompted
this poem?
KPH: I started keeping a list of road names that were
funny or intriguing. I often wonder about how a road got its name, but like
you, I also wonder about people inside, especially when it’s dark and the
lights are on. So, I don’t know how, but the poem started emerging and then traveling
to different places (which seemed appropriate for a “road” poem), ending up with
Dorothy in Kansas!
GCB: Although it is unusual for a poet to submit the
same manuscript more than once to the same publisher, you sent this one to
Terrapin Books a second time after it was first rejected a year or so before.
Why did you think it would be accepted the second time around?
KPH: Well, I had no idea about my chances of acceptance
the second time, but because the editor had given me constructive feedback on
the first submission, I thought she cared enough about my work to take a second
look. So I emailed her, saying I’d made revisions based on her input (mostly
about the order of poems) and asking whether she’d like to see it again. And she
said yes! The moral of the story is: Pay attention when editors (of journals or
books) take the time to give you feedback on a submission or otherwise give you
encouragement, and don’t be afraid to resubmit.
GCB: You have been quite successful publishing your
poetry in journals and reviews. Your first poetry book was well received. What
advice can you give to poets who want to see their books published by a
reputable press? Is there a special tip you can offer a poet to make their work
acceptable?
KPH: I did what my mentor, the poet Nancy Simpson,
suggested: Get your poems published in journals first. Usually, that means a
lot of work perfecting your poems, hopefully by attending workshops or critique
groups, and then submitting to lots of journals. My acceptance rate ranges from
6%-13%, so that means I submitted many poems over several years to get into the
publications I’ve been in so far. Duotrope, the submission tracker I use and
recommend, says my ratio is “higher than the average for members who have
submitted to the same places.” For the last two years, I made it a point to
only submit to journals who take less than 5% of the poems they receive. While
my ratio went down, my credentials went up because I got into some top
journals.
You have to get used to rejection. My friend, the poet
Maren Mitchell, helped me to see it as almost a game. When she gets rejected,
she says, “Yippee! Time to do more submissions!”
In the submission
guidelines for chapbooks or full-length manuscripts, publishers will usually require
that a certain number of the poems have previously appeared in reputable
publications.
GCB: You attended the AWP Conference in Tampa,
Florida. Please tell us about that experience. What were the highlights of the
conference for you?
KPH: AWP is huge—10,000 writers—so it’s better if you go
with someone, which I did. I loved hearing David Kirby, Mark Doyy, Natalie
Shapero, and others read their poems, and I met poets and editors that I had
only known online. I was honored that the editor of Lascaux Review, Stephen Parrish who lives in Germany, came to my
book signing and bought a book. I will say, though, that I prefer to attend
workshops led by an accomplished poet where you revise and edit your work for a
week or so. I loved the Palm Beach Poetry Festival, San Miquel (Mexico) Poetry
Workshop, and the Sarah Lawrence Summer Seminar, and highly recommend them for
improving your work and making connections with other writers.
GCB: You teach writing and host writing events. Why
do you think poets should take classes and participate in literary events?
KPH: Writing can be a lonely pursuit. Classes and
critique groups are invaluable for improving your work and getting inspired to
create more. By attending readings, you learn other writers’ work (and hearing
it is very special), and you support writers who are as passionate about the
craft as you are. Networking events are good for your poetry “career” and for
making friends who share a common interest. I love my poet friends. I am a
better person and poet because of my connections with other poets. My critique
group and the North Carolina Writers’ Network have been an invaluable support
system. Here’s an article I wrote about starting and running a critique group. https://trishhopkinson.com/2018/04/29/6-workshop-critique-tips-guest-blog-post-by-karen-paul-holmes/
GCB: Thank you, Karen, for answering these
questions.
About the interviewer: Glenda
Council Beall is a poet, blogger, memoirist and writing teacher. She’s the
author of a poetry book, Now Might as
Well be Then (Finishing Line Press, 2009) and a family history, Profiles and Pedigrees, Thomas Charles
Council and His Descendants (Genealogy Publishing Co. 1998). Her poems, essays, and short stories have appeared
in Reunions Magazine, Main Street Rag,
Appalachian Heritage, Journal of Kentucky Studies, Your Daily Poem, Wild Goose
Poetry Review, The Southern Poetry Anthology: North Carolina, and many
other places. Her poems have won awards in the James Still Poetry Contest and
the Clay County NC Poetry Contest. Beall is the Program Coordinator for the
western region of the North Carolina Writers’ Network and has taught memoir at
John C. Campbell Folk School, Tri-County Community College, and Writers
Circle around the Table. http://www.glendacouncilbeall.com/
About the poet: Karen Paul Holmes has two full-length poetry
collections, No Such Thing as Distance
(Terrapin, 2018) and Untying the Knot
(Aldrich, 2014). She was chosen as a Best Emerging Poet in 2016 by Stay Thirsty
Media. Publications include Prairie
Schooner, Valparaiso Review, Tar River Poetry, diode, Poet Lore, and other
journals and anthologies. Holmes
hosts The Side Door Poets in Atlanta and Writers’ Night Out in the Blue Ridge
Mountains. She’s a freelance business writer and teaches creative writing
workshops. http://KarenPaulHolmes.com
