With gratitude to Okla Elliott for his wonderful questions–
Melissa Studdard’s debut poetry collection, I Ate the Cosmos for Breakfast, was recently released by Saint Julian Press. She is also the author of the bestselling novel Six Weeks to Yehidah; its companion journal, My Yehidah(both on All Things That Matter Press); and The Tiferet Talk Interviews. Her awards include the Forward National Literature Award, the International Book Award, the Readers’ Favorite Award, and two Pinnacle Book Achievement Awards.
Melissa’s poetry, fiction, essays, reviews, and articles have appeared in dozens of journals and anthologies, including Boulevard, Connecticut Review, Pleiades, and Poets & Writers. In addition to writing, Melissa serves as editorial advisor for The Criterion and a host for Tiferet Talkradio. She received her MFA from Sarah Lawrence college and is a professor for the Lone Star College System and a teaching artist for The Rooster Moans Poetry Cooperative.
Okla Elliott: Your work…
View original post 1,523 more words
Sarah Marcus: Cate Marvin wrote of your stunning debut poetry collection, I Ate the Cosmos for Breakfast (Saint Julian Press), “In so many ways the poems in this book read like paintings, touching and absorbing the light of the known world while fingering the soul until it lifts, trembling.” Which is exactly how these poems made me feel, but I also had the sense that the “known world” was also somehow secret. The poem “In Another Dimension, We Are Making Love” ends with: “Everything we need to remember/ can fit on a scrap of paper/ smaller than your hand.” Which feels so impossible and so true! Can you tell us about this collection and your process of poem-painting?
Melissa Studdard: Of course you’re right—it’s impossible but true. What’s known touches the boundaries of secrecy, and what’s secret is also subconsciously known. That paradox, that interplay, is part of what thrills me about poetry. We can get right up to the edge of something and feel it deeply and still not fully figure it out, and that ambiguity is not only okay; it’s pleasurable. I like your phrase “poem-painting” in this context too, because in the dream-logic of poetic composition, ideas and concepts are often nestled inside images and metaphors. Therefore, we must paint poems in order to unpack the images.
In my process, a poem usually starts with a phrase or image rather than an idea. The process of writing the poem instructs me as to what it’s about. I rarely know before I begin. I’m usually just struck by something—a fist of leaves unfolding, a plastic Jesus hanging from a rearview mirror, the instant between a smile and when the smile fades—and I write until I know why the image ignited me. I often do that part of the writing with pen and paper, and then, when I figure out why I’m writing, I move to the computer so I can edit more easily as I go along.