In the afterlife There is always something to do pick up the leaning umbrella before it hits the window, leaving a tell tale smudge clutter. Le désordre le bruit, le fatras, a manic for the mind seeking calm in Upton’s Jungle where only heat bakes rocks inedible cushions flattened by visitations, last nights vestige reminds […]Immutabilité – Candice Louisa Daquin — FREE VERSE REVOLUTION
I reflect, confect, arabesque, meditate cogitate rèflexions in the mirror opaque, convex, invert, perverted lips leaving stain, tea-cup, coffee-mug, wine-glass your underwear torn, scattered like poppy seeds what shall we give birth to? When the time comes to see clearly? (It never will, we are chimeras of body dysmorphia, we inhabit false hope, blind faith […]Reflections – Candice Louisa Daquin — FREE VERSE REVOLUTION
Recently I had the great fortune to interview one of my all-time favorite modern poets Kristiana Reed and here, alongside her interview, is a short of her reading one of her poems from her second collection of poetry, Flowers on the Wall. This collection came out yesterday and can be purchased here.
Candice: You have a background in Classics and you write a lot of very high-quality poetry that pays homage to your learning. Do you feel that helps you as a writer? And if so, how?
Kristiana: Thank you. The fact my degree is in Classics has afforded me a knowledge of mythology, of empire, of how history repeats itself, of the beginnings of poetry in the oral tradition, and of some of our earliest poets (Sappho, Theognis and Hesiod). Consequently, I find myself alluding to the past, our legacy and ideas which perhaps enrich the poetry I write. I think I’m very influenced by Homer’s descriptions of nature, Ovid’s darkness in Metamorphosis and Virgil’s idyllic landscapes in his Eclogues and The Georgics. This said, the study of Classics is very Westernised and Eurocentric and is therefore limited in this sense; I would love to learn more about the ancient empires in the East such as the Abyssinian and Persian empires and explore the literary tradition which was born there.
Candice: What inspired you to write poetry over say, prose or some other art form? Was there a specific genesis or was it almost an outpouring that became something more formal?
Kristiana: I still write lots of prose but I am more confident with poetry. I have a love for the brevity in poetic storytelling and I am insecure in regards to prose and the development of plot, characters and action. Poetry was my way to write about my Nanny’s (Grandmother’s) garden (which I still refer to as a fairy garden) and my way to express moments of fear, indecision and love as a teenager. I was told I was good at writing poetry from a young age so I guess I stuck with it and I remember my A-Level English Literature teacher telling me even my essay writing was poetic. It was never a conscious decision but I’m happy with my choice.
Candice: Who influences you as a writer/poet and why? This can include any type of artist or non-artist – explain what about their output influences you.
Kristiana: Again, I have no specifics here as such. I am an avid reader and I absorb storytelling. I remember images or phrases for years so sometimes these become a starting point for me when writing. Musicians are an influence – I have vivid memories of sitting cross-legged in my bedroom, aged twelve, reading the lyric book inside the CD case for Avril Lavigne and Evanescence. Even now, I often judge a song based on lyrics because for me they are just like poetry. Lyrical poetry was poetry set to a lyre; nothing much has changed apart from whether we pair our words with music or not.
Kristiana Reed reads one of her incredible poems “Tattoos for the Living” from her collection Flowers on the Wall
Candice: Your work is very pastoral in some respects, something I deeply appreciate as modern poets often stay in the navel-gazing pews and you are unafraid to really stretch outward into any genre. But your appreciation of the pastoral stays with me because you really know how to bring to life your surroundings. Do you feel where you live has influenced how you write?
Kristiana: I have always got lost in my surroundings and this stems from childhood. Already I have mentioned my Nanny’s garden which was a constant and burgeoning with blooms (I could easily watch the seasons from my slide on the lawn). My favourite memories are often associated with places and so I felt such freedom when I moved to where I live now which is an area between the town and country. There is a wheat-field at the end of my garden, woods a short walk away and the quay. To me, the natural world is magical. I always thought I was magical in these places and I guess I still hope to harness this feeling of hope, space and joy. I would also argue the cycle of nature is the best metaphor for life.
Candice: I noticed how prodigious you have been since Covid 19 and your wonderful movement of writing a poem in response to a poem that inspired you – almost daily. Do you find moods change your writing or are you able to work through any mood and produce solid work despite how you feel? Was it always this way? Is discipline in writing something you learn or something you are born with?
Kristiana: As a teacher, from the moment lockdown occurred in the UK, I was secure in my job. This meant I could work from home safely and found I had more time in my day. No longer standing in a classroom for 4 – 5 hours a day, I began to write more often and then the ‘on Reading’ prompts were created. The process of sourcing these poems and then sharing my responses with people and reading their pieces has been wonderful. I’ve had to teach myself the discipline of writing every day or every few days and I am aware that come September, this discipline will give way to full-time teaching again. So, in short, discipline is taught. I do not believe any one is born disciplined. In regards to different moods, I’ll often try to harness it where I can and let it fuel the work. If not, I’ll cheat and post a poem from my first collection and unashamedly plug it that way…
Candice: Do you see a future for poetry once we get over our immediate love affair with online memes? What does poetry bring to 2020 and going forward that prose does not?
Kristiana: I think the argument ‘online poetry is nothing but memes’ has been raging for so long I’m not sure it is even valid anymore… It is a very cynical view of a community which thrives. Through my use of social media platforms, I have met talented, fascinating and brilliant people. I’ve had the pleasure of reading collections I would never have discovered if I had stuck exclusively to my local bookshop. I think we are too quick to belittle online communities for what they are, communities.
Mainstream media will tell you the boom has come from Kaur’s Instagram poetry and for some reason we should be ashamed of this. In fact, whether you agree with the accounts boasting thousands of followers for two-line statements, who are we to judge what is art for some people? The fact an audience exists suggests people enjoy it and I’m not prepared to sit on a high horse and extoll what we should and shouldn’t be seeing from poetry. Poetry is an artform and thus subjective. It is a different entity to prose and so again, I do not think it will be anything more than prose will. I often read several books at one time – novels, poetry collections and non-fiction. All genres have their merits and reasons for why we should get lost in them. Life is far too short to get caught up being critical about how others consume art.
“I have learned so much about editing, designing and formatting through the process of creating and releasing two collections. It means I am perhaps prouder of them because I know how much of myself I have put into them beyond the written words.”
Candice: Bravo. well said. I completely agree with you! How has teaching influenced your writing if at all and what would you eventually like to do with your writing if you had the chance?
Kristiana: Directly, some of my poems are inspired by interactions in the classroom and what I endeavour to achieve as an educator. Teaching English also exposes me to a lot of poetry from the poets we may consider the ‘greats’ which has helped me construct the ‘On Reading’ prompts each month since June. Eventually, I’d love to have a series of collections which very much chart the passing of time and how I will no doubt change and, hopefully, publish the novel I’ve had in the works for almost two years now…
Candice: What is the most important thing you have been told about your writing that stayed with you and helped engender your next step in being a writer of poetry?
Kristiana: Nothing necessarily springs to mind here… when I wrote poetry as a teenager I shared it with very few people. The moment I realised I wanted to be a writer of poetry and to share my work with others was in the early hours of a morning in 2016. I couldn’t sleep so I wrote. Then suddenly I had an urge to let what I wrote out into the aether, if you will. Thus, my blog My Screaming Twenties was born. I wanted to document my twenties (kicking and screaming). And actually, I’m glad it was an inner voice which drove me to take this step because I haven’t regretted it once.
Candice: How does building a community of writers versus FVR and other mediums, help you personally as a writer and what are your goals in doing so?
Kristiana: Taking over FVR from the wonderful Nicholas Gagnier has been so incredibly rewarding and that certainly translates into building up a community around myself. I know we often look at creating a platform and audience in the frame of ‘How can I market myself?’ when FVR and spending the last few months working hard to establish and maintain the platforms I have, has taught me the value of genuine connections with like-minded people. Sharing the work of others not only makes you feel good but it draws connections between yourself and others. I’ve found through putting the work of others forward, I’ve benefitted in a way which feels organic and true. In regards to this community, I may or may not be considering an FVR anthology on the suggestion of a regular contributor.
Candice: What inspires you the most in this life and why? Do you find more in darker emotions or lighter or is there some other force that lights your pen?
Kristiana: Inspiration definitely tumbles, falls and surges like waves. Sometimes darker emotions fuel my words and sometimes it’s a love for my partner or simply the slow movement of the Earth. It truly varies. I very much tap into myself as a source whenever I sit down to write. I think this is why I struggle with set metre and form. My work is more often than not an outpouring of a feeling or a moment or memory and thus I write freely rather than write to a pre-defined structure. I suppose in this sense I lack a certain discipline. Poetry is something I seek in order to not feel tied down.
Candice: I agree and feel similarly about meter and form for exactly the same reason(s) although I think it’s good to understand how to do it, then you have a choice, much like Picasso did when he decided to do less realistic (cubist) work, he knew all the forms and chose what worked for him. Would you consider Flowers on the Wall similar to your first collection, Between the Trees, or would you consider it a departure? Why?
Kristiana: The treatment of nature in Flowers on the Wall definitely echoes pieces in Between the Trees. Certain images reappear like a wheat field, meadows, the sky and the ocean. Yet, I would consider Flowers on the Wall a departure too. Between the Trees was the documentation of a journey from depression to acceptance. Although, I still very much experience bouts of depression and healing, Flowers on the Wall is what I would consider a poetry collection. This collection says more about me as a poet rather than a person. It has a maturity I was only just beginning to grasp with Between the Trees.
Candice: Both of your collections are self-published, can you describe this experience and share any advice you might have with those who are considering the self-publishing route?
Kristiana: Self-publishing can feel like quite a lonely journey. Unless you have the pennies to spare, you’re often your own formatter, cover designer, editor, agent, and, of course, publisher. Not forgetting the marketing which follows. But, this also means it can be incredibly rewarding. I have learned so much about editing, designing and formatting through the process of creating and releasing two collections. It means I am perhaps prouder of them because I know how much of myself I have put into them beyond the written words. My advice would be to research every element of the process, speak to as many people as you can who have experience, map out exactly what you wish to achieve and steps one and two should help you achieve this. Stay open-minded and be realistic; you will be constrained by how well you are able to do something so plans will change.
For the foreword written by Candice Daquin for this gorgeous book please go to Kristiana’s brilliant page on WordPress My Screaming Twenties