12 or 20 (second series) questions with Tāriq Malik
Tāriq Malik has worked across poetry, fiction, and artfor the past four decades to distill immersive and compelling narratives thatare always original. He writes intensely in response to the world in fluxaround him and from his place in its shadows. His published works,including Rainsongs of Kotli (TSAR Publications,short stories, 2004), Chanting Denied Shores (Bayeux Arts,novel, 2010), and now his poetry in Exit Wounds (Caitlin Press, Poetry, 2022)and Blood of Stone (Caitlin Press, Poetry, 2024), challengeentanglements in the barbed wires of racism and cultural stereotyping in art,the workplace and across societies.
Tāriq Malik is thecurrent Writer-in-Residence at the Polyglot Magazine and a formerWriter-in-Residence (July 2023) at the Historic Joy Kogawa House and hasoffered Poetry Master Classes at various locations.
1 - How did your first book change your life? How does your most recentwork compare to your previous? How does it feel different?
My first published book, Rainsongs of Kotli, was a compilation ofloosely interwoven short stories set in the backwaters of Pakistani Punjab. Itwas challenging to describe the work and situate it for potential publishers. Ireceived several very negative responses. Eventually, Rainsongs of Kotliwas published by Toronto-based TSAR Publications in 2004, and that gave meconfidence in my creative voice.
2 - How did you come to poetry first, as opposed to, say, fiction ornon-fiction?
Rainsongs of Kotli, my first published work, began as a longpoem that evolved into a historical fiction. However, I retained a few originalpoetic sections and transformed them into prose.
My next book was based on the Komagata Maru saga, Chanting DeniedShores. In it, I included a handful of poems to vivify the narrative andserve as an itinerant poet's voice.
I ventured wholly into poetry for my third and fourth books, ExitWounds and Blood of Stone. By then, I had some confidence in mypoetic voice and was now less concerned about how these works would bereceived. I am glad I was able to make the transition to poetry and find myreaders.
3 - How long does it take to start any particular writing project? Doesyour writing initially come quickly, or is it a slow process? Do first draftsappear looking close to their final shape, or does your work come out ofcopious notes?
I write almost daily, relying on my biphasic sleep patterns, and puttingwork together to submit is very often slow and laborious. While immersed inthis lonely process, I feel empowered and sustained by the writing's drive,passion, and truth. At no point do I consider the reader's response to mynarrative my sole concern, as this often gets in the way of the writing. If Ido my task well enough, the reader will find my writing accessible and thenwillingly take the journey with me.
I tend to overwrite, hence there are several drafts, from which I laterdistill the work to its bare essence before the final submission.
4 - Where does a poem or work of prose usually begin for you? Are you anauthor of short pieces that end up combining into a larger project, or are youworking on a "book" from the very beginning?
Since my natural state as a poet is ekphrastic, I usually begin with ascene or an image. A piece of dialogue may inspire me to move onto the page andput down my personal take or view of the situation. The writing then dribblesin and is worked into a coherent whole (or incoherent whole, if I amdeliberately risking obscurity). For me, the volta is often as compelling asection of the poem as the point of the reader's entry into it, even more so.
5 - Are public readings part of or counter to your creative process? Areyou the sort of writer who enjoys doing readings?
I enjoy public readings immensely as the writer's voice introduces anuance that the written word does not always convey. I also find that there isa significant challenge in reading concrete poems where the visual aspect ofthe phrase is a vital part of the work. However, given the subjective nature ofmy writing and its narrow focus on unfamiliar themes, I am rarely offered opportunities to read my own work.
6 - Do you have any theoretical concerns behind your writing? What kindsof questions are you trying to answer with your work? What do you even thinkthe current questions are?
I try to amplify a personal experience and viewpoint and attempt tovivify these for the reader.
7 – What do you see the current role of the writer being in largerculture? Do they even have one? What do you think the role of the writer shouldbe?
One of the roles of the writer in our culture is to engage with thesocial areas of concern/friction/intersection that are often outside thereaders' sphere and then to elucidate these emotional and intellectualexperiences in an engaging, enlightening, and entertaining manner.
8 - Do you find the process of working with an outside editor difficultor essential (or both)?
I have not yet had the fortune to work substantially with any editor formy fiction.
9 - What is the best piece of advice you've heard (not necessarily givento you directly)?
Be true to your art even if it does not find fertile soil to land on andflourish.
10 - How easy has it been for you to move between genres (poetry toshort stories to the novel)? What do you see as the appeal?
My fiction is heavily laced with my poetics. My poetry is mostlyconcrete and narrative based.
11 - What kind of writing routine do you tend to keep, or do you evenhave one? How does a typical day (for you) begin?
My writing day begins at around 4am.
12 - When your writing gets stalled, where do you turn or return for(for lack of a better word) inspiration?
Look for inspiration in writing I admire, primarily Urdu poet Faiz Ahmad Faiz for his rhythms. Lately, I am returning for inspiration in the poetry ofValzhyna Mort, Andrea Cohen, Laura Ritland, Tolu Oloruntoba, et al.
13 - What fragrance reminds you of home?
Petrichor, in other words, Blood of Stone.
14 - David W. McFadden once said that books come from books, but arethere any other forms that influence your work, whether nature, music, science,or visual art?
Nature, science, and visual arts are all inspirational for me. I amexcited to be working on a poetry chapbook on the wisdom of trees, anotherinspired by ravens.
15 - What other writers or writings are important for your work, orsimply your life outside of your work?
Robert Macfarlane (any of his multi-faceted writing), Pankaj Mishra's Fromthe Ruins of Empire, Loren Eiseley's The Unexpected Universe, E. L.Doctorow's Ragtime.
16 - What would you like to do that you haven't yet done?
Write a play or a screenplay, or collaborate on a creative project inthis field.
17 - If you could pick any other occupation to attempt, what would itbe? Or, alternately, what do you think you would have ended up doing had younot been a writer?
I have held scores of jobs before turning to writing: Plant chemist,candy factory worker (mercifully only one day), a nightshift at the pillowfactory stuffing down feathers (four months), industrial lab chemist (17 years)
18 - What made you write, as opposed to doing something else?
I did not find any writings that related to my subjective livedexperience.
19 - What was the last great book you read? What was the last greatfilm?
Colum McCann's awesome Apeirogon.
A favorite TV series: The latest incarnation of The Talented Mr.Ripley (titled simply as Ripley).
20 - What are you currently working on?
I am busy with a poetry book tentatively titled STALAG NOW thatexplores the global consolidation of influence and wealth in the hands ofever fewer individuals and organizations, often in collusion with the military,and the experiences of the precariat societies living under these conditions.
My next novel, Blood Towers, will present an ant's POV ofconstructing glass pyramids in the desert sands to fulfill the wet dreams oflatter-day pharaohs.
I am also working on a sophomore outing for my short story collection ofRainsongs of Kotli.
