12 or 20 (second series) questions with Alison Stone

Alison Stone is theauthor of nine full-length collections, Informed (NYQ Books, 2024), To See What Rises (CW Books, 2023), Zombies at the Disco (Jacar Press,2020), Caught in the Myth (NYQ Books, 2019), Dazzle (Jacar Press, 2017),Masterplan, a book of collaborative poems with Eric Greinke (PresaPress, 2018), Ordinary Magic (NYQ Books, 2016), Dangerous Enough(Presa Press 2014), and They Sing at Midnight, which won the 2003 ManyMountains Moving Poetry Award; as well as three chapbooks. Her poems haveappeared in The Paris Review, Poetry, Ploughshares, Barrow Street,Poet Lore, and many other journals and anthologies. She has been awarded Poetry’s Frederick Bock Prize, New York Quarterly’s Madeline Sadin Award,and The Lyric’s Lyric Poetry Prize. Shewas Writer in Residence at LitSpace St. Pete. She is also a painter and thecreator of The Stone Tarot. A licensed psychotherapist, she has privatepractices in NYC and Nyack. https://alisonstone.info/  Youtube and TikTok – Alison Stone Poetry.

1 - How did yourfirst book or chapbook change your life? How does your most recent work compareto your previous? How does it feel different?

The first booktaught me patience and how to change course. It was a finalist in many nationalcontests, beginning when I was in my early 20’s. I thought I’d publish it andthat would help me get a teaching position. But it didn’t end up winning untilI was 38. By that point I’d gone  back tograd school and become a psychotherapist.

My new book is allformal poems, which is different from all my past collections. Most of them aremainly free verse, except for Dazzle(ghazals and anagram poems) and Zombiesat the Disco (all ghazals.)

2 - How did youcome to poetry first, as opposed to, say, fiction or non-fiction?

I came to fictionfirst. I wrote a love poem to my beagle when I was 6 (“Your nose is wet andyou’re my pet. You’re brown and white, you never bite…”) but I was writing a“novel” (also about a dog) at the same time. I only finished the first twochapters. I was focused on fiction as an undergrad and only took a poetryworkshop because I needed to for graduation requirements. But my teacher, HugoWilliams, converted me.

3 - How long doesit take to start any particular writing project? Does your writing initiallycome quickly, or is it a slow process? Do first drafts appear looking close totheir final shape, or does your work come out of copious notes?

It completelydepends on the project. For OrdinaryMagic (a book with one poem for each tarot card), I did a lot of research.The same with Caught in the Myth. Iwas asked by a photographer to write poems to go with photos  he’d taken of ancient sculptures. So I neededto learn about these historical figures in order to write. Some of the otherpoems are from Greek myths, so I’d research those as well.

The speed variesaccording to different projects as well. Some poems come out almost finished.Others need more substantial revisions.

4 - Where does apoem usually begin for you? Are you an author of short pieces that end upcombining into a larger project, or are you working on a "book" fromthe very beginning?

Again, it depends.Usually I start with poems and then they start to coalesce.

For individualpoems, I usually start with a phrase or a line. For ghazals, I start eitherwith a sound I want to explore or else a refrain.

5 - Are publicreadings part of or counter to your creative process? Are you the sort ofwriter who enjoys doing readings?

I love doingreadings! I’m an introvert, but somehow I find them really enjoyable.

6 - Do you have anytheoretical concerns behind your writing? What kinds of questions are youtrying to answer with your work? What do you even think the current questionsare?

That’s a greatquestion! I’m interested in stories – whose voices haven’t been heard? Howwould this tale be told from a different point of view? I’m also interested inhow traditional forms can work with contemporary subject matter. I’m not sureif there are any “current questions” for all poets. This is such a diverse,exciting time in poetry – so many different voices and perspectives.

7 – What do you seethe current role of the writer being in larger culture? Do they even have one?What do you think the role of the writer should be?

Writers help peoplefeel less alone. At least that’s what writing (including song lyrics) did anddoes for me. It’s a way of helping people open their hearts and minds.

8 - Do you find theprocess of working with an outside editor difficult or essential (or both)?

I’ve never had one,but I’d love to. All my books have been published by small literary presses.Only once did I even get a copy editor. But no one to help me shape or improvethe work, like at the big houses.

9 - What is thebest piece of advice you've heard (not necessarily given to you directly)?

Have something elsein your life you love as much as writing (Louis Simpson).

10 - How easy hasit been for you to move between genres (poetry to painting)? What do you see asthe appeal?

They are suchdifferent processes. Once I had children, I mostly stopped painting. I work inoil and couldn’t be covered in toxic paint if the baby needed me. Then I hurtmy arm/shoulder so I gave over doing the art for my book covers to my kid. ButI’m going to do the next one.

11 - What kind ofwriting routine do you tend to keep, or do you even have one? How does atypical day (for you) begin?

I have no writingroutine, except during POMO, when I write a poem a day.

I get up at 6, doyoga, walk the dog, eat breakfast. During the school year I sometimes do dropoff. Then I start seeing clients.

12 - When yourwriting gets stalled, where do you turn or return for (for lack of a betterword) inspiration?

Reading poetrymakes me want to write it. But I also let myself take breaks. Olga Broumas toldme when I was 24 to respect my silences, and I think that’s important.Capitalism is all about production, but art isn’t commerce.

13 - What fragrancereminds you of home?

On rainy days, thesmell of dog. Otherwise I’d say cooking smells. Lots of garlic.

14 - David W.McFadden once said that books come from books, but are there any other formsthat influence your work, whether nature, music, science or visual art?

Music, nature,visual art. Politics, too, though that’s hardly an art form

15 - What otherwriters or writings are important for your work, or simply your life outside ofyour work?

Gluck, Plath, Rilkeare my top three. Then Patricia Smith, Rita Dove, Diane Seuss.

16 - What would youlike to do that you haven't yet done?

Win a major poetryprize. See the Northern Lights. Be a grandmother (But no rush!).

17 - If you couldpick any other occupation to attempt, what would it be? Or, alternately, whatdo you think you would have ended up doing had you not been a writer?

I have a full-timepractice as a Gestalt therapist. It counters the self-involvement of being anartist because it’s all about the other person.

18 - What made youwrite, as opposed to doing something else?

I can’t carry atune. If I’d been able to, I would have wanted to front a band. But I’m toooff-key, even for punk.

19 - What was thelast great book you read? What was the last great film?

I just finishedrereading Middlemarch, and I’m sad tobe done. I don’t see a lot of films. This year we watched the Oscar finalists,and I enjoyed them all.

20 -What are you currently working on?

I have 3manuscripts in progress. I also invented a new poetic form.

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