12 or 20 (second series) questions with Allie Rigby
Allie Rigby has roots in the chaparral and deserts of California. She is the authorof Moonscapefor a Child (Bored Wolves, 2024), and the recipient of a Fulbright Fellowship toRomania where she taught at Ovidius University. Her poetry appears in Livingon Earth Radio, Equatorial Literary Magazine, Parentheses Journal,Manzano Mountain Review, and more.
Additional honors includea William Dickey Fellowship, contribution to Bread Loaf Writers’ Conference, aPushcart Prize nomination, and a Best of the Net nomination. She has a master’sdegree in English: Creative Writing from San Francisco State University, andhas taught creative writing for Ovidius University, Point Reyes Institute, TheLoft Literary Center, and the US–Romanian Embassy. She’s currently an editorfor The SEEfest Review.
1 - How did your firstbook change your life? How does your most recent work compare to your previous?How does it feel different?
Having a book out feelslike I get to connect with people in ways feel special. When someone says, “heyI read that poem about your Dad,” it feels bizarre at first. But it’s alsospecial.
2 - How did you come topoetry first, as opposed to, say, fiction or non-fiction?
Poetry has always been asource of medicine for me. When writing it, I’m drawn by the challenge to tapinto a new thought or idea, or even, a new audio-visual connection that Ihadn’t consciously considered before. Its endlessly inspiring and challenging.
3 - How long does it taketo start any particular writing project? Does your writing initially comequickly, or is it a slow process? Do first drafts appear looking close to theirfinal shape, or does your work come out of copious notes?
Startingis the easy part for me–finishing a project is what is challenging. I try tostay in “listening and experimenting” mode for as long as possible, at first. In2021, while in graduate school, I had over 100 poems, but not all of them werecohesive or strong. By the time I expanded certain ideas and poems, and cutothers, I had a rough, 60-page selection–and that eventually became a chunk of myfirst book, Moonscape for a Child.
Bythen, I had been “at it” for three years, and only then was recognizing the bigquestion in the book: Whatdoes it mean to live with purpose in a world on fire?
4 - Where does a poemusually begin for you? Are you an author of short pieces that end up combininginto a larger project, or are you working on a "book" from the verybeginning?
Until I have at least 20poems, I don’t really know yet what I’m tapping into, thematically, acrosspoems. At that point, I begin to realize the question I’m actually asking,and try to generate poems that do (and don’t) answer these mysteries.
5 - Are public readingspart of or counter to your creative process? Are you the sort of writer whoenjoys doing readings?
It depends on the seasonand my mood. Half the time, reading out loud and attending readings helps mycreative process, plus the break in routine can be good. And there’s thecommunity aspect. But sometimes, I just need to withdraw a bit, especially infall and winter.
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?
I like the idea that goodpoems–and poetry collections–clarify the question, even if they don’t answerthe question. Plus, reading a preachy collection can feel abrasive, for me.It’s a fine balance of wanting poems that provide solace and some answers, butnot too many.
Current questions for meare: How do we slow down and why can’t we? How do we stay as present aspossible? How do we contribute to a less violent world? How do we not sink intodespair?
The questions evolve witheach poem.
7 – What do you see thecurrent role of the writer being in larger culture? Do they even have one? Whatdo you think the role of the writer should be?
I think they do have arole, but that doesn’t mean that all writers fulfill that role. It feelshypocritical to me, to do otherwise, as in, to believe in the power of words(to whatever extent) and not speak to larger cultural moments that needattention, advocacy, and change. This doesn’t mean that all writers need towrite about the exact same thing at the exact same time, as much as use theirvoice to advocate for pressing issues that affect everyone.
For example, I’m inspiredby writers like those in the Writers Against the War in Gaza (WAWOG), who have spoken openly and advocated for a return of hostages andan immediate ceasefire in Palestine.
I think writers have aduty to choose what matters to them and express it. We can’t have opinionsabout everything, sure, but we can acknowledge violence where we see it,always.
8 - Do you find theprocess of working with an outside editor difficult or essential (or both)?
Essential! That saideditors are people with subjective taste, so I think it is important to chooseyour editors carefully, if you can. I was lucky that my editor at BoredWolves was Stefan Lorenzutti,who would let me have the final say if I felt strongly about a particular wordor phrase.
I edit for my “day job”with Sunlight Editing, so I fullybelieve that you need to work with an editor who understands your vision.
9 - What is the best pieceof advice you've heard (not necessarily given to you directly)?
Be patient with yourself. Nothingblooms all year.
10 - How easy has it beenfor you to move between genres (poetry to reviews)? What do you see as theappeal?
Quite difficult! Reviewsrequire a different part of my brain. I tend to approach them from a highlystructured approach, where I aim to be as coherent as possible. I also feelmore pressure, in some ways, while writing a review, because I want to articulateexactly how the book resonated, why the book matters now, specifically, andwhat distinguishes it from others.
11 - What kind of writingroutine do you tend to keep, or do you even have one? How does a typical day(for you) begin?
I don’t pressure myself towrite daily, mainly because I’m too “Type A” as it is, and then I getfrustrated if I don’t meet my “write every day” goals. Now, I’m trying to writeone poem a week, without getting too stuck on if the poem is “any good” or not.J
Each day begins withcoffee with my partner, Petruț. It’s a routine we both really look forward to. Then we usually need towork until 5p.m. or so. Somewhere in that window, when I have a spare 30minutes or hour, I try to sneak in some writing time.
12 - When your writinggets stalled, where do you turn or return for (for lack of a better word)inspiration?
I take a break. Go for awalk. Look away from any screens. It’s hard, but I also try to accept blockswhen they happen. I know “writer’s block” is controversial in not everyonebelieves it exists. Paul Hoover, as one of my professors in graduate school, toldme that to help writer’s block, I needed to lower my expectations of mywriting. That helped a lot.
I don’t’ think it’srealistic to write all the time, or to write/work on a project all the time, atleast. Breaks are important, and healthy.
I’m always reading alot, block or no block, and eventually, all that reading needs to beprocessed in some form of writing, for my own sake if anything.
13 - What fragrancereminds you of home?
California sagebrush.Black sage. Persimmon pulp. Lawn. Chlorine. Orange blossoms.
14 - David W. McFaddenonce said that books come from books, but are there any other forms thatinfluence your work, whether nature, music, science or visual art?
Absolutely. So much of mypoems come from the landscapes I consciously spend my time in, as well as thedreamscapes and memories I subconsciously explore, or even share with others inthe forms of character archetypes and myths.
I don’t play music duringthe later revisions of a poem, but if I am feeling stuck, I’ll play a lot ofmusic and inevitably, the themes from the lyrics may drip into the poems. Theymight not stay for all iterations of the draft, but they will emerge anddisappear throughout the editing process.
15 - What other writers orwritings are important for your work, or simply your life outside of your work?
I am immensely gratefulfor the On Being podcast with KristaTippett, as well as TheSlowdown with Major Jackson. Asfar as more writers, I have massive respect for the writing and teachings of Brenda Hillman, Gabrielle Bates, Chris La Tray, Katia Aoun Hage, Blas Falconer, andMatthew Zapruder.
Outside of “my work,” I’dbe lost without my extended community and friends. It’s better to be losttogether.
16 - What would you liketo do that you haven't yet done?
I would like to live withmore compassion for myself and other people. To advocate more for climatesolutions. To hike sections of the Appalachian Trail with a few friends. Toignore emails on weekends.
17 - If you could pick anyother occupation to attempt, what would it be? Or, alternately, what do youthink you would have ended up doing had you not been a writer?
I would have loved to be aprofessional dancer. Or a kickass lawyer.
18 - What made you write,as opposed to doing something else?
Always been drawn to it.Always felt endlessly fascinated by the ways each draft or entry comes close,but never fully hits the nail on the head. I like the idea that every poem isan iteration of every other poem you’ve tried to write–we’re just constantlytrying to re-explain something to ourselves or to our readers, something wecan’t quite figure out.
19 - What was the lastgreat book you read? What was the last great film?
I’m reading Becoming Little Shell right now, a memoir byChris La Tray. It’s incredible. As I said earlier, when poets write nonfiction,it tends to be some of the best writing. I’m not finished yet, but I can say sofar it’s a really emotionally moving story.
On a very different vibe,as far as films, I just saw was Beetlejuice Beetlejuice. Theworldbuilding was as nostalgic, weird, and fun as the first.
20 - What are youcurrently working on?
I am trying toexperiment with new poetic forms, even some traditional ones like sonnets.There’s also a memoir starting to nag at me. I’m terrified of writing thememoir though. I can still hide behind a metaphor in a poem, if I want to. Non-fictiondoesn’t let you do that.
