Lyn Lifshin has published over 130 books and chapbooks including 3 from Black Sparrow Press: Cold Comfort, Before It’s Light and Another Woman Who Looks Like Me. Before Secretariat: The Red Freak, The Miracle, Lifshin published her prize winning book about the short lived beautiful race horse Ruffian, The Licorice Daughter: My Year With Ruffian and Barbaro: Beyond Brokenness. Recent books include Ballroom, All the Poets Who Have Touched Me, Living and Dead. All True, Especially The Lies, Light At the End: The Jesus Poems, Katrina, Mirrors, Persphone, Lost In The Fog, Knife Edge & Absinthe: The Tango Poems . NYQ books published A Girl Goes into The Woods. Also just out: For the Roses poems after Joni Mitchell and Hitchcock Hotel from Danse Macabre. Secretariat: The Red Freak, The Miracle. And Tangled as the Alphabet,– The Istanbul Poems from NightBallet Press Just released as well Malala, the dvd of Lyn Lifshin: Not Made of Glass. The Marilyn Poems was just released from Rubber Boots Press. An update to her Gale Research Autobiography is out: Lips, Blues, Blue Lace: On The Outside. Also just out is a dvd of the documentary film about her: Lyn Lifshin: Not Made Of Glass. Just out: Femme Eterna and Moving Through Stained Glass: the Maple Poems. Forthcoming: Degas Little Dancer and Winter Poems from Kind of a Hurricane Press, Paintings and Poems, from Tangerine press (just out) and The Silk Road from Night Ballet, alivelikealoadedgun from Transcendent Zero Press Just Out and forthcoming Refugees http://www.lynlifshin.com/
- g emil reutter
GER: What brought you to poetry and who were your inspirations?
LL: As a child I was read to a lot and I remember one of my favorite books was the collection of poetry, NOW WE ARE SIX, with its poetry of Tattoo the Cat, Alexander the beetle his grandmother let out, and Anne, Anne playing in the willows. I still have that book. When I was about 3, driving from Barre, VT to Middlebury, VT I am told I said “it looks like the trees are dancing.” My mother, who named me Rosalyn Diane, a name she thought would be appropriate for an actress, something I think she always wanted to be herself, sighed, “well then maybe she will be a poet.”
In elementary school, because I read and wrote well, I skipped from first to third grade. There, I had an amazing teacher, Mrs. Flag. Each morning she brought in something—a branch of apple blossoms, colored stones, prints of famous paintings and asked us to write about them. I still have those blue books with hand written poems about apple blossoms, water fowl, snow in April. One day I copied a poem of Blake’s and told my mother I had written it. Since Middlebury was a small town it wasn’t unusual that my mother ran into my teacher and told her what an inspiration she’d been—how I had written a poem with words in it she didn’t even know I knew. By Monday I had to write my poem with those particular words in them: rill, descending, nigh.
In college I never felt I could write enough so didn’t take any writing courses. But I did write a few poems over summer. Robert Frost, who spent the summer in Ripton, VT, often wandered around Middlebury in baggy green pants carrying a bag of strawberries. Like my father, he was a taciturn, quiet man and would only let my father, who worked in my uncle’s department store, wait on him. My father one time showed him one of my poems and Frost wrote on it. “wonderful images—bring me some more poems.” By the time I had any more poems, Frost was dead. In my first year of college I fell in love with Federico Garcia Lorca and in graduate school, Dylan Thomas. And later Sylvia Plath and Anne Sexton and Maxine Kumin.
GER: You never attended a workshop yet you have taught numerous workshops. What value do you place in workshops?
LL: For so many writers who start writing on their own, maybe a workshop is a great place to try out poems and stories, meet other writers, start a magazine. At times I think these workshops become so insulated they only publish their own poems but I suppose there are good things coming out of them. When I started writing, I wouldn’t have any idea of where to even look for a writing workshop.
GER: Do you use a particular formula in creating your poems?
LL: Not really. I did an article for Writers Digest about the many way I’ve started poems and there are so many. I like assignments: people looking for poems on a certain subject. That often triggers a who series of poems on that subject. A forthcoming book, THE SILK ROAD came from a request for poems about silk and spices. Requests for poems on certain subjects often turn into whole books: poems about Jesus, (JESUS ALIVE AND IN THE FLESH) (poems about dick for a day, mother and daughter poems, (TANGLED VINES) and (THE DAUGHTER I DON’T HAVE.) Marilyn Monroe (MARILYN MONROE) political poems (BLUE TATTOO), Barbie poems (BARBIE), Malala (MALALA). So often when I am asked for a poem on a subject it seems I couldn’t stop and wrote not one or two poems but a series. FOR THE ROSES came from a request for poems about Joni Mitchell. Sadly the week the book was released, the editor-publisher became sick and died –I had received only about ten copies of the book and no one could find the others or discover the key to printing more copies—so the few that are out are truly collectors’ copies. ) I paid to have a group reprinted but sadly the book didn’t get the attention it should had though I think it is still on Amazon and I have a few copies; an Obama file came from two requests for two books on Obama that came out just around his election. I never submitted that file anywhere else.
GER: Tell us about your latest release, Little Dancer–The Degas Poems.
LL: I’d always loved ballet- in Middlebury there was not much of a chance to take classes. For a year or two a lovely, exotic dancer from Paris, Mrs. Berge—later we learned she was Mrs. Berger who had come to escape the Holocaust. I was a chubby 8 year old but I loved the classes and she gave me a tiara and costume she wore in the Metropolitan Opera that I still have and cherish. Though I still take ballet barre, now my passion is ballroom and Argentine tango. The original statue of the little dance is in the National Gallery in Washington DC and I wrote the poems after seeing a play based on Degas and the little dancer.
GER: In 2014 Femme Eterna was released followed by #AliveLikeALoadedGun in 2016. Could you share with us your thoughts on these books?
LL: Classical images and themes haven’t been a mainstay of my work. But an artist wanted to collaborate on a project for THE WOMEN’S MUSEUM. She had an idea of showing women thru the ages and how they each had some area of power. We planned to begin with the earliest well known women and work up to the present. We each picked out a number of women in myth and history and she began working on paintings and I worked on poems. I started with Enheduanna because I knew nothing about her. It was fun. I loved the fact that she was not only the first woman who signed her name to what she had written but she was also a poet. I loved reading about the Euphrates, imagining her shiny dark lips as she wrote on her lapis lazuli tablet. I was impressed, imagining the patience and time it must have taken to write with a stylus and in cuneiform. When I was in Turkey, I saw a stylus of similar cuneiforms and was even more amazed at Enheduanna’s accomplishments. It was easy to identify with Scheherazade, another story teller, who imagination kept her alive. I learned so much about Nefertiti’s life, her power, her heart breaks. It was very different for me to focus on the myths and history of these special women. The project my artist friend and I were working on never happened. More recently we talked about resurrecting a project that would combine our poetic and artistic works.
ALIVELIKEALOADEDGUN came together in a rather traditional way. The editor-producer wrote me and asked if I’d be interested in doing a book. I sent him several, (many—I probably drowned him in files) of new poems and he made the selection.
GER: Over 135 of your books have been published and after decades of writing you remain prolific. To what do you attribute the continued flow of creativity?
LL: I’m really not sure. In the cabinet over my desk are about 59 hand written notebooks—spiral notebooks with about 70 pages each of poems so if I never write another poem, I will have more than enough to type up for years!. I am still writing. Two of my poems that I felt were strong were just accepted by a magazine that felt they were some of the strongest I’ve written.
For a while I was fascinated with horse racing and three of my strongest books came from that subject: THE LICORICE DAUGHTER: A YEAR WITH RUFFIAN; BARBARO: UNBROKEN; SECRETARIAT:THE RED FREAK, THE MIRACLE. Before that, many of the poems were family poems, poems about people. My three Black sparrow books have many poems about family: COLD COMFORT, BEFORE IT’S LIGHT and ANOTHER WOMAN WHO LOOKS LIKE ME. And I did a series of books about places: AUDDLEY END, THE OLD HOUSE ON THE CROTON, SHAKER HOUSE POEMS, PLYMOUTH WOMEN, THE OLD HOUSES, PLYMOUTH. I’ve also done many nature themed books NUTLEY POND and MOVING THRU STAINED GLASS—THE MAPLE POEMS.
GER: How has the poetry scene changed since you first came on the scene?
LL: In so many way. The many advanced degrees in poetry at many schools has created little enclaves or cliques of poets. Submission has changed with Submittable being the main way of sending poems. In early anthologies RISING TIDES and PSYCHE:THE POETRIC FEMININE –anthologies that go from Emily Dickinson to the present include my work while there are only about 5 other contemporary poets. But I’ve never won a Push Cart. Or had a poem on Garrison Keillor’s daily poem program.
GER: So I hear you like to tango. Do you find any similarities between the art of the dance and the art of words?
LL: I suppose there are—tango never came as easily as poetry but I’ve loved it as much. On my web site there is a tango dance I’ve done after only half a year of classes. But I wish I did more. I do have a book of tango poems; (all written before I did any tango dancing) KNIFE EDGE & ABSINTH:THE TANGO POEMS. And BALLROOM, another of my favorites, is also from the press where the editor died—I do have some copies and I hope Amazon does too. It all is rather ephemeral isn’t it? I do have a movie LYN LIFSHIN: NOT MADE OF GLASS and I used to tape all my poems only to realize my tape recorder wasn’t very good. But there are some readings of poems on my web site http://www.lynlifshin.com and a reading and interview at the Library of Congress and is on my web site.
To learn more about Lynn Lifshin please visit her at: http://www.lynlifshin.com/