WITH LAURENE WINKLER
ARE A RECENT, NEW MEMBER OF THE COBOURG POETRY WORKSHOP
.... HOW NEW ARE YOU TO WRITING POETRY AND HOW DID IT
have always been enraptured by the sound of language.
It has for me a rhythm and a fancy beyond meaning; personally,
when writing, it is an inner dialogue- a voice to listen
to. There have been requirements throughout my life to
express ideas linguistically- most often through a necessity,
essays , journalism. It has only been in the past couple
of years that I have engaged the interior exploring voice
of thought & feeling.
OF YOUR WORK EXPLORES EMOTIONS, IN A VERY LAYERED WAY,
AND THEIR IMPACT ON RELATIONSHIPS.
is the alpha and omega of self and other: the 'other'
being our relation to individuals, the natural world and
the metaphysical. Emotion is our defining self, highly
evolved, frustratingly complex.
The universe presents itself to us in layers - to challenge
our intuition and understanding. This is the interface
- both joyful and despairing. Through this process, we
come to know ourselves more fully and hopefully, connect
with the world and others more intimately. I believe that
intimacy is God's pleasure in us.
HAS BEEN A BIG PART OF YOUR LIFE ... HOW DOES THAT INFLUENCE
an early age, sound was established as the means to life
energy. As a little girl, singing simple songs by mostly
British composers set out a beacon of pastoral simplicity
in my childish mind: fairies come at night, angels watch
do keep, woody groves and linden lea: the hidden life
there for the taking. The contentment of attainment and
the painful yearning for it represents the duality of
our western cultural heritage: 'sturm und drang'. These
forces are always present in me battling it out between
heart and mind.
INFLUENCE THAT STANDS OUT IN YOUR WRITING IS YOUR CONNECTION
TO THINGS RURAL AND, ESPECIALLY, ANIMALS.
animals exist within their buddha nature: total acceptance
of 'present'- no longing for future, little remembrance
of things past. It is their alacrity with this nano second
that never ceases to seduce my imagination and offer me
both solace and hope.
PROCESS DO YOU GO THROUGH IN CREATING A POEM ... FROM
THE MOMENT AN IDEA STRIKES, TO THE COMPLETED WORK?
starting point is always a feeling unresolved, often supported
by an observation from the natural world. It gushes forth
unwieldy and uncompromising. Then my discipline takes
hold to wrestle it into some comprehensible rhythm. It
is the musicality of sound that determines choice. Of
late, I have been playing with more arbitrary forms and
, as with writing a sonata or fugue, one must be very
careful that the form does not reign absolute and squelch
the essence of the language and idea. Essence must shine
through the form always, always.
REVISION A CONSTANT THING?
A POEM IS ONE CHALLENGE ... READING IT TO AN AUDIENCE
IS ANOTHER SKILL ALTOGTHER ... HOW DO YOU MEET THAT CHALLENGE?
have much to learn here. Musicians are so fanatically
aware of 'set time' : micro, macro, nano and exponential!
have discovered that the spoken word operates within an
entirely different parameter and I hope to gain more understanding
of this. It seems that the poetic language is indeed a
very intimate conversation to 'other', whereas musical
performance is much more a dialogue between performer
and the music itself, with the audience playing the role
of observer rather than participant. There is a confidence
& certainty in musical performance since the expression
is controlled within, or among, the performers. Reading
poetry requires the engagement of the listener, making
the poet-reader much more vulnerable I think. Rather like
a courtship where the outcome is uncertain. And how unnerving
MANY, POETRY IS WORDSWORTH, KEATS ET AL .... WHAT IS 'POETRY'
with all art- music, painting, dance - it all stems from
an impulse (such as recording one's presence on cave walls,
or contemporary graffiti ) - to say " I was here"
is a metaphysical expression of identity made concrete
by means of some creation that becomes the means to connect
one either with oneself or with another, whether present
or imaginary, even if only for an instant.
SEEMS THOUGH, TODAY, POETRY HAS NO BOUNDARIES ... SLAM,
PERFORMANCE, PROSE...YOUR THOUGHTS?
and 'twas ever thus. Creative artistic impulse either
blooms to heights within what has already evolved or,
feeling the constraint of the present, bursts forth toward
something completely different. Along the way, we have
many who are forgotten footnotes; but even a footnote
might have at one point caused ignition in someone else
who will take that to a new level. Might not Beethoven
have experienced a reactive, creative fire from hearing
Hummel? Certainly Picasso rebelled against what had gone
before. So.. to some extent, all voices are important.
It will be the gestation and development of choices in
artistic struggle that will form the lasting memorable
ARE YOUR FAVOURITE POETS?
many -- Shakespeare, Donne, Gerard Manley Hopkins, --
any decent verse set to music...... and ... Margaret Avison,
Emily Dickinson, Jane Hirshfield, PK Page, Marina Tsvetaeva,
definitely Hafez and Robert Bly
ARE YOU READING THESE DAYS?
not much . 'tis the season to ride my horse and breathe
the green, to inhale physical moments and store them away
until the hibernating cold descends
A FAIRLY RECENT MEMBER OF THE CPW, HOW DO YOU FIND THE
engaging. The diversity of indiviuals with a common purpose
is both stimulating and comforting.