The authors discuss their writing practice and the poems featured in our Winter 2017 issue:
We met in an online class at UCLA. Our differing poems about girlhood wounds spoke deeply to one another. We kept in touch by email as we lived in different states. . . . Read more
Soham Patel: What have you been reading lately? How is it influencing your new writing?
Jacques Rancourt: With poetry, I’d been so focused the last few years on poets who write carefully chiseled poems that lately I’ve been drawn to poets who embrace sprawl and wild syntactic leaps. . . . Read more
Colette Arrand: Your first published poem, “Of Yalta,” won the 2015 Loraine Williams Poetry Prize. It’s also the poem that opens your debut collection Let’s All Die Happy. You’ve lived with this poem for some time now. Is there any special significance to its first-in-line placement? . . . Read more
Bridget Dooley (BD): Your story in the Winter 2016 issue, “Wig Violence,” caught my attention because of the potency of your protagonist, Eudoxie, and her role as a catalyst within the narrative’s metaphysical framework. Rather than existing at the mercy of her environment or acting primarily in relation to supernatural happenstance, . . . Read more
Judith Ortiz Cofer (1952–2016) spoke at length with Alan Flurry, UGA’s Franklin College of Arts & Sciences Director of Communications, in December 2013. Here, for the first time, is the full transcript of their conversation, published in honor of Judith and her remarkable career.
Alan Flurry (AF): So you’ve retired from teaching. . . . Read more
Thibault Raoult (TR): Such robust and odd images in “Portrait of the Alcoholic with Shattered Pelvis.” Did these all originally belong to this poem? Might you have a daybook of images? Do images happen to you? Or do you seek them out?
Kaveh Akbar (KA): Oh, . . . Read more
Bridget Dooley (BD): First of all, thanks so much for allowing me to ask you questions! I was struck by your story in our Summer 2016 issue, “Ravished,” particularly in how humor creates intimacy and in how complicated the sisters’ experience of loss is. The death of a mother is such a specific and hugely emotional experience, . . . Read more
I first met Rita Dove in person at Emory University in 1992 after she read from her just-published novel Through the Ivory Gate, but in truth I met her long before that when in 1985 I discovered the Morrow Anthology of Younger American Poets, . . . Read more
Lindsay Tigue (LT): I really enjoyed “The Stones of Sorrow Lake,” and was impressed by the story’s central idea—how in Jackson’s hometown everyone’s first great sorrow becomes literally visible in the form of stones and then scars. This idea makes wonderfully resonant both the physical weight of grief as well as the lingering effects of sorrow. . . . Read more
Lindsay Tigue (LT): Thank you so much for taking the time to answer some questions. I am such an admirer of your poems and essays. You’ve appeared in the pages of The Georgia Review several times. Can you talk a little bit about that publication history and your relationship with the magazine over the years? . . . Read more