The dank air
of the Maine State Aquarium
is pungent with brine
and the nostril-flaring
smell of fresh fish.
Little children huddle
around a tank
like primitives in a ritual.
Their heads swim
of moonless, blue-black skies,
of luminous bodies
sparkling through the slats
of their cribs
beside the windows,
ever beyond the reach
of their fat, groping fingers.
by the miracle beneath them,
they take deep breaths,
ease their hands into the black-
green holiness of seawater,
and, with the fingers of gods
trembling in the heavens,
stroke the spiny skin of stars.
(from The Lobsterman’s Dream; first published in The Texas Review)
Tell me about your experience as Texas Poet Laureate. What sort of outreach projects did you initiate or further during your term?
My one-year term as the 2008 Texas Poet Laureate began in April 2008 and ended in April 2009. As soon as my appointment was announced, in April 2007 (my appointment occurred one year prior to the commencement of my one-year term), I received a flood of requests for interviews and invitations to speak/read my poetry to schools, community colleges, universities, and civic organizations such as the Rotary Club, historical societies, poetry societies, and numerous other groups. I did my best to honor each invitation I received, from throughout the large state of Texas, and only on a couple of occasions had to decline an invitation due to a scheduling conflict, etc. I never required a speaker’s fee for a presentation; only reimbursement for travel expenses and lodging at a modest motel. Many schools, especially public institutions, don’t have ample funds available for this sort of activity, so I wanted to make it as financially reasonable for them as possible. I was privileged to receive a $2,000.00 grant from the Ron Stone Foundation for the Enhancement and Study of Texas History (based in Houston), and I used the entire grant for travel/lodging expenses to venues which didn’t have funds available for such activities.
As to outreach projects, I particularly enjoyed my visits to public schools and college/university creative writing classes. Many public schools, most unfortunately, have dropped poetry from their basic curriculum, and I really enjoyed the opportunity to talk to the students about the importance of poetry in their lives and share with them examples of my own work.
Another outreach project, which I initiated, was to set aside time from my busy schedule to work one-on-one with young poets of promise. I met with them primarily in coffee shops (such as Starbucks), critiqued their work, and answered any questions they had about my own creative process. I charged no fee for my services, and feel that these young poets benefitted greatly from the time I spent with them and were encouraged to keep reading and writing. My opinion of their work and the time I spent with them seemed to significantly enhance their confidence as young poets of seriousness.
Does poetry need community?
I feel very strongly that poetry needs community. Poets spend countless hours crafting and revising their poems for hopeful publication in a distinguished journal or a collection, and do so to share their work with a “community” of appreciative readers. Otherwise, they would just stash their work in diaries for their eyes alone!
Secondly, although I personally have never been one to join writers’ groups or participate in workshops, I am very much in the minority as a poet in this regard. Virtually all of the serious poets with whom I am acquainted aggressively seek out and participate in quality workshops, and are members of writers’ groups which meet regularly. This gives them a chance to present their work to and receive honest feedback from others whose work they respect, and to have their work seriously critiqued for necessary revision. They feel that their participation in such a group is critical to their own artistic development.
Tell me a little bit about your writing process. Feel free to discuss your writing space, the time of day you write or any rituals you have which help you with your process?
How do you approach the large task of putting together and arranging a manuscript?
Before I even think about putting together a manuscript, I make sure that I have a very large body of published or “publishable” poems of thematic unity, well over one hundred, from which I can select fifty or so for the first draft of the manuscript. I then approach the shaping of the manuscript in much the same manner I shape an individual poem, placing careful emphasis on theme, tone, consistency of syntax, etc. I believe that a manuscript should be as seamless as possible, and that each poem in the manuscript should effectively serve the collection as a whole.
What non-writing activities do you practice that inspire creativity and fuel your writing?
Non-writing activities which I feel inspire my creativity are art museum/art gallery attendance, music listening (especially classical), and serious reading. I spend a lot of time reading the collections of numerous contemporary poets of noteworthy achievement, and short story collections by distinguished fiction writers. I believe that the short story is the “poetry of prose,” in compression, use of imagery, heightened use of language, etc., and I find a number of literary techniques in well-written short stories which are certainly transferable to the composition of poetry. Among the contemporary short story masters whom I have found helpful to my development as a poet are Raymond Carver, Breece “DJ” Pancake, Joyce Carol Oates, and Tobias Wolff.
When people ask you what you write about or what your poetry is about, how do you respond?
The subjects of my poems are quite multifarious. I have published complete collections of poetry about the Texas Gulf Coast (The Lighthouse Keeper), the backwoods denizens of deep East Texas (The Woodlanders), the flora, fauna and denizens of far West Texas where I was born and reared (Amazing Grace, Where Skulls Speak Wind, and Stark Beauty), outlaw bikers (The Fraternity of Oblivion), paintings and the properties of color (The Skin of Light), the bird or avian world (A Murder of Crows), wolves (Wolves), and quicksilver (mercury) miners (The Red, Candle-lit Darkness). When people ask me what my poetry is about, I often reply that it is heavily inspired by the natural world, but also by anything which captures my interest at any given time. A poem, at least to me, is first the artistic use of language, and secondly a means of transporting the reader to the heart of the mystery, beauty and terror of existence.
What projects are you working on or planning now?
I just completed a chapbook of poems set on the coast of Maine (The Lobsterman’s Dream), forthcoming from El Grito del Lobo Press in a handset letterpress edition with original woodcut illustrations, tentatively scheduled for publication in late spring/early summer 2013. I also have a book-length collection, Uncle Ernest, forthcoming from the Virtual Artists Collective (Chicago).
Larry D. Thomas, a member of the Texas Institute of Letters and the 2008 Texas Poet Laureate, has published nineteen collections of poetry, his most recent book-length collection of which is A Murder of Crows (Virtual Artists Collective, Chicago, 2011. He has two additional books of poetry forthcoming: The Lobsterman’s Dream (El Grito del Lobo Press, Fulton, MO) and Uncle Ernest (Virtual Artists Collective, Chicago). Among the publications in which his poetry has recently appeared or is forthcoming are 200 New Mexico Poems, The Texas Review, Valparaiso Poetry Review, Sugar House Review, Borderlands: Texas Poetry Review, and Southwestern American Literature. His New and Selected Poems (TCU Press 2008) was long-listed for the National Book Award.
Web site: www.LarryDThomas.com