Thursday, December 10, 2020 7:15 – 9:00 p.m. Contact firstname.lastname@example.org for meeting information.
Feature Ann Howells edited Illya’s Honey for eighteen years both in print and online. Her books include: Under a Lone Star (Village Books Press), Cattlemen & Cadillacs as editor (Dallas Poets Community Press), So Long As We Speak Their Names (Kelsay Books), and Painting the Pinwheel Sky (Assure Press). Her four chapbooks include: Black Crow in Flight, published through Main Street Rag’s 2007 competition and Softly Beating Wings was the 2017 William D. Barney Competition winner from Poetry Society of Texas (Blackbead Books). Ann gets involved in poetry whenever she has a chance, attending festivals, belonging to several workshop groups, and offering her services as contest judge when asked. She’s even won a couple local contests. Her work appears in many small press and university journals. She has received seven Pushcart nominations and one Best of the Net nomination.
CH: You last appeared in this space in 2017. What’s been going on in your writing life since then?
AH: Later in 2017, my manuscript Softly Beating Wings won the William D. Barney Memorial Chapbook Competition and was published by Blackbead Books, which was a thrill. I read at poetry conferences and festivals, even travelling to Santa Fe – farthest afield I’ve gone to do a reading. And I’ve had two more books published, chaired the Student Poetry Competition for Poetry Society of Texas for two years, and served on their board for one. Of course, I’m still active with my first love, Dallas Poets Community, which returned to its original form as a workshopping group. I attend virtual lectures and classes often.
CH: I know that while you have been in Texas for many years, you hail from the northeast. Tell us a little about your thoughts in regard to the poetry of place?
AH: I hail from the Chesapeake Bay area, mid-Atlantic coast. Much of my early life was spent on an island, among watermen who harvested the bay. I’ve written so very much about the place and the people that I often feel there’s nothing left to say, but next time I sit down to write the place once again steals quietly into the poem. I guess I’ll never stop writing about it.
CH: I was delighted to hear about your most recent publications. What was your journey in writing and publishing So Long As We Speak Their Names?
AH: This book is the one I’ve been writing for twenty years or more – about watermen on Chesapeake Bay, their families, lifestyles, relationships, fears, and strengths. They greatly influenced my character, values, even thought processes. Memories of the area, the time, and the people are etched indelibly somewhere deep inside and continue to seep into my writing. This book is very close to my heart.
CH: What are your thoughts on poetry as portraiture? How can poems bridge time and space?
AH: Many of the poems in this book are character sketches. These were country people: all the women addressed as Miss or Aunt, then their first name. The men were addressed as Cap’n (Captain), a mark of respect in a waterman’s community, followed by their first name. My family appears, their friends, neighbors, and relatives. The poems keep them alive for me.
CH: I was also thrilled to hear about Painting the Pinwheel Sky. How did you arrive at this project?
AH: I became interested in Van Gogh, read several biographies, then his letters to Theo. I wrote one or two poems because Van Gogh’s thought processes as he planned a painting fascinated me. The project spiraled completely out of control. I wrote in Van Gogh’s voice, then in voices of his various mistresses, his family, and his acquaintances, including his doctor/therapist. What was originally intended as a chapbook, became a full-length book, albeit more novella than novel length.
CH: Tell us a little about the role of research as you went about writing the poems of Painting the Pinwheel Sky. As an artist, what did you learn?
AH: This book is a real departure for me. I kept referring to letters between Van Gogh and his brother, Theo, who managed an art gallery in Paris and saw promise in Vincent’s work, set up shows, and helped promote. I was intrigued by the fact that Theo and his wife were supportive while Van Gogh’s mother, a watercolor artist, was dismissive. After his death she burned many paintings that he had stored in her attic. In one letter to Theo, she even suggested that Vincent’s death would be a good thing. The lesson I took away was that if you feel compelled to create, nothing should be more important. You should let no one discourage you.
CH: You now have several titles to your name. How has your approach to poetry changed over time? What’s remained the same?
AH: More than before, I tend to become immersed in a single subject and write many, many poems exploring different aspects. Some duplicate subject matter, but I find that my thoughts evolve. When that happens, I destroy earlier versions or incorporate parts into newer poems. I write almost entirely in free verse, a few longer pieces now and some poetic series. The biggest change is that I now occasionally write about places other than Chesapeake Bay. Also, I am currently in a writing partnership with a friend. Writing response poems has expanded my manner of thinking about poetry.
CH: The isolation and stresses of the pandemic have affected people in so many ways, and 2020 has certainly been an “interesting time” in terms of our national life. What impacts has your writing life felt in 2020?
AH: In April, I took the April Challenge and wrote a poem a day. April extended into early May, though I sorely missed being able to workshop them. After that I had a dry spell until late September when I began writing furiously again, through September, October, and into early November. Now I’m in a dry spell again, but I spend my time revising and submitting. I’m a terrible housekeeper; I’d much rather be writing.
CH: What are you working on now?
AH: Currently I’m putting together two tiny volumes of tiny poems which I plan to send to a few friends and have available at readings I hope to do when the pandemic ends. Each volume holds about twelve poems. I’m calling them Hip Pocket Poems I and II. I may end up selling some at readings for a dollar each.
CH: What are you currently reading?
AH: In addition to poetry, I enjoy Scottish noir. And recently I’ve been reading about WWII, especially novels that take place in England. I’ve read that America observed the war while England lived it, and I’m finding that true, frequently shocked by what the English suffered. I also read poetry books recently published by friends – J. Todd Hawkins has a great one just out, tracing the blues through the south. Also, Ken Hada, Ken Wheatcroft-Pardue, Don Stinson, and Roy J. Bekemeyer have wonderful new books. I always keep one novel and one poetry book in progress.