Background
Thursday, May 9, 2024, 7:15 p.m. – 9:00 p.m CDT
Hybrid: In-store at 5501 N. Lamar #A-105 and on Zoom
Zoom event registration: https://www.eventbrite.com/e/bookwoman-2nd-thursday-hybrid-poetry-and-open-mic-featuring-sandi-stromberg-tickets-851973835677
Feature Sandi Stromberg’s full-length collection, Frogs Don’t Sing Red (Kelsay Books, April 2023), includes several works nominated for a Pushcart Prize and Best of the Net. Stromberg is an editor at The Ekphrastic Review and has served as an editor for two anthologies: Untameable City: Poems on the Nature of Houston (Mutabilis press, 2015) and, with Lucy Griffith, the ekphrastic anthology Echoes of the Cordillera (Museum of the Big Bend, Sul Ross State University, 2018), where poems are in conversation with photographs by Jim Bones.
Most recently, Stromberg’s poetry has appeared in Panoply: The Literary Zine, San Pedro River Review, The Ekphrastic Review, MockingHeart Review, Woodland, The Orchards Poetry Journal, and Unknotting the Line: The Poetry in Prose. Her poetry, translated into Dutch, can be found at Brabant Cultureel and on the website of Dutch poet, Albert Hagenaars.
The Interview
CH: What is your first memory of poetry? What was your relationship with books during childhood?
SS: My first memory of poetry was Joyce Kilmer’s “Trees.” My mother had a slim volume of poems by different authors that she received as valedictorian of her high school class. This poem spoke to some part of me.
I was a voracious reader. We moved often so books were my refuge and world.
CH: When did you first begin to take an interest in writing? What drew you to writing poetry?
SS: In fifth grade I wrote a poem about mushrooms growing at the foot of trees. My teacher loved it and sent it to the Lorimorian, the small town’s weekly newspaper. They published it.
I didn’t try to write another poem for years, but I dreamed of being a writer and still love the feeling of paper and pens and what can be created with them.
CH: I understand you lived in Europe for the first two decades of your adult life. How did that experience influence your growth as a writer?
SS: Living abroad I suddenly had time to write, college and grad school finished. My first husband and father of my children was an international businessman. I found a mentor in Spain who set me on the path to writing and publishing magazine features and how to edit.
CH: I also understand you’ve spent much of your professional career as a magazine feature writer. What did you take from that work into your poetry?
SS: Transitioning from magazine writer to poet was a challenge. So much of what is necessary to make prose flow are too general for poetry. Time sequences often too wordy. Reporting actual facts more important than metaphor, etc.
I also put poetry on a pedestal. In no way could I achieve such lyrical heights of expression.
Then I had an epiphany of sorts in 1999 in Houston that made me step over whatever the barrier was and risk expressing the world around me poetically.
CH: Congratulations on your new collection, Frogs Don’t Sing Red. Please tell us a little about it.
SS: In January 2019, I started writing to art challenges posted every other week by The Ekphrastic Review. For the next 48 challenges, I wrote and submitted a poem; 35 were chosen and published. I was addicted and had a path for creativity during the worst of the pandemic.
Then, while taking classes from David Meischen, I found what I’d been looking for—a way to organize my work into a cohesive collection. So often a piece of art can remind us of some personal experience. Braiding a response to the art with a personal moment can make an interesting poem.
CH: When you think of the process of sequencing the poems and editing them for this book, what surprised you?
SS: I had the good fortune of having Cindy [Huyser] in my small review group as I gathered around 25 poems into a sort of semi-autobiographical story arc.
Then I realized I had a huge time gap from childhood to my current life and spent a couple of months rereading my stacks of poems and inserting them into three middle sections. This was so rewarding.
CH: You’ve been an editor for two anthologies: Untameable City: Poems on the Nature of Houston (Mutabilis Press, 2015) and with Lucy Griffith Echoes of the Cordillera (Museum of the Big Bend, 2018). How has the experience of editing others’ work shaped your approach to your own?
SS: I felt honored to work on two anthologies. I think one grows as a poet in the process. At least someone like me who has learned by osmosis! Poetic tropes slowly sink into my “little grey cells.”
CH: As poets, we’re indebted to the literary citizenship of others to create the spaces in which to share our work. You’ve spent ten years on the board of Houston’s Mutabilis Press—how has this experience contributed to your growth as a writer?
SS: The same holds true for being involved in Mutabilis Press and now as an editor for The Ekphrastic Review. Being there to nurture other writers as I’ve been nurtured is rewarding and keeps me growing and learning as a poet.
CH: I was excited to learn that one of your poems, “The Art Asylum,” is currently being set to music for the Chinese two-string bowed instrument known as the erhu by Singaporean composer Andrew Ng Ting Shan. How did this collaboration come about? Has the premier of the piece been scheduled?
SS: My son is a musician, composer, sound technician/ engineer, and inventor of musical instruments, as well as senior instructor at Singapore’s LASALLE College of the Arts. On my recent visit there, I met Andrew, who was involved in a production with my son, a Thai composer and two dancers.
Andrew is composing music for his final recital to a Chinese poem and one by Hermann Hesse. He said he was hoping to find an American poet! I gave him my book and he enjoyed it, then chose this poem, which surprised me. The recital will take place later this year.
CH: Who are some of the writers who you count as influences on your work? What are you reading now?
SS: Some of my influences are H. D., Elizabeth Bishop, Adrienne Rich, Alicia Ostriker, and Kevin Prufer. Right now I’m reading Kevin Prufer’s The Fears, Kelly Ellis’s The Hungry Ghost Diner, Sharon Olds’ Balladz, and about to read Sasha West’s How to Abandon Ship.