Thursday, August 12, 2021 7:15 p.m. to 9:00 p.m.
Register for this event on EventBrite: https://www.eventbrite.com/e/bookwoman-2nd-thursday-poetry-reading-and-open-mic-with-robin-reagler-tickets-162818493497
Feature Robin Reagler is a poet, educator, and leader living in Houston, Texas. Over the past 22 years, she transformed Writers inthe Schools (WITS), a small grassroots organization, into a national literary movement with 40 sister programs across the US. She retired in September to focus on her own writing. Since then, she found publishers for two new books of poems. Into The The, winner of the Best Book Award, was released on March 21, World Poetry Day (Backlash Press). Night Is This Anyway, will be published by Lily Poetry Books (March 2022). Reagler is the author of Teeth & Teeth, selected by Natalie Diaz, winner of the Charlotte Mew Prize (Headmistress Press, 2018) and Dear Red Airplane (Seven Kitchens Press, 2012, 2018).
She earned an MFA at the Iowa Writers’ Workshop and a PhD at the University of Houston Creative Writing Program. She has published poems in Ploughshares, North American Review, Pleiades, Copper Nickel, Iowa Review, Colorado Review, and Zocalo Public Square. Her essays have appeared in books, newspapers, and journals. The Other Mother: Letters from the Outposts of Lesbian Parenting was named best Houston parenting blog by Nickelodeon in 2009.
She has helped shape dozens of new literary organizations and has volunteered on national boards. In 2018-2019 she chaired of the Association of Writers & Writing Programs (AWP) Board of Trustees. Currently she is the Board Chair of LitNet, the national advocacy group representing literary organizations and publishers and Board Secretary for the equity-based Justice Hub Charter School.
CH: What is your first memory of poetry? When did you start thinking of yourself as a writer? As a poet?
RR: My first memory of poetry is my mother reading nursery rhymes to my sister and me. I remember that I had a copy of A Child’s Garden of Verses by Robert Louis Stevenson on my bedside table. One of the poems, “Block City,” was about building imaginary worlds.
CH: What motivated you to get an MFA, and a Ph. D. in Creative Writing?
RR: Getting an MFA was, for me, about becoming a better writer and finding a community of writers. Getting a PhD was a career-focused decision. I hoped to teach in a college and that seemed like the best path forward. As it turned out, after I finished my doctorate, I chose to work with Writers in the Schools (WITS), an education organization with a K-12 focus, for 25 years. Now, after taking a year to focus on my own writing, I will be teaching college. Finally!
CH: How would you describe your experience at Iowa? What has been the biggest gift of doing these programs? The biggest drawback?
RR: The great gift of going to a program like Iowa is that I got to meet so many amazing poets and writers. Those friendships continue, even though we live across the nation. Having friends who support each other as writers and as people is the greatest gift for me. The biggest drawback is that when I went to Iowa it was not a diverse community, no matter how you define diversity. And the writers we studied were not very diverse either. This was in the 80s. It may be quite different now.
CH: Tell us a little about Dear Red AIrplane (Seven Kitchens Press, 2011 and 2018) and its re-release.
RR: When I submitted Dear Red Airplane to Seven Kitchens, I felt certain it would win their contest. It did not. I couldn’t believe. I’d been rejected many times, so it’s weird that I was surprised, but I was. A year later I got an email from the editor at 7K, Ron Mohring. He said he couldn’t stop thinking about the poems and asked if it was still available. That is how the chapbook was published the first time. It had a small print run and sold out quickly. The second printing was done through Seven Kitchen’s Rebound Series.
CH: I’ve recently had the pleasure of reading Teeth & Teeth (Headmistress Press, 2018), and was profoundly moved by its weaving of desire, grief, and identity. How did you select the pieces in this chapbook? How did you go about sequencing the poems?
RR: When I wrote the poems in Teeth & Teeth, my father had passed away and my mother was in hospice. The manuscript was selected by Natalie Diaz for the Charlotte Mew Prize. I mention that because I was influenced by Diaz in creating this collection. Her poem “Grief Work” was especially compelling to me. In my grief, I wrote the poems feverishly. I discovered that grief contain more than I had ever imagined—emptiness, anger, loss, rage, desire, love, and even hope.
CH: In Teeth & Teeth, I was really struck by the sense of the line in the poems, and by your use of whitespace and monostich stanza. How do you approach the use of whitespace in your poems?
RR: The line works musically in Teeth & Teeth. The white space provides silence, a key component to that music. In a monostich stanza, the words are isolated. Each line might be the last.
CH: Tell us about your most recent work: Into The The (Backlash Press, 2021) and the forthcoming Night Is This Anyway (Lily Poetry Books, 2022). How do you see the trajectory of this work with respect to your earlier books?
RR: Poems don’t necessarily get published in the order they were created. Into The The contains some of my earliest work, as well as some recent poems. Of the group, I think of it as first, chronologically. Following it, I would place Dear Red Airplane, then Night Is This Anyway (although I’m considering a title change), and then Teeth & Teeth.
CH: I understand you recently retired as Executive Director for Writers in the Schools (WITS) to focus on your own writing. How has this change made a difference for you? What is your writing life like now?
RR: I left Writers in the Schools so that I could focus on my own writing. It has made a huge difference in my writing life. Both Into The The and Night were accepted early in the year. I finished another manuscript that I’m sending to publishers now and am hoping to complete another in the coming months. So having this time has enabled me to BE a writer.
CH: You continue to be involved as a literary citizen. In your view, what are some of the gifts of literary citizenship?
RR: I’m very devoted to the literary community, and I have enjoyed being a part of it. Although writing itself is a solitary act, writers have a great deal to offer one another. Through my activism in organizations such as the WITS Alliance, AWP, and LitNet, I have connected with incredible, dedicated people. We are stronger together and able to serve the public in new and engaging ways.
CH: What’s the most recent book of poetry you’ve read?
RR: Right now, I am reading Pilgrim Bell by Kaveh Akbar.