I recently interviewed Laura Page, whose collection of poetry epithalamium won Sundress Publications‘ sixth chapbook competition. Page is a graduate of Southern Oregon University and editor of the poetry journal, Virga. Her work has appeared or is forthcoming from Rust + Moth, Crab Creek Review, The Rumpus, Tinderbox Poetry Journal, TINGE, and elsewhere. She is the author of two previous chapbooks, Children, Apostates (dancing girl press, 2016) and Sylvia Plath in the Major Arcana (Anchor & Plume, forthcoming). Visit her website at www.laurapage.net.
Danielle Hayden: Thanks so much for agreeing to be interviewed! I’d like to dive right in and talk about epithalamium. What was the inspiration behind this work?
Laura Page: My pleasure. Thank you! I came across the word ‘epithalamium’ in the Princeton Encyclopedia of Poetry and Poetics while participating in a project spearheaded by my friend Joshua Medsker, who is also a poet. The term is Latin, and denotes texts celebrating or expounding on marriage, though, as the editors note, epithalamia can be quite varied, both in structure and tonality. Adrienne Rich said something that has always stuck with me: “The moment of change is the poem.” I suppose I wanted to document and compile what is mutable between two committed individuals.
DH: What challenges, if any, did you encounter while putting this collection together?
LP: It’s interesting—compiling this collection was almost no challenge; the poems coalesced, however, out of a difficulty I had been having while trying to order another manuscript. I kept feeling that many poems contained in that collection didn’t seem to ‘fit’ or seemed to belong to another speaker. A large percentage of the poems in epithalamium were those that I eventually realized could become a separate body of work.
DH: If I may, I’d like to ask a bit about your background and your journey to becoming a poet. How and when did you decide that you wanted to be a poet? Who or what were your biggest influences/from whom did you draw inspiration?
LP: I’m not sure there was one pivotal moment. I have always loved literature. As a very young person, I read pretty voraciously. I wish I could devour books now like I did then. I think I wrote my first poem when I was twelve and shortly after that, I decided that I wanted to write fiction. Though I do write the occasional story, poetry is my love. I have to return to Adrienne Rich, here, because I started writing again as an adult after I picked up a book of critical essays on her work. I was maybe 19, and was blown away. After that, it was Theodore Roethke. There were a few gateways. Then I started writing truly awful poetry in earnest.
DH: What/who inspires you today?
LP: There are many, but recently I’m enamored with Rainer Maria Rilke, Wallace Stevens, Robert Hass, and Ada Limon.
DH: What is your creative process like? I know it’s different for every poet and sometimes for every work or phase of life. Feel free to describe your process more generally or how it was during the writing of epithalamium, if those differed at all.
LP: A poem almost always begins with an image or a turn of phrase that strikes me and then sticks for whatever reason. For some time now, I’ve been keeping one or more Word files open or readily accessible and writing in odd moments, very fast, without letting myself think too much about what’s going down. Everything in a particular file is loosely connected, so I have several little micro-collections going. I rework the poems, occasionally, but I’m less compulsive about doing so than I ever used to be. This is a fairly new thing. It feels more focused compared to past phases, certainly compared to the rather drawn out process of writing epithalamium.
DH: I know that you are the founding editor of the poetry magazine Virga. Congratulations on the launch! What has that been like so far (rewards, challenges, etc.)?
LP: I started Virga because I wanted to be a more involved literary citizen, as cliché as that term might sound these days, and I feel like I’m accomplishing that goal. It’s been very rewarding to read new and emerging poets and showcase their work. We’ve received some great feedback and I’m feeling confident in the future of the magazine, as tiny as we are. I think the challenge, for us, is a challenge any very new publication experiences unless it is very well connected, which is just bringing the magazine to the attention of more readers and prospective contributors. So, a shameless plug: if you’re reading this, we’d love for you to take a look and consider submitting poems!
DH: Why do you write? Why does poetry matter? We here at Sundress don’t need to be convinced of poetry’s importance, but for those naysayers, what do you say?
LP: Poetry is a means of access; what is being accessed is different for every poet. For me, it’s a way of getting at complex emotions, desires, and a way to interrogate my own assumptions. Sometimes it’s a liminal way to converse with elements outside of myself.
DH: What are you reading now/what have you read recently?
LP: I recently read Jorge Luis Borges’ This Craft of Verse, which is an incredible collection of essays on the reading and writing of poetry, and am currently reading a strange mix of things: some religious texts—gospels from the Nag Hammadi—some Anaïs Nin, some Gertrude Stein.
DH: And, finally, what are you currently working on? Any forthcoming projects that we can look forward to?
LP: I’m working slowly and quietly on a few things, including the full-length manuscript I mentioned. Virga is also gearing up for issue three coming this spring, so we’re very excited about that.
Laura Page is a graduate of Southern Oregon University and editor of the poetry journal, Virga. Her work has appeared or is forthcoming from Rust + Moth, Crab Creek Review, The Rumpus, Tinderbox Poetry Journal, TINGE, and elsewhere. She is the author of two previous chapbooks, Children, Apostates (dancing girl press, 2016) and Sylvia Plath in the Major Arcana (Anchor & Plume, forthcoming).
Danielle Hayden is a freelance writer and editor who grew up in Detroit and now lives in Seattle. Included among all the things she loves are: learning, books, watching films, making lists, and collecting great quotes—sometimes as tattoos. She reads about everything, and writes about almost as much. Danielle is an enthusiastic supporter of the arts and of the Oxford comma.