Kelli Russell Agodon with E.C. Murray

Kelli is also the author the award-winning collection of poems, Letters from the Emily Dickinson Room (2010) Winner of the White Pine Poetry Prize chosen by Carl Dennis, Winner of ForeWord Magazine's Book of the Year Prize in Poetry and a Finalist for the Washington State Book Award. Letters from the Emily Dickinson Room was also chosen as one of the 20 best books of poetry for the GoodRead's Readers' Choice Awards. Kelli is also the author of Small Knots (2004), Geography (2003), and co-editor of Fire On Her Tongue: An  Anthology of Contemporary Women's Poetry.  She is the Cofounder of Two Sylvias Press where she works as an editor as well as being the Co-Director of Poets on the Coast: A Retreat for Women Poets, and a member of the Seattle7 Writers, a nonprofit group that raises awareness and money for literacy organizations in the Pacific Northwest. She was the editor of Seattle’s the Crab Creek Review from 2008 – 2014. Along with being a writer & editor, she is a book cover designer as well as an avid paddle boarder and hiker.
 
1.)    Many of us wrote what I like to call the “poetry of angst” in our teenage years. I reread my old works and scoff. How does one take rough scribblings and turn it into award-winning poetry?
 
I think there are many ways to take our rough drafts and turn them into strong, well-crafted poems. Personally, I toss terrible rough drafts . . . but a poor rough draft that has a glimmer of something bigger? Those I hold onto and try to revise.

For me, much of my revision is just play and experimentation. I ask myself a lot of questions: What if I moved this line here? What if I changed this word? What if I found a stronger title? Is this the best form for what I’m trying to say?
 
I have always been a picky reader. Something needs to hold my attention and be well-written for me to want to spend time with it. I am constantly asking myself: Can this be said better? Is this interesting? What is missing? I want to write interesting and engaging work first, award-winning being just an added bonus to writing and publishing poems. Mostly, I just want to write well. My goal, when I sit down to write, is to write and revise the best poem I am capable of at that moment.

 
 
2.)    Some of our readers are aspiring poets. Will you share with them how you got started in poetry (1) and what kept you going (2)?
 
I always read and wrote stories as a child. Creative writing was always the elective I took whenever I could. As an English major undergrad at the University of Washington, I took a poetry class with Linda Bierds and it changed everything. I went from writing fiction to writing poems. Poetry was in my life, like a boat you see sail by every so often, when I tended to write more fiction and short stories. One spring class, sitting underneath Yoshino cherry trees in Linda’s class that changed and I fell in love with poetry.
 
At the University of Washington, I realized how connected I felt to the world and to others when I wrote poetry. It sounds odd, but poetry almost felt spiritual to me, a strange church I had walked into. I had taken off my fiction shoes and dipped my palms in the holy water of poetry. When I write poems, I feel connected to something greater than me. I feel as if I’m doing my small part in creating a better world—which again, sounds a little hokey. But imagine if everyone woke up and wrote a poem each morning. Wouldn’t the world be a little better?
 
Another reason I stayed with poetry is my desire to write a better poem. With most art, there is this underlying yearning to create something better than what you did before. Paint a better portrait. Write a better poem. It challenges our creativity. Just as people continue to binge watch shows on Netflix to see “what happens next,” I keep writing because I want to see what happens next.
 
Honestly though, these are just guesses. Maybe it’s just how we each have our own interests—some people collect ceramic dachshunds and others passionately run marathons. My obsession just fell to words, and poetry is medicine of choice.
 
 3.)    I’m interested in your Masters of Fine Arts (MFA) from Pacific Lutheran’s University’s Rainier Writing Workshop. I received my writing certificates from the University of Washington, and many of my fellow students went on to earn MFA’s. Do you recommend aspiring writers earn an MFA? What are the pros and cons?
 
Oh, there are so many answers to this question. Here are some thoughts on getting MFA:
 
1)  If you are someone who needs structure or accountability, an MFA may help you complete more work as a poet or writer.
 
2)  You get exactly as much as you put into your MFA program.  Meaning-- I'm sure some people get a lot more out of their program because they really put forth an effort where others may try to do the least amount possible.  
 
3)  For me, it wasn't about getting an MFA (the actual diploma), but I went back to school to become a stronger writer. I went back to school because I was raising a daughter and people were viewing my writing as a “hobby.” I think low-res MFA programs are good for this because they teach you to write on your own and without a community of writers you see every day in class. But I think all MFA programs help you find community. 
 
4)  Low-res programs are great for adults with jobs and/or kids.

 
5)  MFA programs can be pricey (anywhere from $22K and up!), but I've always just said that using the money for tuition was just one less mid-sized sedan I could have in my life.
 
I think opportunities to learn and improve oneself and one's writing in life are important and should be taken. I think both full-time programs and low-residency MFA programs do the same thing—they try to create better writers. They give you time to focus on your art.
 
If someone asks me if I think they should get their MFA, my answer is a question back to them.  Do you want to get your MFA? If you do, then apply to a program that is right for you and go back to school. If you don't, then don't. I am not someone who believe people need an MFA to be a good writer. Or to be published. Naomi Shihab Nye, Bob Hicok, and Li-Young Lee are all poets that do not have MFAs.  I have heard Naomi say, "Life is the program."  And I agree. But if you have a desire to get your MFA, then go for it. Again, there is no wrong way or right answer here, just individual writers making individual choices that are best for him or her. But if you would have asked if I would do it again after knowing what I know about MFA programs, my answer is:  Definitely.
 
4.)    What do you say to readers who say, “I don’t really know how to read poetry. How should I approach it?”
 
First, everyone knows how to read poetry. It’s just words in a certain order. I think the issue (or fear) becomes, “I don’t know how to interpret poetry.”

Many times in high school and college, there were teachers and professors scolding many of us for having our unique thoughts. They would say, “What does this line mean?” You’d respond, and they’d say, “No, it means this…” For me, there is no wrong way to interpret a poem. That is the first thing I’d tell someone.

We each bring our own experiences to a poem. So my suggestion would be find a poem you like (probably easiest to find online) and write down the poet’s name. Find more poems by that poet and see if you like those. Continue to find poets you like, read more poetry, find poets you like. Wash, rinse, and repeat. 

The key is to finding the poetry that speaks to you rather than trying to “figure poetry out.” It’s really doesn’t need a secret code ring. And there really are so many styles and forms of poetry, there’s something for everyone. It’s just finding the poets who speak to you and then, listening. All interpretations of a poem are valid.
 
 5.)    Your latest book, The Hourglass Museum, is filled with lovely images and ideas. I love, for example:
of the clock, the silence
of the Brillo pad asking her to dance
the watusi when what she wanted
 was to tango with another or a key
to unlock the front door and waltz
herself into another life.
 
When I read your poetry, I meditate on the words, see what feelings or thoughts are triggered. Is that the way one is supposed to read poetry? Is there a “supposed to” way to read poetry?
  
Thank you. The great thing about poetry is you can read it and experience it however you like. Sometimes, I like to read a book of poems from beginning to end without stopping. Sometimes, I just choose a poem from the center and read it out loud. Sometimes I read quickly without much thought. Other times, I try to read each line and stanza separately as its own gem. Your way of meditating on words is also a wonderful way to read a poem. And the lovely thing—these are all valid ways to read a poem.

I like reading poetry and seeing what it brings to mind. I listen to poetry and let it pour over me like a warm bath. Again, there is no wrong way to read poetry. And no wrong way to interpret it.  I just enjoy finding what surprises me, stands out to me, engages me.

 
 
6.)     One of your books, The Daily Poet: Day-By-Day Prompts for Your Writing Practice is, I believe, a magnificent tool for all writers. How did you come to write it?
https://www.amazon.com/Daily-Poet-Day---Day-Practice/dp/1492706531/ref=sr_1_2?ie=UTF8&qid=1466539706&sr=8-2&keywords=kelli+russell+agodonhttps://www.amazon.com/Daily-Poet-Day---Day-Practice/dp/1492706531/ref=sr_1_2?ie=UTF8&qid=1466539706&sr=8-2&keywords=kelli+russell+agodon
 
We weren’t planning on writing a book of prompts at all. Martha Silano and I were friends who were also poets who would meet at coffee shops for writing dates and bring prompts for each other. One day I said, “Wow, we have so many prompts, we could write a book,” (or something like that).  Next thing I knew, we were putting together a book of writing prompts. We used many of the prompts we had written for ourselves, then decided we wanted to have a writing prompt for every day of the year and wrote more.

We have found writing prompts can turn on new switches in your brain. It turns poetry into play, into fun. You don’t arrive to the page alone. You come with a direction, it may be a loose direction or something more specific, but a prompt is basically a way to help you get started.
 
 7.)    I notice you frequently collaborate on projects with other poets, although I think of poetry as one of the most solitary art forms. What are your thoughts on writing and collaboration?
 
I collaborate because it’s more fun to do something with a friend and it makes me more accountable. Honestly, I’m a very lazy person. I love to nap, sit on the beach and look at the sea, and read books. I can find a thousand other things to do than what I’m “supposed” to be doing.

If I’m talking with someone, I find my brain becomes more active. This is not to say I’m not an introvert, I yearn for down time and alone time. But when I work with another poet, writer, or artist, the back-and-forth makes my mind even more creative. So for me, it’s something that expands my thought and my art, not inhibits it.
 
 
 
8.)    Your publishing company, Two Sylvia Press, has an APP. How cool is that. Will you tell us about it?
 
Yes! We created the print version The Poet’s Tarot and Guidebook (http://twosylviaspress.com/the-poet-tarot.html) a couple years ago to help writers, poets, and artists with their creativity. We had a successful Kickstarter campaign and it really took off—it even received a mention in O, The Oprah Magazine. People really seemed to love it and respond to it in a positive way.

Last year, I was complaining about how I always forget to take my Poet Tarot cards with me. Annette (the other cofounder at Two Sylvias Press) suggested we make an app so people could take their cards “on the go.” So we did it. We really had no idea what we were doing or getting into, but since that has never stopped us before, we moved forward.
 
The app works like the Poet Tarot deck except it’s on your smartphone. Basically, when you need help with your creative work or life, you open the app, press the screen, and a random Poet Tarot card will come up for you. This could be a poet, such as Sylvia Plath or e.e. cummings. Or it could be the five of letterpresses or the seven of quills. Each card then has information to help you with your creativity. It’s a pretty cool app (and only $1.99) to help you when you are feeling stuck or just need guidance. It’s also a great way to begin each day by choosing a Poet Tarot card and meditating on it each morning. There are so many ways the app can be applied in a writer or artist’s life.

The Poet Tarot app is available for both iPhone (https://itunes.apple.com/us/app/poet-tarot-creativity-tool/id1086383408?mt=8) and Android (https://play.google.com/store/apps/details?id=com.ionicframework.poettarot606398) From the feedback, people seem to love it. But it seems to be something people want in addition to the print Poet Tarot deck. They seem to really love both.
You can learn more about the Poet Tarot App here: http://twosylviaspress.com/blog/the-poet-tarot-theres-an-app-for-that
And more about print Poet Tarot & Guidebook here:
http://twosylviaspress.com/the-poet-tarot.html
 
 9.)    How has your poetry changed over the years?
 
My snappy answer is, it’s become better!  But if I look more deeply, I can see that I have stretched myself in new ways. I am writing in what I feel is a more vulnerable way. I am trying to bring what scares me into my poetry, and trying to be more open and honest. I show up to the page and try to put myself out there a little more.

I still tend to have a lot of natural images in my work (mostly because I live in the Northwest and there is nature everywhere) and I appreciate a strong narrative in my poems, but I’ve written more about relationships, struggles, anxiety and depression more in the last few years than in previous work. I think as I have grown, my poetry has grown.

Again, it’s hard for me to say. It’s sort of like when you live in a place for years, someone comes over and points something out like—wow, your plum tree is so big! And you think, “Yeah, that’s a really big tree,” but you realize you never noticed it growing and branching out over the years. You planted a tree and it didn’t die, and in fact, it  now gives more fruit. But you didn’t really see the growth, it just happened. I think that is how I see my poetry over the years, it’s changed form and grown, but I can’t exactly explain how it’s different besides saying, “I’ve got more plums,” um, poems.
 
10.) What tips or advice do you have for aspiring poets and writers?
 
Make writing a priority in your life.
Make writing a priority in your life.
Make writing a priority in your life.
 
Continually ask yourself, “How can I make this better?”
 
Read more books.
Read more books.
Read more books.
 
Take a class, learn from what other writers and poets.
 
Never compare your journey to anyone.
Never compare yourself to others.
Never compare.
 
Find a way you can be useful to the literary community.
 
Make writing a priority in your life.
Make writing a priority in your life.
Make writing a priority in your life.
 Thank you, Kelli. You can learn more about Kelli Russell Agodon at: www.agodon.com
Or connect with her on—
Facebook: www.facebook.com/agodon 
Twitter: www.twitter.com/kelliagodon
or learn more about Two Sylvias Press: http://www.twosylviaspress.com