{"id":3106,"date":"2019-07-11T12:49:44","date_gmt":"2019-07-11T17:49:44","guid":{"rendered":"https:\/\/uwm.edu\/creamcityreview\/?p=3106"},"modified":"2020-03-24T13:13:07","modified_gmt":"2020-03-24T18:13:07","slug":"interview-with-2019-summer-poetry-prize-judge-aimee-nezhukumatathil","status":"publish","type":"post","link":"https:\/\/uwm.edu\/creamcityreview\/interview-with-2019-summer-poetry-prize-judge-aimee-nezhukumatathil\/","title":{"rendered":"Interview with 2019 Summer Poetry Prize Judge Aimee Nezhukumatathil"},"content":{"rendered":"

[et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”3.0.47″][et_pb_row admin_label=”row” _builder_version=”3.0.48″ background_size=”initial” background_position=”top_left” background_repeat=”repeat”][et_pb_column type=”4_4″ _builder_version=”3.0.47″ parallax=”off” parallax_method=”on”][et_pb_text _builder_version=”3.17.2″]<\/p>\n

Interview with 2019 Summer Poetry Prize Judge<\/span><\/strong><\/span><\/p>\n

\u00a0<\/span><\/strong>Aimee Nezhukumatathil<\/strong><\/span><\/p>\n

<\/strong><\/span><\/p>\n

[\/et_pb_text][et_pb_text admin_label=”Text” _builder_version=”3.17.2″ background_size=”initial” background_position=”top_left” background_repeat=”repeat”]\"\"In honor of our inaugural 2019 Summer Prizes in Fiction & Poetry, Managing Editor Su Cho conducted a micro-interview with our Poetry Prize Judge, Aimee Nezhukumatathil. Read on to learn more about the insistence of joy, what makes a poem stand out, and the things Aimee Nezhukumatathil would tell her past and future self!<\/p>\n

Aimee Nezhukumatathil<\/strong><\/a> is the author of four books of poetry, most recently\u00a0Oceanic<\/em>.\u00a0Her honors include a Pushcart Prize and a fellowship from the National Endowment for the Arts. Her collection of nature essays is forthcoming from Milkweed Editions and she\u00a0is professor of English in The University of Mississippi\u2019s MFA program.<\/p>\n

Su Cho<\/a>\u00a0<\/strong>is the Managing Editor of\u00a0Cream City Review\u00a0<\/em>and a PhD student at University of Wisconsin-Milwaukee, where she is an Advanced Opportunity Fellow. Her poems are forthcoming\/can be found in\u00a0Colorado Review, Cincinnati Review, <\/em>Pleiades, The Journal, Crab Orchard Review,\u00a0<\/em>and elsewhere.<\/p>\n

*<\/p>\n

1. Every time I read your poems, I can\u2019t help but see the value of the joy of discovery, and that joy, in turn, creates community. During this tumultuous political time, maintaining and nurturing joy is not only important but also work. How does this feel for you? Do you think this relationship has changed for you over time? Or do you see it manifest in different ways as you keep writing?<\/strong><\/p>\n

Oh thank you so very much! It\u2019s not exactly a conscious development *towards* joy and wonderment, but rather an insistence<\/em> for it. And it is most definitely work\u2014though my pals would absolutely say I\u2019m an optimist, my very closest pals know I\u2019m a worrier and over-thinker, especially in light of the political and environmental concerns we\u2019ve been facing. But this is nothing new. As a woman of color, I have known for a very long time that the world operates very differently for me than say, my white husband. Add that to us raising two mixed boys who have some of the most kind and wondrous hearts I know and even though I have an overwhelming sense of dread and despair most days for the world they will live in when I am long gone\u2014it becomes even more imperative for me to point out beauty and yes, joy on this planet for them. This doesn\u2019t, however, mean that I ignore darkness and \u2018scary\u2019 topics in my writing. But I suppose I do try to lean toward light. I think for many people, it\u2019s more helpful to fight for things we love, rather than out of a reflex of fear. I mean\u2014many of our political leaders would rather women of color be in a constant state of fear and panic. So when I turn towards joy and beauty in my writing, it is most certainly work. But it\u2019s the most beautiful and important responsibility in work I\u2019ve ever had.<\/p>\n


\n2. You\u2019ve written so many great collections of poetry. How would you describe your journey as a writer and teacher from Miracle Fruit (<\/em>2003) until now? What has evolved? What has remained steadfast?<\/strong><\/p>\n

You are too kind, but talking about my work this way gives me the heebie-jeebies\u2014I\u2019d rather you or other readers make such conjectures\/observations. But I will say I definitely feel more comfortable to push against my love\/hate relationship with linebreaks and to make my lines and white space more expansive than the tight\/neat blocks of my earlier poems. Over the course of four books, I think\u2014I hope\u2014I\u2019ve expanded my gaze to larger concerns of the natural world. And there\u2019s at least one constant for my poetry: that most of my poems can be read as love poems. Or at the very least, born of love.<\/p>\n


\n3. What makes a poem stand out to you? Is there a poem or a book you can\u2019t let go of right now?<\/strong><\/p>\n

When I get to a poem, I want to be surprised\u2014with the poem\u2019s music, images, and\/or the physical look of it on the page. I don\u2019t ever want to be able to guess the next line or image, or know\u00a0how<\/em>\u00a0the poem will end, and I want to also feel like I don\u2019t want the poem to end in the first place. I want to stay in that poem\u2019s world, like stepping into the landscape of one of those snow globes\u2014I want to be shaken up and even after all the shaking settles down, I want to look down at my feet and know my world is not the same. I\u2019ve recently loved Mira Jacob\u2019s Good Talk<\/em>, and a new poetry collection out any day: Former Possessions of the Spanish Empire<\/em>, by Michelle Pe\u00f1aloza, and just read the astonishing new one from Carmen Gimenez-Simth. Oooh\u2014and Natalie Scenters-Zapico\u2019s Lima :: Lim\u00f3n.<\/em><\/p>\n

 <\/p>\n

4. If you could travel to the past, what would you tell your past self? If you could go forward in time, what wouldn\u2019t you want your future self to forget?<\/strong><\/p>\n

I\u2019d tell my size-2 twenty-something self, that I wasn\u2019t chunky in the flippin\u2019-slightest, and to tell my twenty-something poet-self that the only advice ever worth taking in the literary world is: to floss, assume kindness in those you don\u2019t know (unless proven otherwise), and give thanks by helping out others who come after. I was always going to write\u2014no one needed to remind me to write and read widely. But simply put: doing these very specific things would always keep me writing, and give me more opportunities to write and teach. And I\u2019m a Capricorn\u2014I don\u2019t forget things. \ud83d\ude09 But I\u2019d try to forget who told me if I wanted to be a successful writer, I needed to keep writing at the forefront of my life, no matter the cost (sleep, relationships, etc). I\u2019d argue that I\u2019d feel better about myself when writing isn\u2019t<\/em> at the front of my life\u2014that I\u2019m a more expansive writer and mentor because I have other interests and people with whom I love to share them with, not in spite of<\/em>. And my folks are still alive, but they live far away in Florida, so I\u2019d remind my former self to drive and visit as often as possible back when they lived just an hour away from me when I was in grad school in Ohio. Also I\u2019d always want to remember our family vacations: both when I was a little girl, sleeping in the backseat of our blue Oldsmobile, and also now that my boys are still little(-ish) and begging for us to stop at any rock shop they see advertised on the road.<\/p>\n

*<\/p>\n

Submissions to our 2019 Summer Prizes in Fiction and Poetry are open until August 1st.\u00a0Click\u00a0here<\/strong><\/a>\u00a0for full guidelines.
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