Monday, October 7, 2019

#128 Backstory of the Poem "How to Explain Fertility When an Acquaintance Asks Casually" by Allison Blevins



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***This is #128 in a never-ending series called BACKSTORY OF THE POEM where the Chris Rice Cooper Blog (CRC) focuses on one specific poem and how the poet wrote that specific poem.  All BACKSTORY OF THE POEM links are at the end of this piece. 

#128 Backstory of the Poem
How to Explain Fertility When an Acquaintance Asks Casually”
by Allison Blevins

Can you go through the step-by-step process of writing this poem from the moment the idea was first conceived in your brain until final form? My wife (Hannah Blevins) (Below) and I were trying to get pregnant.  The poem was a response to people asking about the process.  I was dealing with infertility issues.  The experience was so raw that I hadn’t really discussed what I was going through with anyone. 

          I was working on a series of poems based on the paintings of Joan Mitchell (Right)  I carried around several of her books with me all the time.  I would have an idea or topic in my mind and then find a painting that resonated with the idea to use as the backdrop for the poem. 
         
          Something about this painting made me think about the story of Susan Smith (Left), the woman who rolled her car off a cliff with her children inside, and how it is a strangely common story.  That idea found its way into the poem.  I wrote this particular poem very quickly.

Where were you when you started to actually write the poem?  And please describe the place in great detail. I do a lot of writing in my car. (Right) Much of this poem was written during my thirty-minute commute to teach.  I usually write images and small pieces that later get put together into the full poem.  This poem was written fairly close to how it is now.  It came out very fast.  I think because of the emotion behind it.

What month and year did you start writing this poem? It was written in 2016.  I don’t know the month.

How many drafts of this poem did you write before going to the final? I write my rough drafts by hand and then revise on the computer.  I never keep old drafts.  Always move forward!  This poem was only revised a few times.  It is one of the rare poems that worked without much tinkering.

Were there any lines in any of your rough drafts of this poem that were not in the final version?  And can you share them with us? I don’t think I cut any full lines.  But these lines were added during the last revision: “Water cascades / and rises, foretells all women and children. / Spatter and spray cling but eventually disappear.”  This seemed liked such an important idea in the poem and repeating it seemed to emphasize the cyclical nature of the experience I was describing.  I think the repetition also emphasizes the change in meaning.

What do you want readers of this poem to take from this poem? This is a poem about motherhood.  I hope readers see motherhood differently.  Some mothers want children desperately.  Some murder their children.  It is all wrapped up together.  In explaining how horrible it is to experience infertility and have unknowing friends question me about why I wasn’t pregnant, I couldn’t stop myself from thinking about women who kill their children.  This is a common theme in my work.  Motherhood isn’t just one thing.  Motherhood is both beauty and horror. (The Blevins Family, Left)

Which part of the poem was the most emotional of you to write and why? The last line.  As a woman who already had children, I wasn’t prepared for infertility.  The last line has so many meanings.


Has this poem been published before?  And if so where? The poem was first published by Mid-American Review (https://casit.bgsu.edu/midamericanreview/).  It was later published in my chapbooks A Season for Speaking (Seven Kitchens Press) and Letters to Joan (Lithic Press).

Anything you would like to add? You should check out Joan Mitchell’s work at https://joanmitchellfoundation.org/


How to Explain Fertility When an Acquaintance Asks Casually:
   After Joan Mitchell’s Low Water, 1969

Think about what is green in green,
how words like silver and bright
sing off every stinging tight space.
I eat.  I sit.  I repeat.  All must have
order.  Line up the shoes.  Organize
the bottles. 
                   Remember how some women
drive their cars off cliffs into ravining water, 
children asleep, full and snug and shining
in the trunk?  These women, on these days,
gold and glittering, must rejoice in flight; air rushes
their lungs, a chorus of women and falling and clattering
metal sings all together.  Water cascades and rises,
foretells all the women and children dead,
a history of female drowning.
                                        Those are not
your women. 
                       Think of the green in green,
the color that rests just beyond your fingers,
inside, like dirt trapped under grass, like garlic
sprouting, like a long dead bone turned to rock,
tumbled through pulsing years, its ridges and bumps
pressing your flesh, all the small plunges. 
                                                                    Water cascades
and rises, foretells all women and children. 
Spatter and spray cling but eventually disappear.
How terrible it is
                            to release something from your body. 

       Allison Blevins received her MFA at Queens University of Charlotte.  She is the author of the chapbooks Susurration (Blue Lyra Press, 2019), Letters to Joan (Lithic Press, 2019), and A Season for Speaking (Seven Kitchens Press, 2019), part of the Robin Becker Series.  She is the Editor-in-Chief of Harbor Review and the Poetry Editorial Assistant at Literary Mama.  Her work has appeared in such journals as the Minnesota review, Raleigh Review, Sinister Wisdom, and Josephine Quarterly.
         
          She lives in Missouri with her wife and three children where she co-organizes the Downtown Poetry reading series.
My website is http://allisonblevins.com. 


BACKSTORY OF THE POEM LINKS

001  December 29, 2017
Margo Berdeshevksy’s “12-24”

002  January 08, 2018
Alexis Rhone Fancher’s “82 Miles From the Beach, We Order The Lobster At Clear Lake Café”

003 January 12, 2018
Barbara Crooker’s “Orange”

004 January 22, 2018
Sonia Saikaley’s “Modern Matsushima”

005 January 29, 2018
Ellen Foos’s “Side Yard”

006 February 03, 2018
Susan Sundwall’s “The Ringmaster”

007 February 09, 2018
Leslea Newman’s “That Night”

008 February 17, 2018
Alexis Rhone Fancher “June Fairchild Isn’t Dead”

009 February 24, 2018
Charles Clifford Brooks III “The Gift of the Year With Granny”

010 March 03, 2018
Scott Thomas Outlar’s “The Natural Reflection of Your Palms”

011 March 10, 2018
Anya Francesca Jenkins’s “After Diane Beatty’s Photograph “History Abandoned”

012  March 17, 2018
Angela Narciso Torres’s “What I Learned This Week”

013 March 24, 2018
Jan Steckel’s “Holiday On ICE”

014 March 31, 2018
Ibrahim Honjo’s “Colors”

015 April 14, 2018
Marilyn Kallett’s “Ode to Disappointment”

016  April 27, 2018
Beth Copeland’s “Reliquary”

017  May 12, 2018
Marlon L Fick’s “The Swallows of Barcelona”

018  May 25, 2018
Juliet Cook’s “ARTERIAL DISCOMBOBULATION”

019  June 09, 2018
Alexis Rhone Fancher’s “Stiletto Killer. . . A Surmise”

020 June 16, 2018
Charles Rammelkamp’s “At Last I Can Start Suffering”

021  July 05, 2018
Marla Shaw O’Neill’s “Wind Chimes”

022 July 13, 2018
Julia Gordon-Bramer’s “Studying Ariel”

023 July 20, 2018
Bill Yarrow’s “Jesus Zombie”

024  July 27, 2018
Telaina Eriksen’s “Brag 2016”

025  August 01, 2018
Seth Berg’s “It is only Yourself that Bends – so Wake up!”

026  August 07, 2018
David Herrle’s “Devil In the Details”

027  August 13, 2018
Gloria Mindock’s “Carmen Polo, Lady Necklaces, 2017”

028  August 21, 2018
Connie Post’s “Two Deaths”

029  August 30, 2018
Mary Harwell Sayler’s “Faces in a Crowd”

030 September 16, 2018
Larry Jaffe’s “The Risking Point”

031  September 24, 2018
Mark Lee Webb’s “After We Drove”

032  October 04, 2018
Melissa Studdard’s “Astral”

033 October 13, 2018
Robert Craven’s “I Have A Bass Guitar Called Vanessa”

034  October 17, 2018
David Sullivan’s “Paper Mache Peaches of Heaven”

035 October 23, 2018
Timothy Gager’s “Sobriety”

036  October 30, 2018
Gary Glauber’s “The Second Breakfast”

037  November 04, 2018
Heather Forbes-McKeon’s “Melania’s Deaf Tone Jacket”

038 November 11, 2018
Andrena Zawinski’s “Women of the Fields”

039  November 00, 2018
Gordon Hilger’s “Poe”

040 November 16, 2018
Rita Quillen’s “My Children Question Me About Poetry” and “Deathbed Dreams”

041 November 20, 2018
Jonathan Kevin Rice’s “Dog Sitting”

042 November 22, 2018
Haroldo Barbosa Filho’s “Mountain”

043  November 27, 2018
Megan Merchant’s “Grief Flowers”

044 November 30, 2018
Jonathan P Taylor’s “This poem is too neat”

045  December 03, 2018
Ian Haight’s “Sungmyo for our Dead Father-in-Law”

046 December 06, 2018
Nancy Dafoe’s “Poem in the Throat”

047 December 11, 2018
Jeffrey Pearson’s “Memorial Day”

048  December 14, 2018
Frank Paino’s “Laika”

049  December 15, 2018
Jennifer Martelli’s “Anniversary”

O50  December 19, 2018
Joseph Ross’s For Gilberto Ramos, 15, Who Died in the Texas Desert, June 2014”

051 December 23, 2018
“The Persistence of Music”
by Anatoly Molotkov

052  December 27, 2018
“Under Surveillance”
by Michael Farry

053  December 28, 2018
“Grand Finale”
by Renuka Raghavan

054  December 29, 2018
“Aftermath”
by Gene Barry

055 January 2, 2019
“&”
by Larissa Shmailo

056  January 7, 2019
“The Seamstress:
by Len Kuntz

057  January 10, 2019
"Natural History"
by Camille T Dungy


058  January 11, 2019
“BLOCKADE”
by Brian Burmeister

059  January 12, 2019
“Lost”
by Clint Margrave

060 January 14, 2019
“Menopause”
by Pat Durmon

061 January 19, 2019
“Neptune’s Choir”
by Linda Imbler

062  January 22, 2019
“Views From the Driveway”
by Amy Barone

063  January 25, 2019
“The heron leaves her haunts in the marsh”
by Gail Wronsky

064  January 30, 2019
“Shiprock”
by Terry Lucas

065 February 02, 2019
“Summer 1970, The University of Virginia Opens to Women in the Fall”
by Alarie Tennille

066 February 05, 2019
“At School They Learn Nouns”
by Patrick Bizzaro

067  February 06, 2019
“I Must Not Breathe”
by Angela Jackson-Brown

068 February 11, 2019
“Lunch on City Island, Early June”
by Christine Potter

069 February 12, 2019
“Singing”
by Andrew McFadyen-Ketchum

070 February 14, 2019
“Daily Commute”
by Christopher P. Locke

071 February 18, 2019
“How Silent The Trees”
by Wyn Cooper


072 February 20, 2019
“A New Psalm of Montreal”
by Sheenagh Pugh

073 February 23, 2019
“Make Me A Butterfly”
by Amy Barbera

074 February 26, 2019
“Anthem”
by Sandy Coomer

075 March 4, 2019
“Shape of a Violin”
by Kelly Powell

076 March 5, 2019
“Inward Oracle”
by J.P. Dancing Bear

077 March 7, 2019
“I Broke My Bust Of Jesus”
by Susan Sundwall

078 March 9, 2019
“My Mother at 19”
by John Guzlowski

079 March 10, 2019
“Paddling”
by Chera Hammons Miller

080 March 12, 2019
“Of Water and Echo”
by Gillian Cummings

081   082   083    March 14, 2019
“Little Political Sense”   “Crossing Kansas with Jim
Morrison”  “The Land of Sky and Blue Waters”
by Dr. Lindsey Martin-Bowen

084 March 15, 2019
“A Tune To Remember”
by Anna Evans

085 March 19, 2019
“At the End of Time (Wish You Were Here)
by Jeannine Hall Gailey

086 March 20, 2019
“Garden of Gethsemane”
by Marletta Hemphill

087 March 21, 2019
“Letters From a War”
by Chelsea Dingman

088 March 26, 2019
“HAT”
by Bob Heman

089 March 27, 2019
“Clay for the Potter”
by Belinda Bourgeois

#090 March 30, 2019
“The Pose”
by John Hicks

#091 April 2, 2019
“Last Night at the Wursthaus”
by Doug Holder

#092 April 4, 2019
“Original Sin”
by Diane Lockward

#093 April 5, 2019
“A Father Calls to his child on liveleak”
by Stephen Byrne

#094 April 8, 2019
“XX”
by Marc Zegans

#095 April 12, 2019
“Landscape and Still Life”
by Marjorie Maddox

#096 April 16, 2019
“Strawberries Have Been Growing Here for Hundreds of
Years”
by Mary Ellen Lough

#097 April 17, 2019
“The New Science of Slippery Surfaces”
by Donna Spruijt-Metz

#098 April 19, 2019
“Tennessee Epithalamium”
by Alyse Knorr

#099 April 20, 2019
“Mermaid, 1969”
by Tameca L. Coleman

#100 April 21, 2019
“How Do You Know?”
by Stephanie

#101 April 23, 2019
“Rare Book and Reader”
by Ned Balbo

#102 April 26, 2019
“THUNDER”
by Jefferson Carter

#103 May 01, 2019
“The sight of a million angels”
by Jenneth Graser

#104 May 09, 2019
“How to tell my dog I’m dying”
by Richard Fox

#105 May 17, 2019
“Promises Had Been Made”
by Sarah Sarai

#106 June 01, 2019
“i sold your car today”
by Pamela Twining

#107 June 02, 2019
“Abandoned Stable”
by Nancy Susanna Breen

#108 June 05, 2019
“Cupcake”
by Julene Tripp Weaver

#109 June 6, 2019
“Bobby’s Story”
by Jimmy Pappas

#110 June 10, 2019
“When You Ask Me to Tell You About My Father”
by Pauletta Hansel

#111 Backstory of the Poem’s
“Cemetery Mailbox”
by Jennifer Horne

#112 Backstory of the Poem’s
“Relics”
by Kate Peper

#113 Backstory of the Poem’s
“Q”
by Jennifer Johnson

#114 Backstory of the Poem’s
“Brushing My Hair”
by Tammika Dorsey Jones

#115 Backstory of the Poem
“Because the Birds Will Survive, Too”
by Katherine Riegel

#116 Backstory of the Poem
“DIVORCE”
by Joan Barasovska

#117 Backstory of the Poem
“NEW YEAR”S EVE 2016”
by Michael Meyerhofer

#118 Backstory of the Poem
“Dear the estranged,”
by Gina Tron

#119 Backstory of the Poem
“In Remembrance of Them”
by Janet Renee Cryer

#120 Backstory of the Poem
“Horse Fly Grade Card, Doesn’t Play Well With Others”
by David L. Harrison

#121 Backstory of the Poem
“My Mother’s Cookbook”
by Rachael Ikins

#122 Backstory of the Poem
“Cousins I Never Met”
by Maureen Kadish Sherbondy

#123 Backstory of the Poem
“To Those Who Were Our First Gods”
by Nickole Brown

#124 Backstory of the Poem
“Looking For Sunsets (In the Early Morning)”
by Paul Levinson

#125 Backstory of the Poem
“Tracy”
by Tiff Holland

#126 Backstory of the Poem
“Legs”
by Cindy Hochman

#127 Backstory of the Poem
“Anathema”
by Natasha Saje

#128 Backstory of the Poem
“How to Explain Fertility When an Acquaintance Asks Casually”
by Allison Blevins