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Photo credited to Michael Everett Crawford

Photo credited to Michael Everett Crawford

 

What is the best advice your mother ever gave you?

No one will ever remember how clean I kept my toilets; use your time for something else.

 

It’s so good to get a chance to talk to you about your first book of poems, Trouble the Water. So I wanna try something a bit different. I’m not that interested in asking the usual questions and just talking about writing. Let’s talk about your influences outside of literature as a way to frame the conversation.

Yes! Thank God. Haha.

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Why Chaos Theories? What is the significance of the title?

Many tenets from chaos theory appear in these poems. After reading a little bit about it, I became obsessed with the way in which chaos is actually a type of order. This contradiction continues to fascinate me and seems an apt metaphor for human emotions and relationships, and maybe even a metaphor for the writing process – or at least my process: through my poems I attempt to force order onto the disorder of the world. Plus I love all of the scientific language: strange attractors, bifurcations, butterfly effect, turbulence, dynamic systems, sensitivity to initial conditions, and on and on… There is so much gorgeous language to mine.

 

Do you imagine an ideal reader?

The ideal reader is someone who, upon reading a poem, goes immediately to find someone, another ideal reader, and she says, “Listen to this!” and reads the poem aloud as if she herself had written it. I grew up with parents who said often, “Listen to this!” And I listened. Maybe I’m someone’s ideal reader—I hope so!

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Who is Soraya?

My poetic other who has been inspiring me since around 2003. Ah, revealing error, I meant to say 2013, when I wrote this book, but 2003 is actually the year I began seriously publishing in journals and started composing my first books, although I’d been writing full-time for about eight years prior to that. So 2003 was really the year I felt legitimized as a writer and knew for sure that was to be my career until the end come what may. Anyway, Soraya gave me license a few years ago to indulge in the exuberance of language, to break the shackles of narrative sense, to abandon linear logic, to give way to the free play of pure pleasure. Soraya is unrestrained joy, lack of inhibition, poly-everything, chockfull of every gluttonous pleasure countering the made-up envelope and container of our mortal lives. Soraya is immortality, lack of finite being, the dissolution of my congealed identities in the very processes of imagining and writing.

Wil Gibson by Vanessa Vrtiak

 

You have a book out with Great Weather for MEDIA, tell me about it.

I am very proud of this book. It is a memoir of sorts. Mostly stories and poems about my childhood and growing up poor, but also stories and poems about my life into adulthood. Dealing with addiction, dealing with epilepsy, dealing with the death of loved ones, remembering the path that got me here. Really though, I say fuck a lot and I try not to say too many dumb things.

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So I heard your new book, A History of the Cetacean American Diaspora, is about whales. What is your favorite whale species?

How can I choose just one? I love humpback whales for the way they sing. I love North Atlantic right whales because they don’t engage in any of that inanity that most other animal species engage in, where the males fight one another to see who gets sexual access to the females; instead, everyone just makes love with everyone elese, and everyone is happy. I love bowhead whales for their wiliness, their longevity, the jaunty upside-down Nike swoosh of their mouth shape. I love sperm whales for their stolid squareness of brow, their quintessential Moby-Dickish-ness. Also for how damn loud they are. Good on them for being so loud. But I love the quiet whales just as much, and I love the slow lumbering whales just as much as the fast twittering ones, the light-fleshed whales just as much as the dark.

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So, what are you wearing?

I like how you got saucy right at the beginning of this interview. I like your style. I like the cut of your jib. I’m not sure what a “jib” is…sure I could look it up…but I like the whole thing. I’m wearing blue plaid pajama buttons, Target slippers, and yesterday’s socks and shirt. I spend a lot of days like this…though, honestly, the slippers are more of a colder weather kind of thing.

 

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Los Angeles, November 2015


What is that sound? I can hear a squeaky noise coming from somewhere.

Ignore it. It’s nothing.

 

What are you doing right now, beside talking to yourself?

Getting ready for a reading this evening at USC.

 

Tell us about that.

Is there a mouse in your pocket?

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What’s it like to be on a first date and say you wrote a book called Inappropriate Sleepover?

Well, the guys mostly look scared and/or confused, but I feel great!

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Tell us about the most recent poetry reading you gave.

Last weekend I read for a series in Nashville called the Et. Al. reading series. The series has been happening for a while, but last weekend’s was the first to take place in the Sauvage arts space, run by my sister Lydia Gamble and her friend Ashley Boyd Jones. Both are talented photographers. Ashley collects and sells very good clothes (including a nice supply of vegan fur coats) and Lydia does a variety of fine visual art, including woodprints and some glass pieces. The reading felt extra-special to me because my mom, one of my brothers, and both of my sisters were there. The poems I read were some of my most personal and revealing I’ve ever written, I think, so it was really good to have my family there.

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Jane: So Before Passing is great weather for MEDIA’s fourth poetry and prose anthology, with submissions opening for the next on October 15. As always, it’s a mix of fun, excitement, hard work, and very difficult decisions. David, we published you in our first collection, It’s Animal but Merciful. Any surprises moving to the editorial side?

David: When I agreed to working as an editor on the anthologies, I told myself to prepare to read a lot of bad work in order to find the good. What I have found is that there is worthiness in almost all the submissions we read. The challenge is identifying the pieces that belong together in a given book. Which is why writers should not despair over rejections.

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Can you talk a little about the cover of Splendor, your first book of poems?

Growing up, I was always excited to read a new Christopher Pike book. I remember where they were kept at our local book store, with the other kids’ books on shelves that covered the whole back wall. Christopher Pike books, for the uninitiated, are teen genre thrillers that straddle science fiction, mystery, horror, suspense, and fantasy. Embedded within these stories were questions, or hints of questions, about mortality, time, desire, the limits of human experience, and story-telling itself. I loved the books, even down to their repetitive, marketing qualities—the dreamy, California, quasi-suburban setting of many of the books, the formulaic and familiar narrative devices, and the pulpy covers which always depicted an illustrated scene from the book in bright or neon colors. The covers were a tantalizing snapshot of the world contained within the book.

I wanted the cover of Splendor to have that same feeling of promise and thrill. When I was working with Bri Hermanson, who illustrated the cover, I asked her to conjure a scene of an alien astronaut explorer overlooking an alien landscape, with a nod to the Pike book covers. Bri’s arid, volcanic landscape, done in pink and turquoise colors, feels at the same time desolate and invigorating, which fits the tone of the book. She’s an incredible artist and was really fun to work with.

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Have you ever done a self interview?

No, and I don’t like it. I am the last person in the world I would want to interview, live with or have to deal with on cleaning day. Nothing is ever clean enough. There is not enough bleach in the world and Swiffers are the devil’s contraption.

 

Why Pittsburgh?

I am a lifer. I love this town like people love the Outer Banks or Disney (people do, you know). I love the rivers like arteries, the bridges like bracelets and the industrial skyline that shuns gentrification — the mills, the steel, the labor, the blessed tunnels. I love its compartmentalized neighborhoods and how we are proud of never crossing to the other side. We are self-sufficient. I love the hills and the grey weather — how I never crave anything flat.

Luis Rodriguez 2013 - credit CGP

Questions as if Anne Coulter or Bill O’Reilly were asking them—assuming, of course, they’d let me get a word in edgewise.

 

How does a Mexican get to be a poet, let alone “poet laureate”?

Nobody becomes a poet or poet laureate just because they’re Mexican. Still Mexico has contributed world-renowned poets like Octavio Paz, Jose Emilio Pacheco, Juana Ines de la Cruz, Nezahualcoyotl… I can go on and on. In the United States, poets of Mexican descent have won National Book Awards and are now poet laureates of the United States (Juan Felipe Herrera), Arizona (Alberto Rios), San Antonio (Laurie Ann Guerrero), San Francisco (Alejandro Murguia), and yours truly in Los Angeles. Other Chicano writers of note include Sandra Cisneros, Victor Villasenor, Ruben Martinez, Ana Castillo, Lorna Dee Cervantes, and Luis Alberto Urrea. Our literary peers have recognized our value to U.S. letters, even though we are still highly marginalized in publishing and academic circles. But we persist with powerful work (mostly in English, but many are also writing in Spanish).