To mark World Poetry Month, we are bringing you a special edition of our Faculty Publication Spotlight Series: an interview with poet and creative writing course instructor Sarah Wolfson
A Common Name for Everything听was published in 2019 by Green Writers Press and was awarded the 2020 A.M. Klein Prize for Poetry by the Quebec Writers' Federation.听
Sarah Wolfson, who joined the 缅北强奸 Writing Centre as a course instructor in 2013, spoke to us about the importance of sharing her poetic craft with students, the poets she's enjoying reading during this year's World Poetry Month, and more!听
1. Can you tell us about a particular poem or poet that resonated with you when you first discovered poetry? How has your understanding of poetry evolved over the years?
I think I first discovered poetry the way many of us unknowingly do: through nursery rhyme and lullaby. These are our earliest forays into the compressed, wild, musical language of poetry. Once I was attuned more consciously attuned to these qualities, I looked for them everywhere. I still love playful, lyrical writing, even in novels. In my undergraduate days, I took a workshop with a professor who assigned a poetry volume by Li-Young Lee and took us to an off-campus event to hear Lee read. The event and book were entry points for me into contemporary poetry as a serious pursuit.
In terms of evolution, I鈥檇 say my understanding is always expanding. As long as you keep reading a diverse range of poets, your appreciation of poetry鈥檚 possibility keeps growing.
2. How did you come to teach creative writing at 缅北强奸 and what is the most rewarding part of sharing your craft with 缅北强奸 students?
I joined the then newly formed 缅北强奸 Writing Centre in 2013. Right away, we saw growing demand from students across the disciplines for courses in creative writing. At the same time, elements like narrative and voice were taking on increasingly important roles in how people communicate, even outside of creative fields. Since I have an MFA in poetry and teaching experience in this area, it fell to me to design and lead a suite of courses in creative writing.
The biggest reward is watching students enter the literary world. A number of my students professionalize in writing or writing-adjacent fields. Some move on to graduate degrees in creative writing or journalism. I鈥檝e had the chance recently to attend literary readings by former students and see their work in print. But even if students don鈥檛 embark on a professional writing life, they leave these courses as more perceptive readers who have a deeper understanding of how stories and poems are crafted. That鈥檚 its own reward.
3. Your first poetry collection, 鈥淎 Common Name for Everything鈥� (published in 2019) explores a variety of themes, such as nature, home, and parenting. Why were these themes important for you to explore in your poems, and in what ways can poetry help us better understand the values and beliefs we hold dear?
I had quite a rural upbringing, which heavily influences my work. I always read the textures of landscapes where ever I am. As for parenting, it鈥檚 an under-represented subject in poetry, so it appeals to me to try to address it lyrically. And it鈥檚 an ever-present feature of my life, another landscape that surrounds me.
You asked about poetry helping us understand our values. That鈥檚 certainly something poetry can do. But poetry can also听complicate听our values, can force us to reconsider and refine our beliefs. To make the world strange so that we might see it anew. And perhaps astonish us a little in the process. I often think of Robert Hayden鈥檚 poem 鈥淭hose Winter Sundays.鈥� The poem ends with the speaker musing, 鈥淲hat did I know, what did I know / of love鈥檚 lonely and austere offices?鈥� These lines鈥攕imultaneously humble and emphatic鈥� offer a sharp, hard-won reconsideration of parental love. I see poetry鈥檚 ability to complicate as one of its great powers.
4. Your poetry collection was awarded the 2020 A.M. Klein Prize for Poetry from the Quebec Writers鈥� Federation. What did this recognition mean for you?
I鈥檓 deeply grateful for this award, which made concrete and lasting differences in my life as a writer. It brought me more readers, more resources, more opportunities, a greater sense of validation of the work itself. But most literary prizes could be awarded to any number of deserving writers. For that reason, I encourage readers to also seek out books of poetry (or any genre, really) that haven鈥檛 won prizes.
5. What kind of feedback did you receive from your readers, colleagues and fellow poets when you published 鈥淎 Common Name for Everything鈥�? Were you surprised to hear certain poems or themes resonated with certain readers?
Not surprised as much as gratified. I felt deeply, sometimes uncannily seen. Hearing from readers is a wonderful thing because it allows you to witness how poems reach across distances to let one small corner of your own interiority converse with the inner life a stranger. That鈥檚 a great feeling. And I have much gratitude for the reviewers who wrote so insightfully about my book, helping me see things in it that I hadn鈥檛 seen myself. And of course the feedback of colleagues and fellow poets is a privilege I hope always to return.
6. You鈥檝e been involved in workshops and readings with Poetry Matters. Why is it important for poets and writers to share their work and guidance with their communities? In what ways do you think it helps shape or inspire a new generation of poets and readers of poetry?
Workshops and readings create community around something that is otherwise a very solitary pursuit. Much of the time I write, I鈥檓 sitting alone in a room scrawling in a notebook, clicking on a keyboard, muttering to myself, maybe even tapping out some syllables on the desk. But there鈥檚 nothing like popping one鈥檚 heads up from the desk to discover 鈥� oh 鈥� other poets exist! Other people are trying to build strange and beautiful things with words! We are not alone! And that鈥檚 encouraging, regardless of your generation.
7. What advice or resources would you suggest to students and others within the 缅北强奸 community who are interested in writing their own poems or discovering poetry outside of an academic setting?
The best thing you can do is read widely. Read a wide variety of poetry including works you wouldn鈥檛 naturally gravitate toward. Interlibrary loan can help you access harder-to-find titles. Read local poetry journals鈥攖here are a number in Montreal鈥攁nd look up the books of poets whose work you admire. Let one book lead you to another.
You could also join a writing workshop or attend literary readings and events. Montreal is rich with such opportunities. At 缅北强奸 we have student-run journals like听The Imagist听and clubs like Mcsway Poetry Collective. Beyond campus, there are organizations like the Blue Metropolis International Literary Festival and The Quebec Writers鈥� Federation, both of which offer workshops and events. Through these outlets, you鈥檒l meet other poets and you can begin to assemble a small group of trusted readers who understand your writing goals and who can give you loving but critical feedback. But above all, just keep writing. That鈥檚 the most important thing.
8. To celebrate national poetry month, are there any poems you will be re-reading or new poets you are eager to discover that you would like to share with our readers?
One poet whose work I always return to is the late Polish Nobel laureate Wis艂awa Szymborska. If I were stuck on a desert island, I could read her work鈥攁nd only her work鈥攐ver and over. She鈥檚 got an effortless voice that blends humour, understatement, and wisdom. I always feel both at home in and startled by her poems. Szymborska鈥檚 work is widely available in English, and her book听View with a Grain of Sand, translated from Polish by Baranczak and Cavanagh, is a great starting point for anyone wishing to discover her poetry.
Interested in taking a creative writing course at the 缅北强奸 Writing Centre? Check out their course offerings听here.听
Sarah Wolfson听is a Course Lecturer in the 缅北强奸 Writing Centre. She has twenty years of experience teaching and designing courses in academic and creative writing. She is the author of听A Common Name for Everything,听which was awarded the A.M. Klein Prize for Poetry from the Quebec Writers鈥� Federation. Her poems have appeared in Canadian and American journals such as听The Walrus, The Fiddlehead,听AGNI,听TriQuarterly,听PRISM International, and听Michigan Quarterly Review. Her work has also been anthologized in听Rewilding: Poems for the Environment听and听The Wonder of Small Things: Poems of Peace & Renewal.听She is currently working on a second book of poetry that considers nature in the digital age.