Conversations in Poetry, Lessons in Life:
Q&A (& Giveaway) with F. Douglas Brown and Geffrey Davis

“recall the repose / of your curling posture in my thick arms / my thumb praising your eyebrows / and forehead   your baby skin   your hand / around my pinkie as I move   gripping / solid as in–safety  as in–safety”
~ Brown and Davis in “Second Sleep”


Poetry isn’t my finest skill. I am a writer of short fiction and essays, a laborer of novels, a dreamer of stories from beginning to end. But I am drawn to writers who master the art of condensing life and experience into the lyrical style of stanzas and breaks, who form a new understanding or seal an image onto the reader’s mind in just a few lines with the same strength found in the weight of a 300-page novel. I am drawn to poets who give witness to Meena Alexandar’s claim about the purpose of the genre when she says, “the task of poetry is in some way to reconcile us to our world and to allow us a measure of tenderness and grace with which to exist.”

cover image Floodgate Poetry Series Vol. 3Cave Canem Poetry Fellows F. Douglas Brown and Geffrey Davis shine with such “tenderness and grace” in their new chapbook, Begotten, one of three collections of poetry published in the Floodgate Poetry Series Vol. 3 (Upper Rubber Boot Books, 2016). Begotten turns a poetic lens on fatherhood, examining how fathers and sons thrive, how they falter, how they learn.

I’m honored to host Brown and Davis for a Q&A. And I’m grateful to Upper Rubber Boot for sponsoring a giveaway. Enter HERE by Dec. 6th for a chance to win a copy of The Floodgate Poetry Series Vol. 3, which includes Begotten, as well as Anders and Kai Carlson-Wee’s Northern Corn and Enid Shomer’s Driving Through the Animal–three chapbooks in one!

Now welcome, F. Douglas Brown and Geffrey Davis!

CC: In the Notes at the end of Begotten, you talk about the process of writing these poems, saying you “borrow from one another’s poems, both in structure and in dialectic,” you “lift lines to create new lines.” What was the biggest challenge you faced when writing in tandem, as well as the greatest gift?

F. Douglas BrownF. Douglas Brown (DB): Well, in many ways we BEG, BORROW, and STEAL. We BEG and plead with God, history, our own fathers, our kids, each other—  in hopes to revise what has been said or experienced. As parents, we are not afraid to throw up our arms and exclaim, “God help, us.”

We BORROW, mostly from each other or other Cave Canem folks. We appropriate and/or subvert forms, lines, titles from one another’s books and poems. Sometimes I will read Geffrey’s work and I slam the book closed, “Goddamn, he’s good!” A line of his will strike me down, and when I use it, his works electrify the piece; either the actual words or my attempt to raise my work to the level of that which I borrowed.

Also, poets are somewhat competitive, and we are writing in a time where the poetry that is being created is at an all time high. The amount of first publications is staggering but they are really that good. Our Cave Canem brothers and sisters are leading the way, so in many ways what we write pays homage to them, their voice, the work they are doing. I guess that’s us borrowing energy and effort, which is different from African American and POC writers of other generations. They had to support each other not only for the merit of the work, but because the world wasn’t reading or publishing the titles as readily as today.

We STEAL, not often, but mostly from those we admire or see as guiding lights. Our first books, we both took from Robert Hayden’s “Those Winter Sundays.” From Hayden we took the regret, the venerable speaker who is trapped at seeing a narrow sliver of who his father is, and the famous line, “what did I know of love’s austere and lonely offices.” In Begotten we use a gesture from Lyrae Van Clief-Stefanon. Geffrey explains this best.   

Geffrey DavisGeffrey Davis (GD): The gesture that Doug’s referring to is the influence of Van Clief-Stefanon’s punctuation—in particular, her combination of the em-dash and the colon (“:—”  or “—:”) throughout her book Open Interval. If we think of the em-dash as having a stronger pulse forward and the colon as having a stronger pulse backward, this grammatical push-pull on language simultaneously confirms and yet questions the progressions toward meaning—in our case, urgent and yet uncertain conclusions about parenthood.

And I think the biggest challenge of collaboration was ultimately the greatest gift. For a long time, I couldn’t see very far beyond the most fraught shades of my experience of sonhood and, as a result, didn’t really trust what I thought I had to say about the word Father. Hell, the idea of Father still terrifies me. I only found a path to my first book by way and light of poets (like Cornelius Eady, Terrance Hayes, Stanley Plumly and Sylvia Plath) who challenged me by showing me ways of speaking about reality according to a fuller range of emotional and intellectual perspective, especially when engaging a difficult or troubling father figure. In no small way then, for me, poetry was a kind of collaboration from the jump. Really, though, it was working together with Doug on Begotten that highlighted, extended, and dynamized how I understand poetry’s integrity—like parenthood—to be the product of collaboration, challenged by internal and external connection, leavened by internal and external combat.

DB: The Bop as a form seems to be a gift of collaboration as well. It sits somewhere between that which is lent and a theft. However, to lift a song lyric that is not yours so it can be reshaped into a new mode of understanding, is a bit of hip hop sampling. The samples become reimagined as lyrical poems, but like our nods to Eady, Hayden, Hayes, Plumly, Plath, and many others, the samples also pay homage to the challenge these writers (as well as the music) present to their readers. Personally, I think Geffrey stepped up to the challenge before I did. He sent me the Bop, “No More Your Mirror: My Wife’s Fugue,” which floored me to the point I was asking myself was I really there in the poems I was writing. Am I hiding within the form, or is the form helping me to be my most honest, real, and/or venerable self on the page?

CC: While the chapbook as a whole is rich in lyrical and conversation between father and child, I am particularly drawn to “Love Letter to Rashida Jones,” which pushes the discussion past the intimacy of family and into the hearts of those in the distance:

when she speaks / of you she verifies your facts to hers / she dreams they are a dandelion away / I know this is supposed to be a love letter / and so I’ll beg:–I need you Rashida / please tell her that black bodies are a blessing / like rain–: / like cinnamon–: / like Tupac and Sandra Bland.

This poem is powerful and important; its meaning clear even in the few lines above. But I imagine there’s more you’d like to say. What else do you hope readers will take away from your poetry, as written and spoken and shared among other fathers, sons, mothers and daughters?

DB: Thank you for the kindness and keen eye. Love Letter to Rashida Jones attempts to use what poet and friend Marcus Wicker sets up in his Love Letter poems from his collection, Maybe the Saddest Thing. One of the ways Wicker uses this vehicle is to address pop icons directly, starting first with humor, and then taking a subtle turn to more serious or delicate matters: lost language, revised masculinity, sex. This swipe is an imagined plea, and a variation of real conversations I have had with my daughter regarding being mixed. I am a product of the sitcom generation, a latch key kid whose tv protagonist not only saved any given episode day, but also dropped some knowledge or infused morality (at times cheesy knowledge and Brady Bunch morality). The poem tries to step out of the facade of tv-land and into the reality of the day. As African-American/mixed fathers ourselves, there is an urgency needed in the discussions we have with our children. Often, as parents, when the world seems to be spinning out of control, we are supposed to make sense of it for our kids. Many times we can’t. We don’t know why 2014, 2015 and 2016 became a killing season for blacks by police officers. We don’t have answers for our kids other than to stay vigilant, and be as aware as possible.

Lastly, as teachers, we have been trained to seek relevancy as we discuss a particular subject. Video games, movies, music, social media, “the internet”— offer relevancy, and yet these are vilified by parents, and marked as either distractions, pacifiers, or a boon to win favor. All that being said, what I hope is that maybe parents can use the “vehicles” presented before us, as triggers or springboards to talk to their children about real matters of the day. Our hope is that all the poems help parents re-imagine particular instances, especially the moments when silence unfortunately takes precedence.

GD: Word. And help—I want readers to understand we need more help, in poethood as in parenthood. I hope they see this as another of many contributions to the ongoing imagination, an imagination that they too are responsible for flooding with more healthy light and questions.

CC: With this chapbook released and out on bookshelves, what new projects are you working on?

GD: I’m working on finishing my second full-length book of poems, which I think will be called Anything but Hunger. I’m also shopping around a critical study of twentieth/twenty-first century American poetics, called Idiomatics, that explores the languages between poetry and criticism. Most recently though, while at the Vermont Studio Center earlier this year, I started a collection of personal essays that meditate on my experiences as an angler.

DB: I too am working on my second full-length. I am examining the abolitionist and my name sake, Frederick Douglass as seen through the work of Harlem Renaissance painter, Jacob Lawrence. Many of the poems have been published or forthcoming in journals. Some of the newer poems will be collaborations with poets, but nothing to the extent of what Geffrey and I have compiled in Begotten. I think collaboration is necessary and appropriate because it mimics the work Douglass was doing with others, as well as how I imagine the process Lawrence delved into as he imagined Douglass.

CC: Who is one poet that you turn to again and again for sustenance or for relief?

GD: As a teacher who influences reading practices and, by extension, reading possibilities, I’ve been thinking a lot about how my own reading developed. Like many newcomers, I used to read blindly (which is to say, abstractly) and had a reading list largely populated by teacher recommendations or what our literary institutions had determined was of quality. Today, however, my reading practice is increasingly embodied; I can’t even keep up with the books published by the writers that I meet or that I know. This might seem like I’m answering a wholly different question, but since Cave Canem and since being out in the world as a poet making contact with other working poets, I find myself in the fortunate position of having several individuals in my personal life who are both wonderful people and wonderful writers, and I experience those live connections as invaluable extensions or continuations of the sustenance or relief I gain from them on the page. Which is a long way of saying, more than anybody else, I have that communion with Doug, and it’s saving my life. Because I need there to be less of a boundary between art and life, because art and life are of a similar survival for me, there’s no greater sustenance or relief than the conversations and meals we share between his poems.

DB: This kindness you started Christi is spreading…It’s true, I really lean on Geffrey just as much— his keen intellect and scope, as well as our general kinship and brotherhood. We hold each other accountable on and off the page, and it is good to have someone like that. We trust our process, and our ability to meet a deadline (most of the time); we trust the directions in which we push each other’s work, that is, the care of each other’s eyes and hands when handling early and late drafts of poems, or the agony of arranging poem order of a manuscript. I have worked with collaborators before, but it has never been this holistic and generous (from the beginning until now).    

In terms of other poets, I know we both have plenty of poets we go to over and over, many of them mentioned, many of them friends. Mostly because we are teachers, our goal is to expose our students, and burst the seams of their writing wide open with long lists of poets, which is growing every publication or award cycle. For me, I teach an African American poetry class, so that list is largely made up of POC writers who are either Cave Canem or Kundiman poets. However, thanks to this Floodgate collection, my new go-to poets are Anders and Kai Carlson-Wee. These guys really mesh with what Geffrey and I are attempting to capture: brutal honesty, reimagined or broadened masculinities, how to find or revise language, what brotherhood and family and place engender. There is so much heart-work in their poems that it feels right to be connected to them, forever, in this slim tome.

~

F. Douglas Brown of Los Angeles is author of Zero to Three (University of Georgia 2014), the 2013 Cave Canem Poetry Prize recipient selected by Tracy K. Smith. He also co-authored with poet Geffrey Davis, Begotten (November 2016), a chapbook of poetry from Upper Rubber Boot Books as part of URB’s Floodgate Poetry series. Mr. Brown, an educator for over 20 years, teaches English at Loyola High School of Los Angeles, an all-boys Jesuit school. He is both a Cave Canem and Kundiman fellow. His poems have appeared in the Academy of American Poets, The Virginia Quarterly (VQR), Bat City Review, The Chicago Quarterly Review (CQR), The Southern Humanities Review, The Sugar House Review, Cura Magazine, and Muzzle Magazine. When he is not teaching, writing or with his two children, Isaiah and Olivia, he is busy DJing in the greater Los Angeles area.

Geffrey Davis is the author of Revising the Storm (BOA Editions 2014), winner of the A. Poulin, Jr. Poetry Prize and a Hurston/Wright Legacy Award Finalist. Davis also co-authored, with poet F. Douglas Brown, the chapbook Begotten (Upper Rubber Boot Books 2016). His honors include fellowships from the Cave Canem Foundation and the Vermont Studio Center, the Anne Halley Poetry Prize, the Dogwood Prize in Poetry, the Wabash Prize for Poetry, the Leonard Steinberg Memorial/Academy of American Poets Prize, and nominations for the Pushcart Prize. His poems are forthcoming or have been published by  The Academy of American Poets, Crazyhorse, The Greensboro Review, Hayden’s Ferry Review, The Massachusetts Review, Mississippi Review, New South,  The New York Times Magazine, Nimrod, and Ploughshares, among other places. Davis grew up in Tacoma—though he was raised by much more of the Pacific Northwest—and now teaches in the MFA Program at the University of Arkansas, Fayetteville.

About the book: Published by Upper Rubber Boot Books, Floodgate Poetry Series Vol. 3 collects three chapbooks in a single volume: brothers Anders and Kai Carlson-Wee’s Northern Corn invites us on a trip across an America of dust, trains, poverty, dignity, and dreams; Begotten, co-written by Cave Canem fellows F. Douglas Brown and Geffrey Davis, bravely and tenderly explores fatherhood in the era of Black Lives Matter; and Enid Shomer’s Driving through the Animal lovingly moves between unflinching witness of destruction and hope for the future.

Purchase a copy here today or enter the giveaway by Tuesday, Dec. 6th.

Q&A (& Giveaway): Jan O’Hara, author of Opposite of Frozen

On the whole, the town of Harmony did its best to live up to its optimistic name. the streets were neatly plowed, the sidewalks free of snow and litter, the storefronts cheerful and labeled with lettered script. The mountain ranges on either side of the valley were snow-peaked and set off by attractive architecture. ~ from Opposite of Frozen


Harmony is a good word to carry around in your front pocket these days. And books are always a great medium with which to promote such good will, whether they provide more information or ways to reason through chaos or if they simply offer reprieve from political dialogue…as in today’s feature, which invites us to indulge in a light-hearted love story.

cover image for Opposite of FrozenJan O’Hara’s debut novel, Opposite of Frozen, weaves humor, love, and light into its pages of mystery and romance with a story that revolves around the lively dynamics of a group of seniors citizens–walkers, canes, and all.

When Oliver Pike takes charge of his brother’s fledgling tour guide business, he anticipates guiding a bus full of aging clients on a easy ride from Edmonton to Los Angeles. But there’s trouble in the luggage compartment, namely Page Maddux, a half-frozen stowaway buried in a pile of discarded clothes. Oliver would have easily passed her on to paramedics, but the group of seniors insists on saving her from imminent death themselves, bringing her into their fold. Then begins a curious tale of stolen backpacks, missing tourists, and two stubborn hearts brought to bay.

I’m thrilled to host Jan today for a Q&A and am offering a free copy of her debut novel for one lucky reader (on Kindle or in paperback). Click HERE to enter the giveaway (deadline is Tuesday, November 22nd at noon).

Now, welcome Jan O’Hara!

Christi Craig (CC): In your novel, you paint a picturesque setting of a tiny town in the Canadian Rockies and–alongside the budding romance of Oliver and Page–slip in a little mystery. Elusive characters, tricky cell phones, and locks that won’t give. While Harmony is a fictional place, is there any truth in the mystique and magic of a small Canadian community?

jan-oharaJan O’Hara (JO): To some degree, I believe mystique and magic are in the eyes of the beholder. We encounter miracles every day, talk to ordinary heroes in the guise of our teachers, our parents, our grocery store clerks. Speaking for myself, I often fail to appreciate those special moments and people.

But as to the qualities of a small Canadian community, I don’t think they are all that different from their American counterparts, with the exception of the number and prominence of flags on display in residential areas, or the accents you’d overhear at the bank. Or the number of concealed-carry permits. Or the emphasis on football.

Okay. There are some significant differences. (I’ve got tongue planted firmly in cheek, in case that’s not obvious.)

Harmony, though, has a mystical quality I’ve never encountered in a real Canadian community: a benevolent and mischievous spirit. The authors in our series make use of him to varying degrees. In my case, because the overall tone of the book is madcap, he plays a significant and helpful role in pushing my hero and heroine together.

CC: Speaking of community, the “oldsters” (as Page calls them) stick together like a band of heroes to save Page from imminent death at the beginning through a little action and a lot of sass talk (who can ignore the pointed stare from a ninety-five year old with a cane?). And, they set Oliver straight near the end. I love that your romance novel includes such fun, atypical characters like this traveling montage of seniors citizens. As you were writing, did you develop a particular fondness for one in the bunch?

JO: That’s a little like asking a mother to choose a favorite from amongst her children! I appreciate different aspects of each of them. Paul Dubois is fun because he resists the stereotype of the rumpled, sexless senior. Mr. Lee is fun because he resists the stereotype of the inactive senior.

I’m partial to Avis. Of all the seniors, she mostly closely resembles my maternal grandmother with a motto which might be described as “give it a try”. Who couldn’t use a little more of that in their life?

If forced to pick one senior, I would choose Mrs. Horton, mostly because she kept her secrets and personality somewhat hidden until the epilogue. I really enjoyed her voice, when it came to me. It was strong and unexpected, and gave a broader perspective to a story told in a lighthearted tone.

CC: Your book is the second in a series of twelve about the Thurston Hotel, a series that incorporates the work of eleven different authors. In your interview with Sophie Masson on Feathers of the Firebird, you say that, “Without a commitment to the other writers in the group, I’m not sure I’d have pushed through to completion…OoF would not exist in its present form if not for the project’s boundaries and invitations.” Beyond deadlines and outlines that come in working on a collaborative project, what’s the greatest gift in being a part of a tight-knit writing collective?

JO: I’ve been blogging for some time and I read a lot about the publishing industry, so you might be forgiven for thinking I’d be prepared for publication. Not so! At least as pertains to me, there’s a vast gap between reading about something and understanding its application.

With a supportive community, though, when I encountered an obstacle or decision quagmire, there was almost always someone available who had already worked it through and was willing to loan their expertise. As a small example, I had help with distribution choices, formatting, cover design, and title selection. It’s enormously helpful to have a place to go where you can have your good instincts validated and bad instincts corrected, especially for your first book. And honestly? The amount of help I required was far too much for any one person to handle.

CC: What are you reading these days?

JO: For non-fiction, The Bestseller Code: Anatomy of the Blockbuster Novel. It’s a fascinating look at the commonalities between New York Times bestsellers as teased out by a text-reading computer program.

For fiction, I’m trying to keep up with my colleagues in the Thurston Hotel Series, which isn’t easy with a new release coming out every week.

That should be enough, but I got sucked into A Man Called Ove. It’s absolutely wonderful. Humorous and profound. It also features one of my favorite types of men: the kind that bristle and shout, but are principled marshmallows on the inside.

CC: Along with publishing Opposite of Frozen, you also have an essay on “The Health and Maintenance of Writers” in the recently released writing guide, Author in Progress (Writer’s Digest Books, 2016). With a debut novel under your belt and several thriving writers’ collectives at your back, what’s next on your docket?

JO: I have five partially completed manuscripts on my hard drive, of which three are a series of linked contemporary romances that revolve around a Texan family. (Don’t ask me why I’m drawn to that part of your wonderful country, but I am.) My daughter, who is an intuitive and helpful beta reader, insists I have to finish the first in that series. She wants to revisit one scene, which she read more than five years ago and still recalls as being “hysterical”. It’s hard to argue with that opinionated opinion, so I won’t, especially since she still lives at home and we get to share a dinner table.

Jan O’Hara lives in Alberta, Canada with her two children and husband (aka the ToolMaster). She writes a regular column for the popular blog, Writer Unboxed. Once obsessed with helping people professionally, she has retired from medicine and now spends her days torturing them on paper. See? Win-win scenarios really do exist. While Opposite of Frozen is Jan’s first published novel, she is hard at work on its successor. Visit her website, follow her on Twitter, like her author page on Facebook.

Don’t forget to enter the giveaway by Nov. 22nd for a chance to win a copy of Opposite of Frozen!

Q&A (& Giveaway) with Poet, Cristina M. R. Norcross

“I want to want less / Freedom lies in / recognizing perfect moments / but not calling them perfect.” ~ from “Notes for January” in Still Life Stories

still-life-stories-coverSitting in a circle of friends recently, conversation turned to wanting to want less, to the serenity found in simpler things, like a slow and deliberate walk on a two-lane road in order to take in the sounds and scents around you and to feel the ground below your feet.

Cristina M. R. Norcross’ new chapbook, Still Life Stories (Aldrich Press, 2016), explores experiences and memories in poems such as “Notes for January” and “Where I Am From” (two of my favorites), taking moments of complexity that define who we are or what we become and sculpting them into a single thread or phrase–poems that speak to the power of meditating on one true thing.

Poetry at its finest.

I’m honored to host Cristina Norcross for a Q&A. In turn, she’s offering a copy of her chapbook, Still Life Stories, along with a set of poetry postcards, for one lucky reader. You can enter the giveaway HERE (deadline is Tuesday, October 11th at noon).

And while this Q&A focuses on Still Life Stories, Cristina is also celebrating the launch of another chapbook, Amnesia and Awakenings (Local Gems Press). If you’re local, stop by her double book launch and open mic event on Saturday, Oct. 15th, at Books & Company in Oconomowoc, WI (6:30pm). Look for me, I’ll be there!

Now welcome, Cristina Norcross.


Christi Craig (CC): I love the title of your chapbook; it works well to pull the reader in with the promise of images captured in time. Then you enrich those images with fragments of story and tiny lessons in living. What sparked these poems most often, settings or ideas?

cristina-norcrossCristina Norcross (CN): I guess I’d have to say that people sparked most of these poems. Although not every poem is a tribute to a person, over half of the poems are about people no longer with us, who have left behind a soul legacy.

My people poems “asked” to be written. Whether you believe in our connections to those who have passed on, or not, as a poet, I allow myself to be open to the story coming through. Many times when writing this book, I would get a feeling, a memory would come through, or for example, the scent of my grandmother’s favorite flower, Lily of the Valley, would appear. In each case, I knew that there was something I needed to write.

This collection of 25 poems was originally 56 poems. I started writing it back in 2008, before I moved from New Hampshire to Wisconsin. I kept writing, editing, tweaking, adding poems, and then cutting a big portion of poems out, until 2015. This book has had a long history and a brave journey.

In poems where ideas came first, there was also a sense of urgency to how the poem came into the world. Usually I would quickly write down the first line or 2 that came flooding into my head, and then it was up to me to do something with that raw material. I received many, inner writing prompts. I always wanted to see where the poem would take me. Every poem required edits and re-writes, but the initial thoughts would often come free flowing.

CC: One of my favorite poems in Still Life Stories is “Notes for January” for its reminder to slow down and soak up the life around you; there is beauty and comfort in simplicity and in “holding the sweet candy / of just enough.” Knowing writers might feel strange when asked which passages or poems of their work they love best, I’ll rephrase it a bit and ask which of your poems in this chapbook you cherish most?

CN: Thank you so much for your kind words about “Notes for January.” Oh boy, this is a very tough question. Many of the poems in Still Life Stories celebrate the voices of loved ones, or the loved ones of friends, who have passed on. These tribute poems, for those held dear, are ALL my most cherished in the book. I have poems for both my grandmother, on my father’s side of the family (“The Last Party”), as well as a poem for my husband’s Nana (“I Hear You”) in this book. For each of us, these were our longest living grandparents, so we had the honor of knowing them well into adulthood.

All of my grandparents were extremely special to me. All four of them have been the subjects of my poems in past books. There is a special connection between grandchildren and their grandparents. Perhaps, it’s because they get to give you cookies and Lifesavers candies, listen to your every word over cups of tea, and then send you on your way home with mom and dad. Or, maybe there is a sacred connection between generations, and that sense of history which grandparents preserve for us.

Growing up, I didn’t write everything down. Sometimes, I wish I had. Instead, I think I was taking notes with my heart, recording the essence, so that one day I could pay tribute to the deep love my grandparents gave me. Most of my enduring memories from childhood involve sitting around someone’s dining room table and sharing a meal, laughter, family stories, and just one, last raspberry thumbprint cookie.

CC: You are a co-founder of Random Acts of Poetry and Art Day. Can you tell us a little about this project, how it started and the impact it’s had on you or those around you?

image of poetry postcards from Cristina Norcross
Poetry postcards for the giveaway.

CN: Thank you so much for asking about RAPA Day! Random Acts of Poetry and Art Day is celebrated every year on February 20th by artists and writers, both in North America and abroad. We’ve been conspiring to bring beauty, joy, and kindness to others, through the arts, for 5 years now. February 20th, 2017 will mark our 6-year anniversary. My courageous and talented co-organizers are artists, Sonya S. Sinha (New York) and Jennifer S. J. Peña (New Jersey). (Jennifer S. J. Peña happens to be the cover artist for Still Life Stories.)

There is no event location and no registration necessary. The premise is pretty simple. Wherever you are on this day, simply do something good – give back to others through the arts. This can be in the form of donating books to a library or a shelter, randomly giving away a pair of handmade gloves to someone who is cold, leaving a small, boxed treasure of handmade earrings on a public bench, donating a framed photo or painting to a school, etc. The choice is yours!

We invite people to connect with us on the RAPA Facebook page, where each year we offer suggestions and ask participants to share photos of their Random Acts of Poetry and Art. I often hear from poets and artists, who take part, that they really enjoy doing this. It is good for the heart and soul. Just knowing that your art, perhaps, made someone’s day a little brighter, is the best possible feeling! My heart is always very full by the end of February. Each year we grow a little bit more. Visit our RAPA Facebook page to learn more.

CC: What are you reading these days?

CN: I just started reading a book by TED Talks presenter Kio Stark (When Strangers Meet: How People You Don’t Know Can Transform You). My husband and I love watching TED Talks for inspiration in our work. When I saw that Kio had a book, I did the one-click order thing (that click/order function is way too easy, and dangerous to the purse, but you can never have too many books!).

The premise of Kio Stark’s talk, and book, is that when we open ourselves up to the beauty of meeting strangers and engage in simple, respectful exchanges such as smiling, paying someone a compliment, or comparing notes on parenthood while standing in line, we enrich our lives and the lives of others. It is a wonderful book about the importance of human connection.

CC: What poem (or poet) do you return to again and again as sustenance for your spirit and creativity?

CN: I have many favorite poets, who nurture my spirit, but I would have to say that the 13th century, Sufi mystic poet, Rumi, definitely provides my poet’s soul with breathing room, wisdom, and a certain gentleness. When I am caught up in a flurry of deadlines and projects, I turn to Rumi. He reminds me to slow down and return to my breath. He encourages me to remember the very reason why I write – to connect with something deeper, something greater than myself.

I’ll end by sharing a Rumi quote, which I’ve shared on social media many times. There is both a sense of freedom, and also a true love of life, in these words:

This is love: to fly toward a secret sky, to cause a hundred veils to fall each moment. First to let go of life. Finally, to take a step without feet. ~ Rumi

Cristina M. R. Norcross is the founding editor of the online poetry journal, Blue Heron Review, and lives in Wisconsin with her husband and their two sons.  She is the author of 7 poetry collections, and her works appear in print and online in North American and international journals, such as Red Cedar, Your Daily Poem, Lime Hawk, The Toronto Quarterly, The Poetry Storehouse, The Avocet,Right Hand Pointing, and Verse-Virtual, among others. She was a semi-finalist in the 2015 Concrete Wolf Chapbook Competition and a finalist in the 2015 Five Oaks Press Chapbook Contest. Cristina was one of the co-editors of the project, One Vision: a Fusion of Art & Poetry in Lake Country (2009-11).  She is currently one of the co-founders of Random Acts of Poetry and Art Day and is a regular contributor to the Art Ambush Project. Visit her website for more information.

Don’t forget: ENTER the giveaway by Oct. 11th for a chance to win a copy of Still Life Stories