Tag: Lauren Davis

Writing Exercise 22.3

Denton Loving2 Comments

If you missed my previous post, please check out my conversation with Lauren Davis about her new poetry collection, Home Beneath the Church. Lauren talked about how difficult it was her to write deeply personal poems about her body and health. The poems in Home Beneath the Church also explore holy spaces. Those holy spaces begin and end with the body, but there are also churches, French basilicas, and other spaces reserved for traditional religious figures. And there is also the outside world. Lauren’s poems are never far from nature. It’s clear that she is a gifted student of observation, although I must assume there’s some amount of research that supports her knowledge of the natural world.

Two of my favorite poems in this collection are “If I Were a Resurrection Fern” and “I am a New Caledonian Owlet-Nightjar.”

If I Were a Resurrection Fern

And you were the wind-shipped rain,
I’d draw you up. My fronds bright soaked

without shame. Imagine my grief this past
drought. I shivered in my little

plot of lack. Come my mineral nip,
my sky-dropped lake.

Nothing can keep us apart,
not even climate nor gods.

You come down and down
and never stop coming down,

and I revive, baptized.

I am a New Caledonian Owlet-Nightjar

Unseen since 1998,
I am nearly a lost breed.

No one has heard my voice but you—
a different genus of bird
who sought and discovered me.

I beat my wings against yours
unable to mate, but look

how groomed my semiplumes.
I pluck them into dead air.

Now I am ready
to be collected beneath
your breast.

Let scientists say I dared to survive—
that you came down from your perch

to quiver against me,
my last known touch.

They will find me in the brushweed,
virgin. But a song in my throat.

In both poems, the narrator takes on the identity of non-human forms in order to express very human yearning. One poem is qualified with the word “if.” The second poem is more declaratory: “I am.” But in both poems, the narrator embodies another form.

For this writing exercise, start with a quick online search for vulnerable species in the region where you live or within a geographic area that has significance for you.

Reading these poems prompted me to think about what animal or plant I would choose to speak through in a poem. So I started with a quick online search for “endangered birds of Appalachia.” The first link expanded my original idea by taking me to a website that listed vulnerable species beyond birds. I chose to search for species in Appalachia because that’s where I live, and it felt more appropriate for my writing.

I love that a minimal amount of research can keep me from feeling that I don’t know what to write. So once you’ve selected your species, see what you can find about their behaviors. This will help you embody that species for yourself by borrowing where they are and what they do.

Notice that in both poems, the narrator speaks directly to a beloved by addressing that person as “you.” Do the same in your poem by speaking directly to someone.

Speaking from a non-human voice is not limited to poetry. A New Caledonian Owlet-Nightjar likely would have just as much to say in a short story as she does in a poem. The same is true in an essay, and in an essay, there’s even more room for research. Whatever form you’re writing in, you may find it wonderfully freeing to speak through this other voice.

Huge thanks to Lauren Davis for speaking to me about her new book and for inspiring this writing exercise. If you enjoyed Lauren’s poem, you’ll want to hear her read from Home Beneath the Church on Tuesday March 1, 2022 at the Birch Bark Editing Reading (online). For more opportunities to hear Lauren read, keep on eye on her event listings online.

Conversation with Lauren Davis

Denton Loving5 Comments

Lauren Davis is a writer who lives on the Olympic Peninsula. I first met Lauren when we were both MFA students at Bennington College. Since that time, Lauren has published two chapbooks of poetry, and, most recently, a full-length collection, Home Beneath the Church. “Lauren Davis is the poet you need to be reading,” says Kelli Russell Agodon, and I couldn’t agree more.

Home Beneath the Church includes deeply personal poems about the body and then moves into writing about religious spaces. Clearly, the body is one such religious space, perhaps even the holiest. But there are also churches, French basilicas, grottoes reserved for anchoresses and saints. And there is also the outside world: the forest, the bay, the moon, and everything that lives and endures in that outside world. Davis finds the holiness in it all.

Lauren agreed to answer some questions about Home Beneath the Church as well as about the writing and publishing process. Come back tomorrow for a writing exercise inspired by Lauren’s new collection.

DL: So many of the poems in Home Beneath the Church explore deeply personal material about your body and particularly your health. I often feel that we poets are inherently confessional, but can you talk about the process of writing these poems?

LD: I sometimes wept while putting pen to paper. One thing that kept me going was my absolute rage at the shame that surrounds women’s bodies. There was nothing for me to be ashamed of in these poems, and yet, I struggled. I found this struggle infuriating, so I pressed forward.

DL: Do you have advice for writers who are attempting to write about the body? Were there other poets or specific poems you referred to for guidance?

LD: Read, read, read. That’s my advice. Somewhere someone has taken the plunge, or they’ve taken a similar risk. I turned many times to Sharon Olds and Jason Shinder. I also made use of therapy. There’s so much to unravel when we talk about bodies.

DL: One of the questions I’m asked the most, especially by poets early in their career, is how to not sound overly prosaic. What kind of craft elements do you employ to identify and modify those prosaic turns of phrase?

LD: We’re not supposed to be overly prosaic? That’s news to me! I often find the opposite situation in new writers. They’re writing in such a complicated or elevated manner that the music, imagery, and meaning gets lost. But my advice, whether the new writer is dealing with either side of the spectrum, is to read, read, read. There is no substitute. And read living poets. Give the Greats a rest for a moment. Come back to them in a couple of years. For now, find those writers that are winning awards and branch out from there.

DL: In my conversation with Rosemary Royston last month, she said that it took her about six years of reorganizing, resending, and hoping before she found a publisher for her most recent collection of poems. How long did it take you to write and shape this collection? What was the submission and publication process like for Home Beneath the Church?

LD: Oh, Lord. Who really knows how long this took? Five years? And forty-eight rejections, I think. Each rejection helped shape the book in its own way. The publication process was a little rocky. We entered the pandemic shutdown, and I just took my hands off of it. Full surrender. And I could not be happier with the final product that Fernwood Press delivered.

DL: I know you have another collection of poems already in the works. If it’s not too early, can you tell us when that will be available? And what are you working on now?

LD: When I Drowned will be available in Winter 2023 through Aldrich Press. At the moment, I’m working on a novel titled The Sleeping Cure, and I’m seeking a publisher for my short-story collection The Milk of Dead Mothers.

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My next post will feature a writing exercise inspired by one of Lauren Davis’s poems in Home Beneath the Church, as well as more information about where you can hear Lauren read this spring.

Lauren Davis’s The Missing Ones

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Lauren Davis’s The Missing Ones is a slim but engrossing collection that reimagines disappearance of Russell and Blanch Warren. In 1929, the couple were driving home to reunite with their two young sons and to celebrate theLauren Davis - The Missing Ones 4th of July. Their route took them on Route 101 along Lake Crescent where they presumably drowned. What makes these poems work so well is that Davis doesn’t waste time recreating the ways the Warrens may have ended up driving into the lake. Instead, these poems give voice to the dead as in the very short poem that introduces the collection:

Blanch Says

There are dangers
in deep waters no one

speaks of. Like dark
that climbs the spine.

There’s a stain on the rock
Unfolding. I drink the lake,

all of it. I make it mine.

Many of the poems are in Blanch’s voice. In some, she gives advice, such as in “I’ll Tell You What Happened,” where she says: “Your husband has something to tell you— / you can sense it in the cold. Wait until you are both done / drowning. The build a new home.”

The idea of the lake as a home is one of my favorite aspects of these poems. A grave is a home of a kind, but the lake is a living ecosystem. Some poems reference the lake’s “population” which sometimes mean the fish in the water, or the birds outside, and sometimes it refers to others who have perished in the lake’s waters. In some poems, the idea of the lake as a home is expressed through its “rooms,” all of which suggests that the Warrens are still there, unable to die or be truly forgotten because they were never found. The idea is haunting in numerous ways, especially when the reader is reminded of the couple’s two young sons. This is expressed in Blanch’s voice again in the poem, “Have You Seen,” where she says,

My love haunts good as
any ghost. It is more
than lake deep. Boys—

I am never so buried,
gloated, hemorrhaged with blue
That I forget you.

My only criticism of this lovely book is that it’s too short. I wanted it to go on and on. I guess I could say that I, too, am now haunted by this story.