This month, Gloria chatted with poet/author Marie Delgado Travis. Here is what she had to say about her inspiration and her writing:
Interview with Marie Delgado Travis
April 2, 2006
by Gloria Pimentel, Contributing Editor
Q. Marie, I understand you started to write poetry later on in life. You told me once that 9-11 had a lot to do with it. Would you like to share the reason with your readers?
A. Ironically, Gloria, I was on an American Airlines flight with four of the hijackers a month and a day before 9-11, one of their "dry runs." From the moment they entered the plane, I sensed something was wrong. I seriously thought of reporting my suspicions to the flight attendant, but finally opted for "political correctness."
So, in addition to the horror that we all felt, I also suffered a tremendous sense of guilt, when I saw their photographs. Of course, the reality is that if I had spoken up, I would probably have been ignored. But it was only through poetry that I was able to dig out from under my own rubble and regain some inner peace. Hopefully, my work will help others deal with life's challenges.
Q. Since you have had several poetry books published, my tendency would be to ask, why poetry? Unless you might be preparing a surprise and have a short story book published soon. What can you tell us in this area?
A. I do write prose, so there may well be a surprise in store. I actually began writing poetry, though, as a child. I'd charge my classmates in grammar school 25 cents to write a poem about them and their little boyfriend! One of my favorite poems, "Calvary Revisited" was written when I was 19. But life intervened and I had to make a living, so I set that aspect aside and had almost forgotten it till 9-11.
Q. In your poetry books, Origami, Offering, Passion, and Nightfall, you write about love and disappointment with heavy emphasis. Love whether human or divine is well defined in many of your poems. I would love for you to elaborate on this observation.
A. It's curious that you should use the word, "disappointment." I do write about what I like to call, "love and unlove." But I hope that, in the aggregate, what comes through in my writing is a spirit of strength and hope.
Q. Based on the openness of your opinions and your well expressed point of view in several of your poems, would you say writing poetry has changed your life? You took an emotional risk writing those poems, was it worth it? If your answer is yes tell us why and in what way.
A. Poetry is necessary for my existence. It is, as the title of one of my poetry books suggests, my passion. There is of course, a risk, as you say, that people will think they know me through my poetry. The truth is that my poems often examine the same subject from completely different points of view. So hopefully, I'm not that transparent.
Q. It is said that a poet sees life, objects, nature, under a different light, beyond the obvious. “Origami" and "Bijoux,” honor such a statement demonstrating a poet’s ability to express feelings and ideas in an artistic way. What are your thoughts on this matter?
A. I know there are a lot of writing courses out there and they have their value, but in my experience, inspiration and talent well from deep within. So one should trust one's Muse, often above the opinions of others.
"Origami" was inspired by reflections on my mother's life; "Bijoux," as I searched for an earring in my jewelry box. Sometimes, I'll look back on a poem and barely recognize the person I was when I wrote it. I've changed, but the poem remains. That is what I find most exciting, that poems bear witness long after we are gone.
Q. Describe talent for us.
A. To me, it's that unique gift, large or small, God gives each of us to use for His Power and Glory. To the extent that we pledge our "Fiat," He enables that talent to flourish. It may be a mechanical skill, a lovely singing voice, a way with others, but each can be used to make our brief time on earth more meaningful.
Q. Regarding your award-winning poem, “The Window,” would you say such a poem could be as strong had the writer not lived and experienced the described circumstances?
A. I like to think of my work as semi-biographical, not completely auto-biographical. Fortunately (and unfortunately, as well, because it can be painful), I have an ability to empathize with others. So I can place myself in situations which are not necessarily my own. "The Window" is one of my most personal works, but I think other poems I've written are also quite strong ("Beslan," for example).
Q. What do you think is the strong light within “The Window?”
A. Perhaps it's the narrator's "light within," her realization that love exists, even when there is darkness. But I hope each reader will be illuminated in his or own way, upon reading the poem.
Q. Tell us about your favorite poets, those that inspired your own writings.
A. I was fortunate to study English and Spanish literature, so there are many influences: Emily Dickinson, Edgar Allan Poe, Robert Frost, Federico Garcia Lorca, Juan Ramon Jimenez, Ruben Dario and Pablo Neruda, to name just a few.
Q. Would you say that shaping our ideas, thoughts and experiences into “Poetic Form” redeems the inadequacies of ordinary life, its dissatisfactions and frustrations?
A. There are many simple, yet profound, joys in ordinary life and poetry celebrates them, as well. But much of my poetry is, as your question suggests, an attempt to create order from chaos.
Q. Marie, when you are creating a poem, do you know specifically what you want to capture in words and form, right away and with little hesitation?
A. When I experience what I like to call a "sentiment," I jot down my feelings and everything associated with it quickly, before it is replaced with another, perhaps contradictory thought. If the sentiment is heartfelt, it generally becomes a poem fairly quickly. If I am more tenuous about it, I'll save my notes and nurture the idea, for as long as necessary.
Q. Do you strive to bring the readers a sense of proximity to what they might want to put into words but are unable to do
A. When I write, it's usually to articulate my own feelings and experiences. But when I am successful, those feelings tend to resonate in others, as well. I'm often surprised (and pleased) when readers choose very different poems of mine as their favorite. Many of my poems do try to give voice to others: minorities, women, children, the grieving, exploited, etc. It's not traditional "protest" literature, however. I'd much rather think of it as the literature of hope.
Q. Do you see truth as a great adventure when you write?
A. Absolutely! "A" truth, not necessarily "THE Truth," -- but truth, nonetheless.
Q. What as it like when your first book of poetry was published? Do you recall your feelings?
A. Because I resumed writing late in life, I didn't want to spend time waiting for someone else's approval to publish. I also craved artistic freedom, to be able to say exactly what I thought, even if it struck someone as "politically incorrect." I've been fortunate to have my work published in e-zines and two anthologies, ACROSS THE LONG BRIDGE: An Anthology of Award-Winning Poetry and CHICKEN SOUP FOR THE LATINO SOUL. But my poetry books, at least to date, are self-published. And there is no taboo attached. I understand that Robert Frost was largely self-published. Imagine the life Emily Dickinson would have enjoyed, had she not listened to an editor, who didn't know what to make of her talent. Each book is a tiny expression of "Self," so it is always tremendously gratifying to see one's words and concepts in print.
Q. What is the most meaningful compliment you have received about that first book?
A. A reviewer wrote that my work was "Beauty in two languages." He was referring to my second book, OFRENDA / OFFERING, which contains my signature poems "Abolengo" and "The Window," among others. But I hope his words apply to all of my bilingual poetry. ORIGAMI, my latest book, incidentally, is "English Only."
Q. If you were granted one and only one wish regarding your poetry, what would you ask for?
A. I would love for my poetry to be read not only by those already "hooked" on poetry, but by those who are a bit intimidated or are convinced they hate it. I think they'll be pleasantly surprised.
Q. Do you have any suggestions on how to read your poetry?
A. I would ask readers to just relax and enjoy. My work is really quite accessible and hopefully, worth keeping and re-reading.
Q. Do you believe that a poet should never disclose the reason that took his/her pen to write a poem? Whether you answer yes or no, could you tell us why?
A. I've been told that readers like to figure things out for themselves, particularly critics and graduate students. So poets shouldn't make it too easy or they'll be resented. I think that can be a recipe for misinterpretation, so I reserve the right to give a little hint now and then.
Q. Out of your four poetry books: Origami, Nightfall, Offering, and Passion, which one is your favorite and why?
A. ANOCHECER / NIGHTFALL is my favorite, because it was first and it's terribly romantic. But each book has its own personality. OFRENDA / OFFERING has a number of prize-winning poems, ORIGAMI is hard-hitting and PASION / PASSION is playful.
Q. Tell your readers, especially those who write, how hard was it to publish those four poetry books?
A. When I started writing after 9-11, my inspiration came in gushes and for a while, I was writing a poem a day. I didn't think that was unusual, but an independent bookseller who carries my work, pointed to how much pent-up emotion that must have represented. I still have material from that period for a few more books and I continue to write, not as often, but fairly regularly. Each day, I try to work on some aspect of my craft, whether it's writing, editing, reading about writing, networking, marketing, performing, recording, etc.
Q. How hard was it to choose the poems? Did you do much rejecting?
A. All of my poems meant something to me at the time I wrote them, so it's difficult to choose some over others. Eventually, I suppose, most will find their place in a collection. My next volume, for example, is one of humorous poems.
Q. How did you handle rejection yourself? What would you advise other writers in this subject?
A. Since I self-publish, that's not really a great problem. But when I do stick my neck out and receive a rejection notice, I take a positive view. Someday that publisher or editor will kick him or herself for not choosing me as a client. Then I work even harder to prove myself.
Q. Did you self-publish? If so, would you recommend your publisher to them?
A. I'm fortunate, because I'm a fairly good editor, as well as a writer. I work with a typesetter and self-publish through Lulu.com. They aren't the best at customer service (it's difficult to find a live person to answer questions), but for me, they are a blessing and I will be forever grateful to them. Xlibris.com was also recommended, but I have yet to try their services.
Q. Your books are available through Amazon, Barnes and Noble and Borders. Am I correct?
A. My four poetry books and ACROSS THE LONG BRIDGE: An Anthology of Award-Winning Poetry are available through major online bookstores: Amazon.com, BarnesandNoble.com and Borders.com, among others. CHICKEN SOUP FOR THE LATINO SOUL is available at local bookstores, as well as online. And, if it isn't, I urge readers to ask for it. It's a beautiful anthology, written in English—a rare insight into the Latino experience and culture.
Q. What advice can you give your fellow writers in this area? What does it take for a book to make it to the Barnes and Noble’s shelves?
A. Barnes and Noble accepts few self-published books for their stores, but guidelines can be found on their web site.
Q. Marie, I know you achieved a dream very dear to you. Are you satisfied? What is next on your agenda?
A. While I am proud of my achievements, I regret that poets aren't held in the esteem that they should be in our society. People pay exorbitant amounts to see a heavy metal concert or mindless sports event, yet balk at buying a modestly-priced poetry book, which can be so much more enriching. That doesn't keep me, though, from writing and performing my work in public for a "select few," with love and inspiration.
Q. You have four poetry books but among all those poems there has to be one that is very close to your heart, care to share it?
A. I have a number of favorite poems, but "The Flower's Song to the Little Bird" in both its English and Spanish versions has an air of innocence that I particularly love. It is one of the poems in ANOCHECER / NIGHTFALL.
Thanks for this interview, Marie. Congratulations on the publishing of four wonderful poetry books. Keep up the good work and may the muse that inspires you stay with you for a long, long time.
