An Interview with Rebekah Remington

Rebekah Remington

Rebekah Remington (Photo: Stephen Jonke)

I find it hard to believe Rebekah Remington when she tells me that she’s dealt with failure. Rebekah is the winner of the 2013 Clarinda Harriss Poetry Prize for her chapbook Asphalt. It is a solid collection, marked by eloquence and vision. I believe it to be a success but am sympathetic to her remarks.

Of course she has dealt with failure. We all have. Just the process of writing this blog post, my first for Little Patuxent Review, has me pulling out my hair over possible failure. And when I read through “Little Invocation” and “I Call Her Inez,” the chapbook’s first and sixth poems, I think of the first rejection letter that I received. Like the speaker, I, too, “feel enough failure as it is.” I remember thinking, what do I do now?

When I ask Rebekah about the character Inez and the idea behind the piece, she replies that she once watched a video of the Elizabeth Gilbert of Eat, Pray, Love fame speaking about artistic inspiration. What did Remington take away from the video?

I think Gilbert’s main point was to put in your writing time. Don’t get too stuck on the idea of success or the idea of failure. When things don’t work out, blame it on the muse. I had experienced a lot of failure, so I decided to write about my love-hate relationship with my muse.

But who does she see in a positive light? To whom does she turn for inspiration?

“Mainly other poets,” Rebekah says. Elizabeth Bishop, Louise Glück and CD Wright are named. In particular, she mentions the recent collection Space, In Chains by Laura Kasischke, which earned the 2011 National Book Critics Circle poetry award. I have to look up Kasischke but immediately understand why Rebekah is drawn to her work. Kasischke has been hailed by critics for her honest but respectful portrayals of domestic life and the different stages of adolescence and adulthood.

There is a definite presence of the domestic life in Asphalt. And while Remington admits that she is unsure whether the book as a whole has a narrative arc, I can see recurring themes. Remington calls them “obsessions.” Those obsessions include motherhood, childhood, time and death. I thought that I saw some Asian references, particularly in “School Morning,” “Wanting” and the title poem. That is new to Remington.

It’s interesting that you noticed that. I really don’t know that much about Asian cultures. Before I had children, I saw a lot of foreign films. Probably some of the images stuck. I’m thinking of Raise the Red Lantern, Farewell My Concubine, To Live. I love the way film can transport.

More failure on my part? I would like to think of it more as subjective interpretation.

And, yes, a powerful film can transport the viewer. The same way a that powerful poem can transport the reader. For me, it was the beauty of the last two lines of the simple but earnest poem “Goat.” I mouthed the words over and over, loving how they came out.

The sky had taken on a shapeliness like
a flood plain
in an aftermath, an eerie pinkish
erasure.

Of course, I laugh when I learn that the ending of that poem did not come easily to Rebekah. She says that she rewrote it many times before coming to the above.

There is no mistaking the speaker’s role as a mother. Bits of train track and LEGO pieces, piano lessons and the pivotal moment of learning to ride a bike are strewn across the chapbook. And isn’t there an interesting relevance to those previous feelings of failure when it comes to motherhood?

One of the challenges of parenting is getting your children out in the world and exposing them to things. I’m not sure I’m good at that, but I’m trying.

When we place the mundane aspects of domestic life in the context of such serious contemplations, it is no wonder that poetic expressions about the domestic life can be so emotional and riveting.

The concept of time changes as well. Mothers such as the one in “In Praise of the Last Hour of the Afternoon” would “trade pearls for quiet” and cherish just a few more minutes in bed with the bedroom door locked in “January Morning.”

I find it understandable, if not comical, that in more than one poem we find Rebekah’s speaker thinking about how much she wants a drink.

Rebekah is far from being the only mother or writer who has doubts about herself. But, a perk to being creative types is that we have the benefit of blaming the self-doubts and feelings of failure on our muses. Blame it on Inez, Rebekah.

Rebekah Remington received her bachelor’s degree from Johns Hopkins University, taking classes taught by David St. John and Peter Sacks. She received her MFA from the University of Michigan. She is currently an adjunct professor at Towson University, where she teaches Introduction to Poetry. (I am sorry that we never crossed paths.) Her work has been published in RattleNinth Letter and The Missouri Review. Once in 4th grade, she won a prize for a patriotic poem that she wrote in honor of the nation’s bicentennial celebration. She lives in Catonsville, MD with her husband and children.

The Clarinda Harriss Poetry Prize, sponsored by City Lit Project, was established in 2009 by poet and neurosurgeon Michael Salcman. He wanted to honor the poet, publisher and teacher Clarinda Harriss and her lifetime of service dedicated to the literary arts. Clarinda is the founder, director and editor BrickHouse Books, established in 1970 and, as such, Maryland’s oldest continuously operating literary press.

Michael is also the Little Patuxent Review Art Consultant and Clarinda a regular contributor to both LPR print issues and our blog, so there are connections. What’s more, the judge for the 2013 prize was poet Marie Howe, who happens to be featured in the upcoming LPR Summer 2013 Music issue. And previous prize winners include LPR print and blog contributor Bruce Sager (2011) and LPR Editor Laura Shovan (2010).

Blue Versus Blue

Carolyn Case’s 2012 Blue Versus Blue, oil on panel.

I know Clarinda as a poetry professor and BhB editor. After taking her poetry class at Towson, I interned for a year at BhB as an assistant editor. She has worked with Ogden Nash, partied with Michael Stipe and taught one of the best poetry classes that I have ever taken. My time spent with her is invaluable to me as a young writer, and I completely get why such a dynamic and delightful individual has a prize in her name.

Rebekah’s book will be published by CityLit Press. A painting by Carolyn Case, an artist teaching at Maryland Institute College of Art (MICA), will be used for the cover design.

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