Book Review. Poetry Collection – The Sea Refuses no River. Bethany Rivers.

This is a vast collection of poetry on grief, loss and place. I don’t think I have read anything like it. I did struggle to connect emotionally with the poems, but I didn’t dislike them. The way the poems were written, and the images in the poems were stunning. I love how poets can take one idea and run with it. This seemed evident in The Sea Refuses no River. For example, in poem It’s not about the Broccoli. The Gate at Shrewsbury was one of my favourite poems in this collection.

In this collection, the sea refuses no river, there is an acceptance of the pain and an acceptance of the healing moments; the healing journeys. To quote Adrienne Rich: I came to explore the wreck’, and in this collection, Bethany discovers how, ‘The words are purposes. The words are maps.’

She had fallen in love once. It had cost her

She spent years befriending the river:

It was her only escape

The Sea Refuses no River – Bethany Rivers

I would certainly want to read more from Bethany Rivers. I was so intrigued after reading The Sea Refuses no River.

Rating: 4 out of 5.

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An interview with Beth Gordon. Author of chapbook Morning Walk with Dead Possum, Breakfast and Parallel Universe, published by Animal Heart Press.

 

Bio Photo - Beth Gordon 6.19.19

 

 

Beth Gordon Bio:

Beth Gordon is a poet, mother and grandmother, currently landlocked in St. Louis, MO. Her poems have been published in numerous journals including Riggwelter, Into the Void, Five:2:One, SWWIM, Verity La, Califragile, Pretty Owl Poetry and Yes Poetry. She is the author of the chapbook, Morning Walk with Dead Possum, Breakfast and Parallel Universe, published by Animal Heart Press. She is also Poetry Editor of Gone Lawn.


 

  1. Tell us a little about your new book and the inspiration behind it?

My new book published by Animal Heart Press is Morning Walk with Dead Possum, Breakfast and Parallel Universe. Since 2014, my poetry has been informed by loss, grief, and realizing that I live in a world where my experiences of loss are shared by more people than not. The poems I wrote 2014-2016 were explicitly about death and grief. The poems in this book were mostly written in 2017 and 2018 and are about what survival looks like, what life looks like after loss, how to find joy in a life that will end. And how to think about that juxtaposition of joy and death/tragedy on a more universal scale.

2. What experiences or people have had a significant impact on your writing?  

The most significant experience that impacted my writing over the past five years was the death of my granddaughter at the age of seven months – November 2013. And in the 9 months that followed her death, I also attended five other “significant” funerals. In the middle of the “year of the funeral” I met another writer, John Dorroh (JD) who has become my writing partner (and muse). Not only did he help me as a friend during the darkest time in my life; he led me back to writing.

 

3. Since you started to write how do you feel you have changed, and your writing developed?

 

I’ve been writing poetry since I was seven years old, so I’ll speak more narrowly about changes in my writing over the past five years. I would say that like many writers, I was very attached to the subject matter of my work, especially when I began writing about my granddaughter’s death. I relied heavily on the emotion of that subject matter. Over the past five years, through a willingness to let my work evolve, I’ve tried to rely more heavily on my craft…on the art of writing…to carry the weight of each poem. If I’m successful, the emotion will surface through a more deft use of language.

 

4. Which period of your life do you write about most often?

I tend to write about the present. I may pull in elements of past experiences, but usually I’m writing about recent experiences and external events. If I write about the past, it’s because it is relevant to a certain theme.

 

5. What did you edit out of your book?

 

This book started as a full-length manuscript, with a section that included some older poems that were peripherally related to the other poems in the book. I decided to pull out that entire section. I thought it would be hard to do, a kind of emotional amputation. But I was happily surprised to find that what was left was so much tighter and powerful. I’m a brutal self-editor as it is…I have no fear of ripping apart poems and re-assembling them…which is what I did with the book.

6. How many hours a day do you write?

For four years, I know I wrote at least an hour a day during the week (I have a fairly demanding day job) and 4-8 hours a day on weekends. I would say now I write about 10 hours a week, on average.

7. In terms of receiving feedback for your writing who or what do you use for a sounding board?

My main sounding board is my friend and fellow writer, JD. If we are both in town, we get together every Friday night (and sometimes Saturday night). We share what we’ve written the week before and spend focused time writing new poems. I’ve been asked if we are writing collaboratively, i.e. are we creating poems that are co-authored. Except for one poem recently, the answer is no. What we do instead is read our work out loud…which is so important. I hear so many things I would not otherwise notice if I’m just looking at words on a page. It’s easy to become self-absorbed and convinced that no editing is required. But I hear glitches when I read out loud and can also get a sense of how the poem is being experienced by the listener. I’m also part of a writer’s group in Carlinville, IL and get feedback. And I’ve been fortunate enough to meet some poets along the way (both through social media and “in person”) who are willing to read/critique work in progress.

 

8. What are the aspects of writing that you find challenging?

The biggest challenge is making sure that I continue to evolve. I go through phases where I become proficient at writing a certain kind of poem – whether it’s form or subject matter or both – and then I explore that “type” of poem for awhile. Eventually, it becomes too easy to write multiple version of the same poem and I know it’s time to switch things up. That period of time when I push myself to improve my craft…for me, it feels like I’m lifting something very heavy. Pushing to the next level is difficult…then I’m there and writing feels “lighter” again. Until the next plateau.

9. Other than your writing, what else occupies your time?

I have a job that often takes up 50-60 hours of my time (weekly) and I spend as much of my “non day-job” time writing. I also like to spend time with my family which includes a son in St. Louis, a daughter in Richmond, VA, a daughter, son-in-law and 3 grandkids in LaBelle, FL, a brother, sister-in-law and nephew in Winchester, VA and parents in Asheville, NC. If I can find time, I also like to travel for fun. This year I’ve been able to spend several days in Portland, Oregon for the AWP Convention and I’m wrapping up a week in Bay St. Louis, Mississippi (on the gulf coast).


 

 

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Call for submissions- Olive Skins

Publishing opportunity. ..

MY VALIANT SOUL

First of all, I would like to extend my gratitude to all my genuine followers who have supported my work in the best possible way over the years and so now I am thrilled to announce that my dear friend Kristiana and I are soon going to start our own collective OLIVE SKINS which is scheduled for June end. This collective will be a collection of all the brave voices out there which often go unheard by others. The aim is to take submissions about mental health, pain, abstract poems, and fiction.

Ink your beautiful words, surreal poetry, prose and fiction through our email. We want raw poetry, no same old cliched romance poetry, if you want to be romantic, show us that in your fierce style! The collective shall be themed base.

Guidelines-

Submit your best work, no rhyming poetry, please. We will not accept anything which doesn’t enthrall…

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