Memory is water. So she takes care lest it takes to turbulence in her warped soul or flow heedlessly through, and flood the pathways of her body. Maybe it is just a dream: Her childhood prancing around, with the attention span of butterflies, flitting about from one flower to another in her grandfather’s garden of origami. Where gnomes would appear from behind the rose bushes and slip into her pockets, manuscripts of much importance. They always read the same: ‘Catch the fugitive. Don’t let it go.’ But it fled, fled from her grandfather’s house of clockworks, up through the staircase of geodesics onto the terrace of wormholes and up and away. It escaped at the speed of light, sapping the soul out of her body.
Memory is water. It freezes at the touch of her fingertips, and turns into a wisp of tendrils as she attempts to clasp it tight. Time had slowed down; the garden left untended. The all too familiar landscape, the stern and the rigid birch trees, the solitary mulberry tree, had all been stirred giddy as into the melting broth of a witch’s cauldron. But it was as she had long since suspected: Time Dilation. Everything had been bargained for the wondrous journey of her stellar childhood. In a multiverse of possibilities, pining for the comet of childhood that comes but once in a lifetime, she had descended into declining years seamlessly, indiscernibly till it was said of her ‘Could it be she too had been a child once?’
Memory is water. It changes its form every time she looks back on it; reshapes itself with every container that tries to hold it- overflowing in the heart, firing lightening bolts through the mind. Your life skips like a stone over a lake: now like a child playing in the water, now like an old woman grown weary of it; never feeling like an adult (Your adulthood as if skimmed out.) You witness the hands of the clock convulsing with hysteria: How does one recover from that? How does one wind that clock? How does one count afresh; mark the days again, after the summers and the winters of one’s convalescence? What does one do when one is done dusting and sorting, ironing out all the wrinkles, she wondered. Gardening, perhaps? Yes, life could be perfect again as she imagined her kids, with the attention span of butterflies, flitting about from one flower to another in her garden of origami.
1) Please describe your latest book, what about your book will intrigue the readers the most, and what is the theme, mood?
Catrice: I am working on my first chapbook publication. I expect this to be a selection across topics. I have several books planned. The books planned beyond that one are specifically themed. Themes I write about are a broad span of Spirituality, transcendence, trauma, consent, disability, healing,mental health, love, the environment, human nature, the cosmos, ancestral topics, cultural traditions, identity, dialect, food & culture, Orishas, and music I often weave my love of the sciences, math, astronomy, astral travel, biblical spiritual references, and futurism into my work.
2) What frame of mind and ideas lead to you writing your current book?
Catrice: My first chapbook would be my introduction to the literary world in print and encapsulates many ideas from over the years. Although I have written for several decades, I did not choose to publish a book. I chose to focus on refining my voice and craft. In the last few years, in service to the work I am creating, I felt there was a purpose, an audience and space that would be a good fit for the work to speak for itself. My choice to publish now is solely in service to the work itself. It feels like the right timing. I get a sense the work will live best published now versus earlier.
3) How old were you when you first have become serious about your writing, do you feel your work is always adapting?
Catrice: I began writing early somewhere around ages 8,9,10. At 10, I began to be compelled to write. Ages11/12, I experimented. By age 14, it was clear for me that it was a necessity. I was mentored one to one by a high school teacher. I wrote for academic publications in high-school and was editor and editor in chief of a creative journal. While in my senior year of high school, I also began writing as a Features writer intern for a local historic newspaper at age 17. I went on to intern, associate produce (credit) and write scripts as an intern for a local tv station in my college years. I continued a smattering of explorative involvement in media in various forms off and on through my twenties. My own private writings of poetry simultaneously continued to grow and refine. My declared major in college was English Literature. During that time, I began to perform spoken word and recite poetry. Mainly I did this at events via another mentor in college who felt it was a good avenue for me to learn to conquer my shyness. I’ve continued to write privately since then, until now.
To your second question, yes, to some extent my work is always growing and adapting. It adapts as I grow and as my vision of the world and of myself grows. As my perception refines and my craft refines, so does my work and approach to the work. At this time, I am clear that I write in service to bringing work forward in its divine nature.
4) What authors, poets, musicians have helped shape your work, or who do you find yourself being drawn to the most?
Catrice: That’s a complex question. I’ve read so many poets and writers. Off the top of my head, I can say Toni Morrison, Alice Walker, Octavia Butler, Laini Mataka, Sonia Sanchez, Ntozake Shange, Audre Lorde, Kalamu Ya Salaam, Pablo Neruda, Wislawa Symborska, Jean Auel, Deepak Chopra, Zitkala-Sa, Ivan Van Sertima, T. S. Eliot, Milton, Lacan, Saussure, Descartes, Jung, some Freud, Kafka, Andrew Marvell, Shakespeare, and many, many more.
My love of music is vast. I love opera, R&B, alt rock, alt classical rock, gospel, jazz, alt Christian music,Hymns, African-American classic hymns, some folk music, the list goes on. Those influences show up in my work time and time again. It runs through my soul. I write through the music I feel as emotion and the words for me are music.
5) What other activities do you enjoy doing creatively, or recreationally outside of being a writer, and do you find any of these outside writing activities merge into your mind and often become parts of a poem?
Catrice: I am a former photographer, former dancer, former dessert caterer and entrepreneur. I still like to cook. I enjoy nutrition, and herbology. I garden sometimes. I keep a small personal healing apothecary. I enjoy fermenting foods for health. No longer in a home, but now an apartment, I keep a modest plant system and a fledgling kratky garden. I sketch a little, use various creative mediums sometimes. I enjoy singing with a community choir. I like creating songs lyrics to express some type of emotion. I listen to music for hours and hours. I used to be active in athletic pursuits for several decades. I am healing from something that creates an impairment and disability for me at this time, so being that active is abbreviated for the moment. But at heart, I am athletic. Currently, I enjoy walking, light hiking, yoga, weights. I love films. I like science and enjoy learning about various sciences in my spare time. I enjoy learning languages.
I am a Christian. I am of Catholic faith. And I am human. The combination of those elements as well as my own broad curiosity, acceptance of spirituality in general factors into my work. I see and channel much through a very spiritual lens with an understanding and respect that we are all connected and that the universe is vast. All the activities I noted above show up from time to time in my work or in how I come to the work itself and process life. The more fully and vibrantly I live, the richer the work.
6) Tell us a little about your process with writing. Is it more a controlled, or a spontaneous freewriting style?
Catrice: It depends. I mainly channel my work. I feel it is given. It is then my responsibility to refine the bulk of what was given to be sure it expresses clearly and serves the message of the work. The craft I have honed over the years and continue to hone is a skill. Those literary skills for editing then come into play. But often while I am writing, what I am channeling my mind is working very fast to edit at the same time. I allow my mind to simply speak what needs to be said. Sometimes I receive a lot. And other times, a phrase, a word, an idea, a partial Stanza. All of it eventually, shows up later in layers that are building to create something new. I feel that my job as a poet is to be present, listen intently to myself, be a witness, and scribe.
7) Are there any other people/environments/hometowns/vacations that has helped influence your writing?
Catrice: There is nothing singular for me to point to. My writing is influenced by the totality of life experiences, education, observation, perceptions, spiritual faith, heritages, connection and spiritual receptiveness. It is a reflection of an acceptance of my fellow man as I observe, receive and process enormous amounts of information.
8) What is the most rewarding part of the writing process, and in turn the most frustrating part of the writing process?
Catrice: Most frustrating — sometimes the poems come channeling through so fast and it may be an inopportune time for me to write it down. Or the lines are coming in so quickly that I am not fast enough to write it down verbatim as I am receiving the lines. I end up sometimes writing an approximation and that is often not quite on target.
Most rewarding — is the fact that I am allowed to channel through and write down these beautiful, divine, words and sentiments. The fact that I am a part of this divine process, I often feel very humbled and grateful to be a writer. The process for me is filled with music, emotion, colors, rhythms, visions, that somehow translate into words. That process even for me is well beyond me. Yes, I am an academically trained writer. But I didn’t start out that way. I was quite young when I started. For me, my process is unique as well as it has a foot in classic approaches.
I am grateful when anyone feels organically connected to the work when it is healing or creates healthy dialogue that can foster positive change. If a heart is touched, if someone feels seen or heard by my work, then I know I have been of service to my greater community and that when I was called by said poem to write it into existence, I was correct in answering that call. It served a soul. To me, that level of service is a high honor.
I did not get to be the doctor/writer I had hoped to become like William Carlos Williams. I wanted to be a psychiatrist. But, in this way, I am taking part in helping with vastness of unity and oneness of healing, speaking truths for my fellow man as well as for myself. For me, to be allowed to be part of that divine miracle, even as a scribe and a witness, is humbling and rewarding.
9) How has this past year impacted you emotionally, how has it impacted you creatively if it all?
Catrice: For me, I have a long personal story. Too long for this interview. For a number of personal reasons, disability as healing, being one, I was already living sequestered and very alone prior to the pandemic. When this began, emotionally I was already on a path to find ways to reach out to connect even though I could not physically reach others as well. This year, not due to Covid-19, but two of my close friends died. I was already mourning so much for so many loved ones that passed away. Emotionally, I needed to connect with other humans and live again. Feel alive. I did not wish to impose my will on changing the situation. I felt and prayed that I would like to walk through this with my fellow humans and somehow live as much as possible and authentically as possible. Emotionally, that meant managing any anxiety, or depression, any last hurts that can show up when we have time to think. Allow myself to clear and let go of all things no longer needed and to even now commit to honoring my solitude, my need for connection, interdependence, joy, love, need for healthy intimacy with self and others, and healthy boundaries.
All of these things have some contingency on voice and its authenticity.
Being honest with self about what I truly feel, what and who makes me feel uncomfortable, knowing what I truly need and want, desire, and voicing that clearly is a healthy evolution in my state of being. This also includes me being able to take action with healthy boundaries and not be crushed under the weight of dissension, intimidation, silence, lack of connection or understanding or respect from others. In this space, I learned to honor my voice unapologetically in the healthiest way. I also learned to embrace my deepest needs and desires. By doing all of that, I am like most humans a continual work in progress, my work reflects this authenticity and growth.
The more I see and accept my self, the higher divine self, the shadow self, the unspoken, the traumatized self, the unloved self, the unseen self, the healing self, the transcendent soul, the imperfect self, the creative self, the unbound spiritual self, the grounded self, the bold, the loving self — all of the parts as integrated parts without judgement, then I have been more adept in my poetic work to speak clearly in the service of the work. It seems that humanity resonates for other people who feel connected to the work and the voice I have to offer to our community of humans. This moment in time is one for which I share in collective mourning and also appreciate our collective unity, transformation, and healing. Emotionally, this year has shown me a great deal about myself and others.
Creatively, I have become even more in tune and immensely prolific. All for which I am deeply grateful.
Thank you for this interview. Be well.
Yearning Through the Fog by Catrice Greer
It’s a busy time the car exhausts, the fires breathing smoke over the twilight pollution laying across the horizon as if on a chaise, lounging overstuffed dumpsters, overflowing with wrappers, peels, discarded boxes, and stench trees half bare dangling windblown bags at their tips trying to take a stand, hold back the school of loop-winged billowed-bottomed plastics flying by the grass sparse, dirt scratched patches, concrete overtaking the landscape We miss the deer and their morning hellos We miss the murder of crows and their caw caws We miss the foxes leaping over and under the brush playing hide and go seek We have not seen enough rabbits before dawn
Cortical Cartography by Catrice Greer
I give thanks for you bravely doing this again traveling synapse by synapse trails of electric pulses jumping blackhole gaps that used to remember holding the dead space a new soma body birthing from bleating darkness show us the nucleus the middles of what we were made of Axons spread like kamikaze flying squirrel bodies with arms akimbo reaching dendrites touching Grateful for even this axon potential sometimes on sometimes off Praise for brave synaptic dives and jumps Grateful for re-birthed myelin insulating protecting making sure that we traffic on our way by the quickest route charged in this dark matter discovery-space This astronomy building anew, wrinkled city of light, crevices, crannies, gyri and sulci, ridges and valleys jellied, crinkled mass sectioned by lobes all speaking trillions simultaneous synaptic voices prayerfully all at once this chatter mines the neuronal network and we build
a whole new world
Catrice Greer @cgreer_greer is a poet and writer who resides in Baltimore, Maryland. She is a 2020, Pushcart Prize Nominee. In November 2020, Catrice served as a Cheltenham Poetry Festival, Poet in Residence. Catrice’s poetic work explores a range of topics about the human condition. She currently performs as a featured poetic artist or via poetry artist collectives in international virtual open mics. Her recent poems were published in Icefloe Press, the historic Afro-American Newspaper, a Phenomenal Womxn Anthology, Baltimore Health Behavioral Services art gallery, and local newsletters. She is currently working on publishing her first chapbook. She has recently read at the Cheltenham Poetry Festival with Damien Donnelly
Bio: Catrice Greer @cgreer_greer is a poet and writer who resides in Baltimore, Maryland. She is a 2020, Pushcart Prize Nominee. In November 2020, Catrice served as a Cheltenham Poetry Festival, Poet in Residence. Catrice’s poetic work explores a range of topics about the human condition. She currently performs as a featured poetic artist or via poetry artist collectives in international virtual open mics. Her recent poems were published in Icefloe Press, the historic Afro-American Newspaper, a Phenomenal Womxn Anthology, Baltimore Health Behavioral Services art gallery, and local newsletters. She is currently working on publishing her first chapbook.
Ground grows up through us voice fills the wrist, fingers feather wind as it turns leaves reading a text that inches out to branch tip, leaping into flight.
Form is not shape, not the billet split from stave, when you bind these wounds what emerges is not winged lacerations, when you bind these words this form remembers flame, her hands fill with ash of what was not tree.
Pines long for lightning, intimate embrace of sky, rain is memory of sea brought back to tongue of land, the body is ever an uncertainty the form is frail, words hunger for mouth, curled in wet darkness, snug beneath tongue, breathing the light of utterance.
The eye holds horizon in abeyance, wave is a unit of measure for absence, those who return by moonlight hauling the shell up the shelving, past tideline but not quite to sea oats, delivering a message of continuity.
We are as interlocked as mangrove a forest of basketry, canopy of egret and spoonbill, this not a place of deep roots, tide pulls moon over Gulf, respiration of sea, deep breath of azure, clear blue of flame, breathing as cumulus flowers, lightning flowing into wave, so many tomorrows buried above wrack line.
Wind of ash, wind of burning, some live within blade of day some within wing of night, words you leave in a bowl of sky could be sparks, could be stars,what sleeps in the marrow prepares itself to fly, bone riven, phosphorescence spilling from mouth.
Bio: Peach Delphine is a queer poet from Tampa, Florida. Infatuated with what remains of the undeveloped Gulf coast.
Bio: Peach Delphine is a queer poet from Tampa, Florida. Infatuated with what remains of the undeveloped Gulf coast.
This review was in the Anthology Fevers of the Mind Presents the Poets of 2020 available on Amazon in Deluxe Edition, Split Editions Vol 1 & 2, and on Kindle.
When opening up David Hanlon’s “Spectrum of Flight” you immediately notice David’s very diverse, quaint, very knowledgable on poetry style and themes. Every word, every sentence, line, and stanzas are thought out. Every word is read to you by the writer’s voice. You feel trapped for awhile in the soul of the writer. What he felt, what he has had to persevere through, the depression, the loneliness, the questions, to truly begin to feel a whole self. You are on a long walk listening to the pouring rain in a cool Autumn month, You can do nothing but think. This is the book. All of those cold rain walks on your own, what does the thunder mean for me? Is this the same thunder heard by others? Is it even raining where they are? The distancing of others that miscast you. Severs you into their ideal. Why doesn’t it rain on them? Why are they exempt? And why can’t they see me? “A Taste of Showmanship” reflecting toxic masculinity that overcomes, a societal stamp. To wash away that ink. The imagery of poems such as “Dream in Which My Teeth Rot and Fall Out” gives you a ride in the circles and to obtain the answers within the spin. As like in dreams we sometimes find the answer to our being, our true self, the hope to be whole, to change, and conquer the storm. David Hanlon’s “Spectrum of Flight” is brilliant both in style, imagery, and a must read for someone in search of themself.
David Hanlon is a welsh poet living in Cardiff. He is a Best of the Net nominee. You can find his work online in over 40 magazines, including Rust & Moth, Icefloe Press & Mineral Lit Mag. His first chapbook Spectrum of Flight is available for purchase now at Animal Heart Press.