{"id":4723,"date":"2024-08-21T02:56:03","date_gmt":"2024-08-21T02:56:03","guid":{"rendered":"https:\/\/sites.rutgers.edu\/writers-house-review\/?page_id=4723"},"modified":"2025-01-02T02:49:06","modified_gmt":"2025-01-02T02:49:06","slug":"an-interview-with-stuart-ross","status":"publish","type":"page","link":"https:\/\/sites.rutgers.edu\/writers-house-review\/vol-5-winter-2024-2025\/an-interview-with-stuart-ross\/","title":{"rendered":"An Interview with Stuart Ross"},"content":{"rendered":"

By: Jackson Dilullo<\/em><\/h4>\n
\n

<\/p>\n

\n

Stuart Ross is a Coburg, Ontario-based writer, editor, educator and poet who has published 12 poetry collections and five novels, and has had his work translated to dozens of languages. His most recent publication, <\/span>The Book of Grief and Hamburgers<\/span><\/i>, <\/span>won<\/span><\/a> the 2023 Trillium Book Award and was <\/span>described<\/span><\/a> as \u2018a moving act of resistance against self-annihilation.\u2019 Others won the 2017 Canadian Jewish Literary Award for Poetry and the 2010 ReLit Award for Short Fiction. He recently worked as a faculty member at the Banff Center for Arts and Creativity, and frequently gives lectures and readings across Europe and the Americas. According to the Writers\u2019 Union of Canada, he will even give a reading in your living room.<\/span><\/p>\n

Ross wrote his first poems at just \u2018eight or nine years old,\u2019 and was inspired by the likes of E.E. Cummings, Emily Dickinson, and David McFadden. Ross\u2019 soon-to-be newest publication <\/span>The Sky is a Sky in the Sky<\/span><\/i>, is the culmination of decades of inspiration. Ross\u2019 love of writing shines in every inch of <\/span>The Sky is a Sky<\/span><\/i>, and his surrealist influences drive themes of both joy and despair, isolation and community; family and sacrifice. This collection will be available for purchase online on September 10th, 2024.<\/span><\/p>\n

JD: \u00a0<\/b>In an interview with\u00a0<\/span>Poetry in Voice<\/span><\/i>\u00a0you said you \u2018revel in exploring the possibilities of language and form,\u2019 which shines in\u00a0<\/span>The Sky is a Sky<\/span><\/i>. I\u2019ve noticed in some of the early poems, many characters read or hear dialogue within the confines of a poem. In\u00a0<\/span>The Sky is a Sky in the Sky<\/span><\/i>, you write; \u201c…<\/span>Our skin<\/span><\/i>\u00a0\/\u00a0<\/span>acts as a protective wrapper<\/span><\/i>, Jack says. And:\u00a0<\/span>Lovely weather\u00a0<\/span><\/i>\/<\/span>\u00a0we\u2019re having.<\/span><\/i>\u201d Later, in\u00a0<\/span>Fireball XL5 Aubade<\/span><\/i>\u00a0you write:<\/span><\/p>\n

 <\/p>\n

The air is sucked from my cabin, and\u00a0<\/span><\/p>\n

as I lie dying, I hear my mother cry,\u00a0<\/span><\/p>\n

O Absalom my son, O Steve Zodiac,\u00a0<\/span><\/i><\/p>\n

O Stuart, O Zalman Nehemiah, O Seth<\/span><\/i>,\u00a0<\/span><\/p>\n

and I shrink into her warm arms\u00a0<\/span><\/p>\n

 <\/p>\n

that no longer live, and yet still she is my mother.<\/span><\/p>\n

 <\/p>\n

How does hearing or reading this information, as opposed to interpreting it or being told it by the speaker, enhance or accentuate your poetry? How significant are these interactions to the themes of these poems?<\/span><\/p>\n

SR<\/b>: Most of what I do in my poetry isn\u2019t really conscious \u2014 it\u2019s more intuitive, a matter of chasing along wherever the poem seems to be going. In that way, I\u2019m not concerned about themes; my goal isn\u2019t to explore a theme or inflict a theme. And even if it was, I wouldn\u2019t expect readers to necessarily see the themes in a poem that I might see. I think, really, as a reader, you are better able to answer the questions in your last paragraph. But I\u2019ll say this: It\u2019s possible that various speakers enter into my poems because I find it exciting for new kinds of sentences, new kinds of sensibilities to interrupt my poems and perhaps steer them in new directions.<\/span><\/p>\n

But I\u2019ll be specific here: my mother, who died in 1995, used to kind of dramatically say to me, \u201cOh Absalom, my son.\u201d I just looked up that quote and see that it is King David from the Old Testament lamenting the death of his third son. That\u2019s interesting, because, in fact, I was my mother\u2019s third son. How add that she would recite this line of grief! Anyway, I seem to be overlapping the Biblical Absalom with the animated TV character Steve Zodiac from a show I watched as a child, and then me (Stuart), and then my Hebrew name (Zalman Nehemiah), and then Seth, which was what my mother would have named me had her own mother been able to pronounce the \u201cth\u201d sound. Seth, incidentally, was the third son of Adam and Eve. I didn\u2019t realize all of these third-son coincidences until this moment. Which reinforces for me the belief that the most exciting things in poetry happen unconsciously, or by chance.<\/span><\/p>\n

Oh, and as to Jack Teagarden, the legendary trombone player of the 1930s and 1940s, I don\u2019t know why he wandered into my poem, except that I know that Charles North, who inspired the poem, is a big jazz fan, like many other New York poets of his generation. Both of those bits of dialogue I attribute to Teagarden are, of course, imaginary, and they are exactly unlike anything I would have expected the actual Jack Teagarden to say. I like juxtapositions like that.<\/span><\/p>\n

JD: \u00a0<\/b>Based upon that interview, it\u2019s easy to assume you\u2019re someone who loves their work. Which is why another early poem in ,\u00a0<\/span>Valediction<\/span><\/i>, surprised me. Serving as a \u2018final bow\u2019 of sorts, it felt too short for a writer as passionate as yourself. You imply, however, that your writing holds a deeper, undiscoverable personal significance:<\/span><\/p>\n

 <\/p>\n

All that will\u00a0<\/span><\/p>\n

be left of me:\u00a0<\/span><\/p>\n

 <\/p>\n

in the margins of books\u00a0\u00a0<\/span><\/p>\n

pencilled murmurs\u00a0<\/span><\/p>\n

 <\/p>\n

you will never\u00a0<\/span><\/p>\n

decipher.<\/span><\/p>\n

 <\/p>\n

It appears writing is an intimate exercise for you. In what ways do you write for yourself, and in which ways do you write for your readers?<\/span><\/p>\n

 <\/p>\n

SR:<\/b> I love the metaphor you have read into this poem. I think the poem came from the fact that my grandfather, in hospital in his last days, was unable to speak but wrote some indecipherable Hebrew on a piece of paper towel, and those unreadable words are the words he left behind. I imagined someone trying to learn something about someone who\u2019s died by looking at the notes they pencil-scrawled in the margins of books but being unable to read them. We want so much to know what the dead thought, but we can never know. That just occurs to me now as a possible explanation for the poem. Also, I never write in the margins of books myself.<\/span><\/p>\n

Now, to your question! I mostly write for myself and hope that there are readers out there who will dig what I\u2019m writing. Or at least find it interesting. Or offensive. Or worth thinking about for a few moments. One thing I consciously do is try not to pander to readers, and I put a stop to it if I catch myself doing it. That\u2019s a terrible tunnel to fall into. I want to be free to experiment, and hopefully my readers will come along for the ride.<\/span><\/p>\n

JD: <\/b>You\u2019re a poet with many influences, telling\u00a0<\/span>Touch the Donkey<\/span><\/i>\u00a0that \u2018Charles North\u2019s The Nearness of the Way You Look Tonight and Ron Padgett\u2019s Toujours l\u2019Amour are very important to [you].\u2019 At the conclusion of the first section,\u00a0<\/span>The Sky<\/span><\/i>, you pen a poem dedicated to the two poets titled\u00a0<\/span>Life Begins When You Begin the Beguine<\/span><\/i>. Is honoring the legacies of your inspirations something you prioritize in your writing? If so, how does\u00a0<\/span>Life Begins<\/span><\/i>\u00a0work towards that goal?<\/span><\/p>\n

You are absolutely right, I drink in many influences. I am so grateful to the poets who have written work that excites me, that shakes up poetry, that shows me ways of doing things I\u2019ve never thought of, so yes: Charles and Ron, Renee Gladman, Larry Fagin, Lisa Fishman, Emily Pettit, Dave <\/span>McFadden, Sawako<\/span> Nakayasu<\/span>, <\/span>Nelson Ball, Lisa Jarnot, Nicanor Parra, Tom Clark\u2026 I want to be in conversation with them, I want to pay homage to them, I want to turn other people on to their writing. So I don\u2019t exactly prioritize them: they often spark my poems, and I acknowledge them out of respect, and because it\u2019s the right thing to do if I\u2019m ripping them off in some way! \u201cLife Begins When You Begin the Beguine\u201d \u2014 that title is a blend of two jazz standards: \u201cLife Begins When You\u2019re in Love\u201d and \u201cBegin the Beguine.\u201d That was an homage to the Charles North poem \u201cThe Nearness of the Way You Look Tonight,\u201d whose title presumably comes from the jazz standards \u201cThe Nearness of You\u201d and \u201cThe Way You Look Tonight.\u201d On a basic level, I loved the challenge of coming up with two jazz titles I could blend together. But it\u2019s not a goal for me to honour the legacies of the poets I admire. It\u2019s just something that happens along the way.<\/span><\/p>\n

SR: \u00a0<\/b>Circling back to the importance of form within your poetry, what is the significance of\u00a0<\/span>The Sky is a Sky in the Sky<\/span><\/i>\u2019s three distinct sections? What went into the organization or selection process for each, and how much were each poem\u2019s content and form considered during that process?<\/span><\/p>\n

I hope to not disappoint you, but very little thought went into the organization of that book\u2019s structure. I had about 120 pages of poems, and my editor suggested I break it into parts, maybe to give readers a different experience, maybe just to break it up. I had done that with a few of my earlier poetry books, so I was game. I was going to just title each section \u201cI,\u201d \u201cII,\u201d and \u201cIII,\u201d but my editor at Coach House Books, Nasser Hussain, suggested breaking up the book\u2019s title to title the three sections. Once that was a done deal, I tinkered with the order, kind of seeing each section as a side of an album: how do I want to start each side of the album, how do I want to finish it? How do I vary the \u201ctracks\u201d in between the beginning and end? How could I create echoes within each section (for example, at least one long poem in each section, and at least one Razovsky or Blatt poem in each section), to give the book a kind of throughline, and how could I simultaneously, make each section a unique experience for the reader.\u00a0<\/span><\/p>\n

My last poetry book, incidentally, was broken into five sections. My publisher had asked me to write some copy for the catalogue about the book (<\/span>Motel of the Opposable Thumbs<\/span><\/i>) and I jokingly wrote that I was structuring it after a B\u00e9la Bart\u00f3k\u2019s String Quartet No. 4. I knew practically nothing about Bart\u00f3k, except that he was a very daring classical composer. But then it started appearing on the internet \u2014 that my book was structured after String Quartet No. 4. So I found the piece of music on YouTube and listened to it. It was divided into five movements, and I found the first, third, and fifth movement melodic and pleasant to listen to, and the second and fourth movements more discordant, more avant-garde. So I put all my most accessible, conventional poems (when I refer to any of my poems as conventional, I think they\u2019re still pretty weird by mainstream standards, if you can refer to a \u201cmainstream\u201d in poetry) in parts one, three, and five, and the really weird-ass, often incomprehensible poems in sections two and four. Voil\u00e0! I had emulated Bart\u00f3k in a very forced way.<\/span><\/p>\n

JD: <\/b>In the book\u2019s final entry, simply titled\u00a0<\/span>Poem<\/span><\/i>, you write: \u201cI see a light \/ at the end \/ of the tunnel \/ and beyond that \/ a tunnel.\u201d Within the greater context of section three,\u00a0<\/span>In the Sky<\/span><\/i>, it\u2019s a sharp contrast from the extended prose we see in other selections. I can\u2019t help but think back on\u00a0<\/span>Valediction<\/span><\/i>. It\u2019s in a similar vein in both its tone and length, and begs the question; Have you considered the possibility of\u00a0<\/span>finishing<\/span><\/i>? Is that \u2018light at the end of the tunnel\u2019 the prospect of sharing more of your experiences with the world, or rather, a metaphorical step away from the world of publication?<\/span><\/p>\n

SR<\/strong>: I don\u2019t write metaphorically, at least not consciously. So I\u2019m always interested when readers find these kinds of things in my poem. Makes me feel smarter than I actually am. I like your connection between those two short poems. I do love good minimalist poems, like those by the aforementioned Ball and Fishman, as well as Lorine Niedecker, Michael O\u2019Brien, John Phillips, and others. My own minimalist poems are rarely stand-alone, but usually part of a sequence, such as \u201cRacter in the Forest\u201d and \u201cTen\u201d from <\/span>The Sky Is a Sky in the Sky<\/span><\/i>. Now, on to your question\u2026<\/span><\/p>\n

I\u2019m not sure what you mean by \u201cfinishing.\u201d Your interpretation of the poem is interesting, and I think it\u2019s totally legit. But \u201cthe light at the end of the tunnel\u201d \u2014 that means that when things are going crappy, there\u2019s some hope again. I was also thinking of people who have had near-death experiences and report having seen a glowing light.\u2026 Anyway, in my sad-sack outlook, that positive ray of light is going to be eclipsed by yet another goddamn tunnel. I\u2019m such an optimist!<\/span><\/p>\n

Thanks for these great questions, Jackson. I enjoyed the workout!<\/span><\/p>\n

 <\/p>\n

\n

Jackson Dilullo<\/strong> studies sports journalism, with a minor in creative writing.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

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