Regine is a school founder, a teacher and writer, living among the saguaros of the Arizona desert. Her work has been widely published in anthologies and her chapbook, Oxidized Pennies, debuted in 2022. Her second collection will be published by Black Bough Press in 2024.
AP: What are you working on currently?
RE: I am working simply to increase my portfolio. Black Bough Press is publishing my second book this fall/winter so, theoretically I am working on my third collection of poetry.
AP: What inspired you to start your current project, and what message or impact do you hope it will have on your readers?
RE: I want to keep writing, of course, and I wish to be in print. I write to bring and create beauty, the beauty of landscape and connection to nature, the understanding of life and living and of connection to others.
AP: Can you describe the journey of bringing your latest work to life? What were some of the key challenges and triumphs along the way?
RE: I don’t have a good answer to this. The desert surrounds me every day and I am immersed in it. So it leaks into pieces about everything . When I first landed in this poetry place, I had no idea where it would take me. Matthew Smith has been a huge factor in my development, excitement and recognition. He and others suddenly started publishing my pieces and, just like that, I was shot out of a cannon. Honestly, it’s been fairly seamless.
AP: What themes or topics are you most passionate about exploring in your poetry, and why?
RE: Landscape & place, the desert; time and loss; love and joy. There is beauty and life out there, never ending in inspiration.
AP: How do you see your work contributing to the larger literary community?
RE: I strive to bring beauty and hopefully insight to all. I don’t write long poems so, hopefully, I am easily accessible to the reader.
AP: What role does feedback from peers or editors play in shaping your poetry?
RE: I am ecstatic at the intellectual and creative levels of fellow poets, readers and editors. I pay close attention to their responses and guidance. I don’t know that their comments actually shape my writing but their encouragement certainly plays a role in my confidence.
AP: Can you share an experience where a piece of feedback significantly altered the direction of one of your poems?
RE: Matthew Smith’s emphasis on Imagistic poetry has been a gift from heaven and has without a doubt encouraged me on my own imagistic path. Every prompt stretches me further and makes me expand my vision.
AP: What do you believe are the most important qualities a press or editor should have when working with poets?
RE: I think editors and publishers should be able to write well themselves. I need to respect the writing and creativity of anyone who is judging my work. While there is, thankfully, massive amounts of fantastic writing out there, there is also mediocrity. Then, I think editors must be self-aware, know their own biases and be honest with themselves and their writers about their preferences. Some of you may want urban and edgy, others lyrical and elegant. I want to know which you are.
AP: How can presses like The Broken Spine better support poets and their creative processes?
RE: Perhaps provide more real-life publishing opportunities that are easy to see and access.
Some publishers call for submissions then make it so complicated to submit that you don’t want to bother. Also, I really appreciate a rich, rather than perfunctory, response when I answer a prompt with a poem.
AP: In what ways do you feel the writing community is currently lacking, and what changes would you like to see to address these gaps?
RE: I love this writing community. It has provided continuous open opportunities to post, read and publish poetry. In the past, we closet writers have worked in the dark, unannounced and unread. This has been amazing, meeting and reading other accomplished writers, getting their feedback regularly and, of course, having unexpected opportunities to publish work. So, I guess my answer is: even more opportunities to be read and to publish in print.
AP: What do you most appreciate about the current writing community, and how do you think we can build on these strengths?
RE: The main thing is to recognise, keep and foster the high level of writing. Matthew, thankfully, maintains a respectful but firm grip on standards of writing and posting work. This is so important since humans can have tendencies to disintegrate over time.
AP: Can you discuss a particular poet or literary figure who has significantly influenced your work?
RE: Well, my two writing heroes are E. E.. cummings and William Shakespeare. So, there you go. They both have words that linger forever, move one forever, sing forever. As for a peer, I must mention Andy MacGregor who writes the most eloquent, moving poetry and who has inadvertently and perhaps vertently taught me a lot.
AP: What advice would you give to emerging poets who are looking to find their voice and audience?
RE: Tap in to language, tap into your world and write about it. But make each word count. No drivel. Search for the most beautiful words every time you write. Don’t rely on cliche. That’s why it’s called cliche. Ha ha!
AP: How do you balance the artistic and practical aspects of being a poet, such as creative expression and the need for promotion?
RE: Well, I’m not very interested in promotion. But I will do whatever my editor tells me to do.
I do want to be read, of course, so I love the open readings and poetry zooms. And I buy all the books out there from other poets, so perhaps they will buy mine.
Now, an original poem from Regine:
Weeds
Weed shadows fall on rocks
nodding to sultry winds
smaller than kings
taller than ships
with whims of victory and mint
sparrows flaunt and dive the air
chasing moonlight and mountains
in the amulets of spring
looking for beauty and the very first night
which is almost enough
holding on
to the breath and leaf
of the dragonfly prism
