Jennie E. Owen is a writer and Lecturer in Creative Writing, based in the north-west of England. She is widely published in journals and anthologies. Her pamphlet, The Horses Still Run is available from The Flight of the Dragonfly Press. She is currently reading for her PhD with MMU, focusing on poetry and traumascapes.
AP: What are you working on currently?
JEO: I am working on editing a full hybrid collection, which has been accepted for published, for release late 2024, early 2025. I am also working on a novella in flash, as well as my poetry PhD – which is focusing on poetry and place writing.
AP: What inspired you to start your current project, and what message or impact do you hope it will have on your readers?
JEO: The display of human remains and other artifacts, in particular a visit to The Surgeons Museum in Edinburgh. I’d just like to invite the reader to consider the human body in a new way.
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?
JEO: A key triumph was the realisation that I work around these themes A LOT, so I had a variety of pieces to pull together alongside some new works. Ordering and deciding which pieces to include is something I’m still learning, along with giving the work long enough to breathe. I’m dyslexic, so I do find I can miss typos and errors easily!
AP: How do you approach the process of developing a poem from initial idea to final draft?
JEO: I can be inspired by a wide range of things, but there is usually a visual element involved. I begin by free association and free writing by hand, then I pick out and lines or images that I find striking. The first proper draft takes place on the laptop, where I start to bring these ideas together. Drafting is essential, writing is a process not a single action.
AP: What themes or topics are you most passionate about exploring in your poetry, and why?
JEO: I’m drawn to gothic or darker themes. Previous work has included curse paintings, the apocalypses, mythology and trauma. I do also try to include some humour and vary the tones of the work – it would be exhausting to read otherwise!
AP: How do you see your work contributing to the larger literary community?
JEO: I think there is space for everyone, we all have different voices and tastes in poetry. Sometimes I wonder why I write poetry, there are a lot of us already – but then I read a piece that is particularly striking or changes my opinion on something, and I realise poetry can be powerful.
AP: What role does feedback from peers or editors play in shaping your poetry?
JEO: I am very fortunate to have had positive experiences with editor and colleagues, whose opinion and ideas I highly appreciate. Writing can be an isolating process and you can reach the stage where you cannot see the woods for the trees. A fresh point of view and pair of eyes can make a huge difference. I have an extremely supportive (poetry rock star) as supervisor for my PhD, and I cannot thank these people around me enough.
AP: Can you share an experience where a piece of feedback significantly altered the direction of one of your poems?
JEO: Funnily enough, the one that comes to mind was the first time I sent off a pamphlet submission and the editor (no names!) ripped it to shreds. It was a sobering moment but one that taught me a lot about my writing. One element that fed back directly into my writing was around the importance of titles. They can be used to hook the reader, as well as offering context to what might otherwise be an abstract work or concept. It’s easy to forget about the gap between the writer and how the poetry is perceived.
AP: What do you believe are the most important qualities a press or editor should have when working with poets?
JEO: Honesty, respect, patience!
AP: How can presses like The Broken Spine better support poets and their creative processes?
JEO: I think you’re already doing a fantastic job!
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?
JEO: A recognition that there is space for everyone – poets supporting rather than in competition with other poets. More collaboration. Ensuring poets from all backgrounds have the opportunity to share work.
AP: What do you most appreciate about the current writing community, and how do you think we can build on these strengths?
JEO: The networks you can build! Small presses.
AP: Can you discuss a particular poet or literary figure who has significantly influenced your work?
JEO: Helen Mort (who is also my supervisor) Kim Moore, Liz Berry, Jess Mookherjee, Margaret Atwood, Jackie Kay, Anne Caldwell…to mention just a few! Brian Patten was my break through poet, the one I picked up who made me realise that poetry didn’t have to be akin to the work we are taught at school; it can be accessible and break your heart at the same time.
AP: What advice would you give to emerging poets who are looking to find their voice and audience?
JEO: Be resilient. Have confidence and don’t give up. Work can be rejected for a huge number of reasons (space, themes don’t fit, how the editor feels on the day etc). it does not mean your writing is bad! Although, learning and building on craft is also important of course.
AP: How do you balance the artistic and practical aspects of being a poet, such as creative expression and the need for promotion?
JEO: Social media is a necessary evil. I find balancing work and writing alongside other commitments the biggest challenge. Sometimes you have to prioritise your writing time. Networks and collaborations are incredibly helpful – get out there, attend conferences readings etc.
Now, an original poem from Jennie:
Ginny Greenteeth
Come closer child, let me see you.
Come closer mother, rest yourself.
I have been so lonely here in my pool, in my slack
so long
in my muck and green
forgotten
I hunger your attention
invite you to run your hand
through my shawl
of duckweed. See how it clings to each
sinew brightly,
my hair blooms algae,
I wear lilies upon
my breasts.
I am but a stumble, an uneven
step through long grass
away from embracing you
it would be so easy.
Come closer child.
Come closer mother.
Watch the flies that jitter my skin
who live and die with me
lay their eggs along my thin spine,
between my wet toes.
Sometimes at night,
murderers come to watch their reflection
blanched pure. I invite them all
to lie with me, in my all black
silver moon gild. They slide in beside me
are lost for good.
Come closer
for my teeth are moss
my teeth are bared.
