Poetry Book Club – Anne Casey Interview

Hi everyone, Anna from girlsonkey.com. We do videos about poetry for you guys. Now today, we have a very special guest. It’s actually … I’m a guest in her house Anne Casey poet, Anne Casey. And we’re going to be talking about our new book club. So that’s exciting. Hi everyone so today we’ve got a very special episode. It’s the launch of our Girls On Key Book club, Monday Book Club, and I’m with poet Anne Casey in Sydney. And so we’re gonna talk to you about her book Where the Lost Things Go and I’ve been really delving into it and it’s just Yeah, I don’t have many words for it right now on it. But I will have some words about it in a minute because I’ve been thinking a lot about it on the train. I’m had time from Newcastle to to think about this incredible work, the scope of it it’s just … it’s astounding. So yeah, and you guys get to hear a reading from her as well which is really special, and I hope that you appreciate the awesomeness of being able to sit here with Anne. And yeah. Yeah, so before we do out interview I just want to talk about a new concept that we’re going to be doing with Girls On Key on a Monday that you can look forward to and what its gonna be. We’re gonna have a book club every Monday, we’re going to have an interview or Skype interview with a poet talking about their book. They’re gonna do a reading and what you guys can do is in the description there’s gonna be a little form that you can fill out if you want to have a book club in your area. Then you can select one of the books from one of our beautiful poets. And we will do a subscription where you can get all those books from us for your club and you can interact and we can ask questions. And we might even be able to put questions to the poet ahead of time and our next one. So we’ve got Sheree Fitatase. We’ve got a few other interviews coming up so that’s very exciting. Yeah, and sorry check out all the links in the description. You’ll be able to see if you’re interested in having a book club and these will be every Monday to look forward to. So that’s that’s great, just thought I’d let you guys know about that. And it was read a little bit about Anne just so you can get the idea who I’m sitting with because she really is fabulous and gotten to know her through Sydney Girls On Key chapter, and we’re just so privileged to have her here part of that community. Yes, so we’re we’ll do a reading in a moment, but I’ll just read a little bit about Anne. So Anne is originally from the West of Ireland, she lives in Sydney, Australia the beautiful area and she’s had a 25-year award-winning career. She’s worked as a business journalist and magazine editor, corporate and government communications director, a legal author and an editor. So the scope of your work is just amazing and that’s what kind of colours her work too. As you’ll see in a moment. Anne is the co-editor of Other Terrain and Backstory literary journals from Swinburne University. Her writing and poetry rank in the Irish Times Newspapers most read. So you can have a look of a lot of stuff online is that right? They’ll be able to find you in the Irish Times. Okay. Fantastic and a lot of you might be watching from Ireland please drop us a note in the comments so we can interact with you, and we’re hoping to have a connection with Ireland soon. Thanks to some of the contacts of Anne, so I appreciate that. And so Anne’s poems feature internationally in newspapers, magazines, journals, books, broadcasts, podcasts and major art exhibitions. I know that you’re involved in an art exhibition in Newcastle not that long ago. And 2017 Salmon Poetry published her debut poetry fiction, which we hold right here. And which is also going to be for sale in the Girls On Key bookshop, which you can see in the link. She won the 2017 Glen Phillips novice writer award and had a poem commended in the Bangalore 40 words competition in 2018. Congratulations. Thank you. Anne has been shortlisted for the Couret International poetry prize, Eyewear Books poetry prize, Bedford International Writing Competition and Bangor annual poetry competition among others. So as you can see yeah … there’s a real amazing background in publication, in awards and Yes, so now we’re going to switch over and have a reading from Anne. And so that’s something to really look for – let’s do that. Thank you so much Anna for that beautiful introduction and for this amazing opportunity and the book club idea is such a powerhouse for poetry in Australia. I’m really thrilled to be involved. Thank you. So I’m going to read a few poems from my book Where the Lost Things Go which was published in 2017 by Salmon Poetry in Ireland. The first poem is the title poem from the book and it’s called Where the Lost Things Go. We sat upon a golden bough, my little bird and I. Indivisibly apart we dived into the sky and to the purple heart of dark and ocean we did cry. For all the lost things gathered there in rooms beyond the eye the eye the eye the eye. Second poem is called In Memoriam One. It’s part of a sequence called In Memoriam. And this one is called Made in Milltown Malbay. Milltown Malbay is the place I come from in the West of Ireland. Bright sparks drift and chase like fireflies in the smoky haze, white hot rod dashes headlong into waiting pale. Spewing acrid clouds that catch the throat, the nervous whinny calmed by a steadying palm. The air a-jangle with the clang and clink and rasp. I am a-gasp. Hidden forbidden spotted hunted paradise lost racing down Main Street, heart hammering fast as my tiny feet up the lane senses searing heart ablaze. Too young yet to reason out this magnificent labor, rendering artful craft from crude resource. Half a lifetime later half a world away. Transfixed in that memory. I realised that I too was forged in that lost place. This next poem is about my dear beloved departed Mum. Hope I can get through it in one piece. I never have so far. It’s called in Memoriam to the Draper The town is dead. Nothing, but the wind howling down Main Street and a calf bawling outside the Fiddler’s. My mother’s words not mine. In a letter kept in a drawer of these long years. She had a way with words my mother. That’s why they came, the faithful of her following. Leaning into her over the counter for an encouraging word for the promise of an Athena. Long before we had local radio our town had my mother, harbinger of the death of notices and the funeral arrangements, the store of colloquial wisdom, bearer of news on all things great and small. Who was home and who hadn’t come? Who had got the civil service job and by what bit of pull? But the councillors niece smoke in her new navy suit, oblivious to the circulation countersuit. Would you ever think of coming home? Her words would catch me unawares, lips poised at the edge of a steaming mug. Igniting a spitfire of resentment to each time. Then draping me for days. I’d wear it like a horsehair shirt all the way back until the sunshine and the hustle had worn threadbare. This extra bit of baggage in every immigrant’s case. Their mother was broken heart. I Never thought to ask her would you want me to? So I could look out at the rain, circumnavigating the empty streets and shiver at the wind whipping in under the door. I don’t miss that question now on my annual pilgrimage home. My father never asks it. Like me I know he feels it hanging in the air alongside her absence. I miss my mother, not her way with words. So this next poem is also in the In Memoriam series. It’s In Memoriam 9 and it’s called Spilt Milk and it celebrates a tradition of making brown bread in Ireland and also a very special relationship from my childhood. Spilt milk. The smell of turning milk sitting on a sunlit windowsill in an earthen jug. Waiting to be poured into the softly expectant flour, the plump currents squishing up between her knowing fingers. A smile hurling at the corners of her gently sagging cheeks. Crinkle in her eyes as she nods for me to lift the heavy jug. The wobbly splash of its thickened load and away again with those practiced hands lightly circling and scooping until the lumpy mess is miraculously transformed, and she marks it with a cross. After all the white clouds settle bare oak wiped, flagstone swept, the air aloft with insides melting promise. We sit together. 70 years apart but thick as thieves. Never guessing how I would later and let her down. That awful moment. When my father came home so quiet and told us she’s gone. My heart rent at the length since I’d seen her with just a wall between us. The smell of slightly souring milk now forever inseparable from the belly flipping churn of my guilt. And this next poem takes us to Australia and my love of the native bush here. I’m very lucky to live at the edge of the reserve and to be able to go walking in it every day. And that’s my wish to be part of it someday. So here we have Days Like Today. I am not old but I am worn down and frayed at the edges, and I wonder at what age will I say take me away. Let me shed my skin, release all my atoms, let them fall apart still sparking. Show me the place where they can separate and stop them spinning. Diffused diffuse drift off sink into the moist earth. Seep into the pulsing womb where a bandicoot’s probe while we sleep. Soil dappled snouts carrying me, bits of me away onto the dark branches glinting with the watchful eyes of opossums, strong with the spectres of escaped cicadas. Show me where there will be no more aching bones and world weariness. Where I can gladly give up my ghost? And continuing with the Australian theme This is a micro poem. It’s called A Stir, Don’t Blink You’ll Miss It. A Stir. Parched bar flakes from a sun-baked trunk, a chrysalis wakes. And another micro poem on the same theme. The Lady and Gaara. Golden loom stretching in the warm sun, winter garb strewn about her feet. And that takes us to Palm Cove Parade. A cheekier kind of Australian English life. Palm Cove Parade. Marching past the wedding couple simpering and struggling in the sound for their troupe of photographers who have numbered their guests, owl eyed straw legged sleek headed. Swanning down the main drag, stopping traffic like a flurry of supermodels, animal awareness set on high. Observing their observers alongside the knots of legs and the muslin draped pram, skirting the flapping toddler, necks braced elbows akimbo. Stone curlews ready to cast themselves into the sodden late afternoon air. And then circling back this point is deeply personal to me. And I will probably get a chance to explain it later talking to Anna. It’s called Between Ebb and Flow. Mist rolls off moss green hills where wind wild ponies thunder. Mane’s flying as they chased their seaward brothers, locked in eternal contest on this deserted grey mile. Past the little stone churchyard long forgotten graves spilling stones onto the sodden bog. The softs snore from behind, my two angels sleeping. 13,000 miles from all they have ever known running our own race to make the best of spaces like this. A rainbow rises along the horizon, and I recognise her car from my mother locked in her own immortal struggle. The sister returned so I know it won’t be long now and I cry a little at the unbearable beauty of these diastoles when we are all suspended here in a heartbeat between heaven and earth. And finally Come and Find Me, A poem harking back to where I come from in the West of Ireland. Come and Find Me. Where wailing walls of moss rolled stone slowly yielding to a century crusade cling with smoke of long gone bonfires now forever married with the drifting sea mist lifting over impossibly green fields. Clutching ancient secrets, drop sharply off to pitching shale where swarming gulls rise with the lagging time. Running the gusts plunging with the lulls to swoop and pull glistening hall under the flagging watch over waterlogged tower marking the ethereal line between sky and sea and spectral hills loom long past muted islands still harbouring as shipwrecked shore. Come and find me in the dying light where a cormorant calls, unanswered shallow over his own ghost. You so much for your rating, and it was just gorgeous really and I was sitting off-camera and felt like clapping but I refrained. Yeah, so I’m sure that you as an audience really appreciated being able to have that reading with Anne. And if you’re every in Sydney and you Girls On Key chapter you might get a chance to hear Anne as well and connect with her. So something to look forward to if you’re interested. And so we’re going to do a little bit of an interview. Yeah. And I just want to talk about how the book impacted me and my kind of thoughts on it, and then ask some questions. And I I was really blown away by the scope with this book, and I and I mentioned to you before historically, personally, politically just yeah, there’s a very broad story and a good scope that I gathered when I read through it and some beautiful motions and beautiful things. Yeah, and we can talk more about how the books designed because I’m not sure if you know, but I’m very big on design principles and writing. And in our other videos we talked about it is it starts being at when it stops becoming arbitrary, and the way that you’ve designed it it’s just so beautiful. And it’s not just plonking poems together, you give it a lot of thought that’s gone into the story and the arc and Yeah, I got I find that it’s … I haven’t seen anything like that for a long time. And when you as readers, when you choose this book for your book club, which I hope you will like there’s so much to discover. It’s like absolute treasure trove you know in some books it’s kind of a bit shallow. This is by no means. And you know with a picture on the front the deep water, and that’s what it … I see it’s like so there’s so much depth to it and so much scope and you could read it for a year with your club to really uncover so much. Yeah And one of the things I was saying to Anne was, when I write fiction one of the things I do is pick a character and how they butter their toast is one way to kind of see their personality. And I was quite interested to see that in Anne’s book but one of the things is butter and bread that comes through as a little motif. Just that mundane act of probably butter out bread in the context of breaking bread with another person and each character like your grandmother or whoever it’s in their stories and poems and it brings a different context to that. You know and I love. So yeah. I think that’s all then. There’s something almost sacred about the traditional of making of a brown bread. And there’s that beautiful one which is the poem of the making of brown bread, Spilt Milk that you read and just that act and the love that’s put into that act, and the breaking of the bread together and that’s … And do we do do it anymore? Is it lost you know? There are people who do. But even … even just sitting around to have a meal with another person. And it doesn’t have to be that’s right you making some bread. Yeah, that’s right, and so that was very fascinating. So enough from me. We’re going to hear a little bit from Anne. So the first thing I wanted to ask is if you could tell us about kind of a genesis of the book and your writing process and how it came to be? I know that’s a big question. Yeah, so the starting point for Where The Lost Things Go was when a poem I wrote about my beloved late mother was published in the Irish Times newspaper. And that was the poem I read called the Draper from the In Memoriam sequence. It was my first poem to be published as an adult and to have it in the Times was you know an amazing thing for me, but it was also because it was such a deeply personal time. I was very trepidatious about how it would be You know what the response would be to it. I mean as you saw this day I can’t read that poem without becoming quite emotional. So that was in January 2016 and I really wasn’t prepared for what happened it went a bit viral. After the comments section in the newspaper filled up and closed people started hunting me down. From by Google and all my social media and my website etc. The one thing I kept hearing from people was that after their mom died they couldn’t cry until they read the poem and then the floodgates open and you know that was such an epiphany for me that response I only realised that it was it was an indication of the reach of poetry how you know the written words the spoken where I can reach across the world and connect from one heart to another to another yeah. And that was when I really realised the transcendence of poetry and the written word. And since that moment I guess I read poetry and I write poetry with one intention in mind and that is to either change or be changed by it and I set myself this. So I think that’s the amazing gift of poetry I really do and and you know as a writer right I set myself this challenge every time I write it a poem. You know it’s I want this poem to to change person by the experience. Even if it’s the tiniest thing of making you present for that one moment. Or inspiring a memory of your own or that you find something in in your life that something you realise that’s actually quite special. You know we shouldn’t gloss over these things and that universality. But through the specific you know hearing or your specific experience in your that imagery and then that that universality so on. Someone in New Zealand could be reading it and then it puts them in here. And to be able to you know the amazing thing is now that poem is being used in book clubs in Ireland. Which is such a joy and even it’s being recited at music gigs That’s what like if I could do anything with this book its to say you know it gives people a moment from ordinary life that takes us out of the ordinary. There’s so much of that around us. And I think you know we’re so busy and and always in a screen that we don’t really, unless unless we’re reading poetry, we don’t really grasp that sort of that presence in our lives. And and so it’s that with that as a starting point for the book I realised I wanted to gather more of these sort of sacred moments and capture them for other people. But also for myself. And and I have to say my dad has been a real influence for me because he’s he’s a bit of a family historian and he’s also a local historian in our local area in County Clare. And and he’s very much aware of this need to capture the things that are being lost and preserve memory. And so this book is also about that. And it progressed from there. I think it takes you on a journey through from childhood, through all of the sort of transformational experiences of my life and then it loops back. And so um from your reading just so to get a bit of the background behind one of the poems maybe. Between Ebb and Flow, you know a bit about the background? Alright I’ll try to get to that. It’s often hard. This is another really deeply personal poem to me the back story is that, around the birth of my second child my mum was very ill and after a lot of wild goose chases. We were told that terrible news that she had pancreatic cancer. So we did the only thing we could. Bottled up our two kids who were under two and a half at the time raced back to Ireland. 13,000 miles and I stayed on in Ireland with my dad to look after mum and my husband came back because obviously he had to work in Australia. So I won’t mince words it was absolutely the most horrific and heartbreaking time of our lives we spent six months watching mum be slowly dismantled by this really horrific disease. And that’s the backdrop to the poem. And the thing about it is that I was in this stunningly beautiful place in the West of Ireland at our family home. Where we were looking after her is on a windswept beach with the Atlantic Ocean and was The Cliffs of Moher. And it’s really beautiful, and I think that was a godsend in a way, but we were in this heavenly place going through hell. And there came a time in the heart of winter when the life out there on the edge of the sea, which is mulches old, and I had taken the boys for a drive by the sea which I used to do to try and find some peace and I had this really profound experience as quite overwhelming and there was something about the absolute beauty we were experiencing. I realised mum was going to go and I realised we had to let her go because the pain and it being of the reality of what she was going through. It was time to let her go and that was a huge deal for me and how that moment to be able to say it’s okay. But there was also a sense of love enfolding us and I felt like … had a sense of wonder. It’s almost like I saw clearly for the first time in months the beauty of life and love and the cycle of life And this need to know and the connectedness of everything. Significance of what we go through, and and and you know what we share is human beings. And in a way, so that’s in that part delve into that in that. Powerful poem which is from actual and costly experience as they say you know. It’s not just is not a little poem by any means. And you know something else I’ve said it’s you know in the end really are we the summable we gain from all our losses. You know sometimes. It’s those hardest times that teach you really, what’s the most important thing in your life? I think poetry does tell us that over and over you know puts so much of their human experience in poetry and it’s there for us to access if we choose to do that yes, and it’s almost like think these reenact many reenactments of It’s precious moments. So when you’re holding that book in your hand you can remember what, you know just the depth of the experience that’s coming to the writing of those books. When I say I think like with the Draper it it makes people feel I’m not alone in these human experience. Yeah, I relate to this this is how it happened to me. And that’s the most amazing connecting force of the written word those. It’s amazing to have that opportunity. It’s just I think it’s kind of the mind boggles a little bit is. It’s the reason why you write you know that’s really it was a motivating factor for me was then. You connect people and and you feel this response imitating humanity. And so just a little bit of different tact, so you’re from Ireland and talk to us a bit about how your writing has changed you know in Australian context and Ireland Irish context? How does that come to play and obviously there’s and incredibly beautiful sense of place in your book. But yeah, talk to us a bit about that. I mean obviously I’m Irish and to say that you know there’s an Irish influence in my writing is understating it, really it inhabits my writing. And I think there’s a background to the way that I write that comes from having grown up in this country in this culture of where poetry and song which is part of the roots and guts of how you live and you know. The stories and traditions were passed down through through song and through poetry and you know. Ireland has got a war torn and bloody history. And and poetry was used as a subversive force also. So in rebelling against the colonial masters the indigenous Irish people used poetry to pass on secret messages and strategies and information and most of all hope. That’s really interesting with me is about trying to keep people’s hope alive yeah, and so from me in going through life and you know as a child and growing up poetry was that to me. It was like it’s full of coded messages, but it’s up to you to decode it. And I love that you know It was interesting it was fascinating, but it was important as well it had to be an important message. And that mystery. Yeah it’s a treasure hunt too. Yeah, it really inspired me as a child. And you know I have to say also. I’m very much influenced by my dad and those two factors definitely influenced the fact that there’s political poetry in my book. It’s not just a personal journey not put politics in a way is the personal to me and I sort of feel like poetry and the resistance, maybe because of my Irish roots, is a really important purpose of you know writers and artists in the world is this need to respond to what’s happening in the world and try and give some resistance to it and and give people hope to then that there is a way forward, then it isn’t so dreadful and yeah, you know yeah. That’s right, so you know in terms of the Australian influence in my work. I have been living here for 25 years. The immigrant experience and sense of displacement and dislocation is absolutely there. And certainly in this book. So that’s a sort of reasonable thread through it. If I was to take an external perspective on my poetry I’d say some of the things coming from the Australian side would be a growing openness to experimentation. I may have sort of started out in a traditional verse format. But you know some free verse, but still with some structure to it. I have to say I can be a little obsessed with the conversation but you know I I don’t know why but in me there is this need to say the most you can or to make the most impact you can with the fewest word comments. Yes, so concision is a little obsession, but I also think about how the poem looks on the page, and I think I am very much influenced by Australian writers in doing that. You know what can you imply by the how the poem looks on the page the structure the shape of it. I love that about page poetry too. You know how you chop the lines and enjambment. And lately I’ve also been reading more lyricism because I have written songs about a lot. And you know some of them been recorded in Australia and America yeah, but no no big hit. So another big thing for me in terms of the Australian influence is my love of nature and the Australian bush at my house right now. Yeah, so every day I go I think I know I live under the tree. That’s so gorgeous yeah hear the birds mmm. Just absolutely love it, go for a walk every day in it, and I think that’s really an inspiration to me. And it is coming through more and more. And I think you’ll see more of these influences in my next book which is coming out through Salmon Poetry in 2019. Not long to go. I know it’s pretty much finished. Putting the final polishes to it. So it kind of takes us to our next question, which is really good … How has your work evolved since you first came into poetry as a young person? What’s your sort of evolution as poet and into your work and ideas that you’ve process, like big life events have a big impact on your person and as a writer. So I I first started writing poetry around the age of eight. And I can’t tell you how it started I suppose maybe cos in Ireland you’re just surrounded by and well actually yeah … Probably because my dad every five minutes quotes something from a poem. So maybe that was it. But I rapidly realised the power of words to convey an idea from one mind to another and it was just the most amazing thing. It was such a potent thing to discover as a young child and you know such power at my tiny fingertips. I loved it and through my teens you know it’s a way of really exploring the world around me, and how it affected me but I abandoned poetry for a long time due to circumstance, you know I just growing up in a you know recession in Ireland very much focused on getting a sensible job and and you know earning my keep and all of that. And I also wanted something … I had a great desire to travel always and I wanted to have a career that afforded me that opportunity and and and I did but I still knew that I needed to do something that involved writing so my whole career has been based around that in one way or another. And I’ve been very very lucky to be able to do that as a journalist a magazine editor etcetera and communications director yeah, but you know in over a period of a couple of decades I probably wrote one to two times a year, and they’re all lost in notebooks, and you know many actually one of my friends journalist we were together in Dublin many years ago she reminds me often that I wrote a poem when we were journals together about the new prime minister of Ireland who I have interviewed for a business magazine. And I had written it on the back of a beer mat in Mulligan’s. But you know I was only really because you know my life was about deadlines and and responsibilities and stuff so it was only really after I’d had children and my mom’s passing I came back to poetry. I came home to poetry properly and it became part of this evolving journey of self-discovery. And I’m finding my place in the world again, and it’s been such a gift for them. It’s such a gift yeah. I’ve met the most amazing people through it. Yeah, I feel like you know I’ve found my tribe finally yeah. If you want to find your tribe like we have join us at Girls on Key. It really is and experience and I don’t know how it happens but it’s a place where you can connect with other people. And it really is really special and I think having that community when you are often writing on your own, and you absolutely need that. Just a couple of things before we finished. So I just wanted to talk to you a bit about the cover because it’s a fascinating picture and you’ve got the electric fiery side and … talk to us about the cover. Okay so um the title came from this ekphrastic poem which I read it was the first poem I read. Where the Lost Things Go. And that poem sort of emerged from as I was pulling poems together I realised it was all about these lost places and people and traditions And I was putting them here, so it was somewhere that I could come back to them. And also you know so I wouldn’t lose them. But also so I can share them with other people and they can it can jog their own memories of those kind of almost sacred experiences in their lives, yeah. And that’s my hope. And on the cover there’s this empty boat which is really like about the displacement of the immigrant which is so strong in in my life and also about the journey. So this whole book is a journey through life and the transformational experiences you go through. You know the experience of mother, but is in here of loss of being a child and then leaving that place and coming back and finding. Well the place. We grew up is no longer there. You know so there is this lostness and I think that’s beautifully portrayed in the cover, but one of the most important, and there’s the fire politics. And up here a seagull, for me having watched the seagull sweeping over the cliffs near my home growing up and just every time I watched them rise and sweep my heart would follow them and. So that was really beautiful that it was was able to be in the cover. And that’s Siobhan Hudson at Salmon Poetry. She did an awesome job. A shoutout. And can I just say Jesse London who’s the managing director of Salmon Poetry is the most extraordinary woman. Over 30 years she’s supported Irish women poets. Incredible. And I’m just so lucky to be part of their family. And we put a link to their stuff as well in the description so you guys can check them out. Thank you for that, that was really great to hear the whole story behind it for you guys when you get your copy. And so just lastly for any book club readers. It’s just you guys um what do you want to tell them, what insights? Do you want to give anything else … the secrets? I mean something what a wonderful opportunity to let you inside my head Scary place. Thank you. I think this is such an amazing idea. I really love what you’re doing. So some things that nobody else really knows that I’d like to share with you in reading the book firstly. Secrets But a unique cover, that’s exciting our intimate moment sacred moments and personal discoveries It’s my soul laid bare. Which is a really scary thing but it’s also you know I hope that it jogs things for other people and that you find your sacred memories and moments. And I hope that that’s something you could talk about in book club as well like what what did it make you think of in your life. The collection also a little-known fact can view it as a kind of a story from start to finish. This is almost like a novel. So from the first poem reading consecutively to the end. There’s kind of an evolution of my journey and then circling back on itself. And I’m really curious to see if that makes sense to other people and you know because that was certainly my intention. Also if there are intertwining threads through the collection. Between … there are cross references between poems. There are some beautiful motifs. Threads, you know lines here that then you go. Oh, that’s that person. Okay. I love that because the different context brings it out in different way. That different perspective. I’m so glad you got that. So like there’s lots of those, and I think you know I’m told that when you when you find, those you go Ah! So I hope you guys have that to look forward to. I’d also like to say you know, please please please look beyond the obvious. Because this is really you know true to Irish writing tradition if you look closely you’ll find double and multiple or hidden meanings, not just in individual poems, but in particular lines titles words and in poem sequences. And even in the form that I’ve chosen the shape of certain poems how its how it sits on the page. There’s often a message in that. And you’ll find more of these anomalies if you actually listen to poem maybe if one of the book club members reads the poem out loud to a group you you may find in hearing the poems, your wonder was that the word I intended or was it the homophone or was both? So much design behind it. I hope that people have fun decoding. They will I’m sure. You know I’ll put this like Easter eggs Through the hunt so there’s a treasure hunt for you guys. Thank you so much, and it’s just been such a beautiful privilege to have you here. Well, in your own home. So I’m here in your home as a guest. I’m truly honoured, thank you so much. Amazing initiative as is everything you’re doing you’re an absolute powerhouse for poetry and particularly obviously women power. I really really appreciate it. Thank you. And so just to finish we’re gonna do… if you are the first book club to sign up with Anne’s book you’re going to get a signed copy. So we’re gonna need you to sign on all your copies. Five or more people to make a club and fill out the form below. And we’ll send them out to you so that’s really exciting. I’m sure that you well I hope you’re as excited as I am. It’s just such a fabulous treasure that book. You guys will be able to have fun decoding, doing your treasure yeah. And one other little competition if you want to respond to Ann’es work, anything she said in the interview or a poem or of the cover. We’re gonna have a little bit of a competition so it’s gonna be linked below. If you want to respond through art or through a column and then we’ll send you a signed copy of Anne’s book. So that is very exciting. So please do enter that and please comment, ask questions below and subscribe if you’re looking to see our Monday video pop up in your feed our next poet, so we’ll let you know who that it’s gonna be and we’ll see you in the next video. Thanks guys Hi guys so today we had a very special interview with poet and friend Anne Cars … oh not Anne Carson. Hi I’m not Anne Carson. [Laughs] Alright you can do the outtakes. [Laughs]

5 thoughts on “Poetry Book Club – Anne Casey Interview

  1. Congratulations at Girls on Key for this incredible new Monday Book Club. Anne Casey, Irish poet extraordinaire, reads these incredibly moving poems from her collection, 'where the lost things go' and i myself am lost for words. To hear Anne Casey read these poems is a poem in itself. Totally divine and so incredibly moving and i am in awe.  Thank you Anna Forstyth at Girls on Key for your incredible heart and contribution to poetry. I could watch this video again and again and again. Looking forward to the next episode in this Monday Book Club series.  Wow.

  2. So much of this resonated with me so that I'm very much looking forward to reading it. 'Would you ever think of coming home'
    Oh my heart.
    But you know I love the idea of the sacred in poetry as a prime mover and how good is it to hear a poet say that?
    The heart leads I believe.
    I wonder which poet/s Anne goes to for the sacred??

  3. such an engaging reader, thanks for creating this content for all us homebodies to experience live poetry <3

  4. Thanks Girls on Key for creating this forum for poetry to be heard and shared. Love Anne Casey's poems and she reads them so beautifully!

  5. Utterly wonderful! Such moving readings that resonated heavily with me. Can’t wait to meet her. I also love the book club idea!

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