Kersten Christianson, Poet

For those unfamiliar with Tidal Echoes, it is the literary journal of the University of Alaska Southeast. Professor and poet Emily Wall oversees its publication each year through Jr./Sr.-level editors coming up through the ranks of their own creative writing pursuits. It’s such a delight to publish in this journal because each is so unique and different from the last. I think I’ve published in about a dozen issues over the years. Each year feels a bit like this happy reunion of page of writers and artists of the region, many with whom I’m familiar, or simply know through friendship and writing. Many I’ve encountered through my volunteer editing work at Alaska Women Speak. Some have been my own creative writing students at Sitka High School trying on their own publishing wings.

Last fall I was asked by the editorial staff of Tidal Echoes if I would like to serve as their 2022 Featured Writer. What an honor! And certainly an opportunity I could not refuse. I worked most directly with Shaelene Grace for shoring up an interview in the fall, submitting poems in the winter, and prepping for my presentation the night of the April 1 launch.

I have to admit that I love all the written aspects of writing poetry, of publishing work, but I still fret at the idea of organized readings, even after all the opportunities I’ve had to do so. The idea of talking for 15 minutes still makes me balk initially until I resettle into the reality than time flies when I’m reading, really reading, my poetry. And usually, before I know it, I’ve cleared 15 and am headed into 20. The thing of it is though is overcoming that block, “Oh, I can’t do that,” and instead jump in. When it comes down to it, I’ve never had a negative experience in a reading, in fact it becomes one of those moments in which I’m truly present. There’s great beauty in that, but also in the look-around the room and seeing who is there to hear you read because they want to be there, be it friends, writing group, fellow writers, college roommate, parents, teachers past and recent, even someone you’re sweet on. There’s a sweetness to it all that can’t be replicated under other circumstances.

So I organized my presentation into Haiku Deck. It is titled “And then you follow that spark,” but if you put together each of the slide headers, you end up with a bit of a rough poem in even that:

And then you follow that spark
break out the technology
allow your poems space
be surprised by where you can revise
say yes to all the readings

I closed with reading “Songbird, I Offer You Refuge,” “When Even the Astrologer Says You’re Fucked,” “Troubadour,” “Like a Sniff of Pepper,” and “Heart as a Burning State.”

I have nothing but gratitude and admiration of Emily’s hand in all of this. Thank you to editors Emily Bowman and Shaelene Grace. And thanks also to reporter Michael Lockett for his interview and story in the Juneau Empire News: “Loss and Birds: UAS Releases Annual Literary Journal.”

Alaska poet Keriann Gilson launched her brand, spankin-new collection of poetry today, places I never want to see again (Gnashing Teeth Publishing, 2022). It’s this beautiful road-rambling follow of a relationship’s ebbs and flows. I appreciate Keriann’s experimentation with haibun, especially its form and how it meanders down the page. She also explained today that the enjambment is a clue into the relationship. When lines flow and haiku are more elegant, the relationship is at its zenith. In contrast, the existence of short, choppy, stilted lines suggests there are problems afoot. It is a fine read, one that should land on a lot of bookshelves for a future reading once it’s been savored. Cheers to Keriann, and not only for this fine read, but also earning her MFA. Exciting news all around!

It’s the break of day, New Year’s Eve. I’m writing from the warm, night-morning-darkness of my living room, the only light is that of decorative twinkle and the snow glow outside. My holiday boon is scattered on the nearby table, gifts that are already page-tabbed and folded open. I’ve finished Amy Butcher’s Mother Trucker, and working through Robert Hass’s Time and Materials by day and by night, Ken Gould’s mystery, Death’s Grip, along with Kerstin Ekman’s Scandia Noir read, Under the Snow. As is the case with readers, these are 4 named titles. Waiting in the background sit short stacks of 24 additional titles, patiently awaiting their own cracks in spine. There is a new blank book awaiting rough writings in chicken scratch scrawl, bright beaded earrings, magnetic haiku and coffee poetry sets, and real coffee from a friend to accompany all of these wild ways to spend winter time.

Blue Canoe Writers has focused recent weekly meetings on the writings of Robert Bly, Adrienne Rich, Ada Limón, and now Robert Hass. I’m reminded once again of the reason behind the partnership of reading and writing and again consider the richness of my own writing when I’m actively reading. I’m thankful for this group of writer friends that meets via Zoom Tuesday night and has done so consistently since the onslaught of the pandemic, and long before then, but more in person and in homes, and even once on the tugboat Adak, and in parks. We are largely split between the communities of Sitka and Wrangell, so it makes sense that we turn to technology to keep our gatherings close.

I did not mail out near the number of submissions in 2021 that I have in previous years, a practice I need to return to in 2022 along with early morning daily writing, but the year gifted me with such a plethora of experiences and friendships and for these, I am incredibly grateful: Trips to Washington state for storytelling over gin and cards, forays into Portland for leisurely visits to Powell’s Books, and a month-long writing residency at Storyknife in Homer.

My writerly dreams are many. They are rooted in fantastical and real. They swing from wanting to park under folk singer James McMurtry’s hat for writing instruction to apprenticing with the poet Dave Bonta on Haiku and visual poetry, to once again meeting in face-to-face gatherings with Alaska writers, with all poets of all places, to talk writing. I want to settle on a title for my current work in progress, apply for far-flung summer writing residencies, and fill my burgeoning stack of blank books with words/werdz. It is the time of year that I return to Neil Gaiman’s wish, “May your coming year be filled with magic and dreams and good madness. I hope you read some fine books and kiss someone who thinks you’re wonderful, and don’t forget to make some art – write or draw or build or sing or live as only you can. And I hope, somewhere in the next year, you surprise yourself.” I don’t know what 2022 will bring, but I can only hope for continued sweetness, creativity, and good surprise. And if you’re reading this, I extend that same wish to you. Best.

The fall issue of AWS landed in my mailbox today! At 25° my mailbox is usually always frozen shut, so it isn’t a grand unveil without a lighter and some lock de-icer. As a poetry editor I love seeing how work morphs from draft form in Submittable to layout to printed paper copy. The cover photo is titled Open Sky by Becky Strub. Mandy Ramsey’s art is scattered throughout the pages and writings celebrating the celestial. I do enjoy volunteering for AWS for all the good writing reasons and for supporting northern women writers throughout Alaska. If you have an interest in volunteering, drop me a line. We are in need of an organized person to keep our email sorted and our mailing list updated. And you, too, would get to work with an amazing group of volunteers who also life up this sweet, sweet journal. #alaskawomenspeak

It was an incredible summer. Between Storyknife and a return to Road System, Alaska to an impromptu trip down to see good friends in the Columbia River region of Washington, my Hydro Flask is full!

I returned home to find a couple poems published in two different anthologies printed by the Australian press, Pure Slush. While this isn’t the first time I’ve published with Pure Slush, my response to doing so is consistently positive. Editor Matt Potter is a delight to correspond with as he’s not only quick to respond to writers, he’s thorough. This is one of the few publications that I’m required to sign a contract for and even its turnaround is timely and efficient.

So I thank Matt and Pure Slush for publishing “One Hundred Bucks for Public Radio” in the Friendship issue, and “The Goods” in the 25 Miles from Here collection. I’m also happy for my writing friend Larry Wright who also published his poem “Lost Boys” and “On Rattlesnakes” in these same anthologies.

As for summer, it is all too quickly coming to a close. I am trying, really trying, to settle into the groove of another school year and winter ahead. But my dreams are taking up greater space. They are bright in color and I’m more restless than ever to chase them.

When Editor Cristina Norcross reopened Blue Heron Review for a special bonus issue to share writing of hope generated through an arduous pandemic, I jumped at the opportunity to share and was happy to learn that my poem, “In the Cauldron,” was included. I first published with Blue Heron Review in 2017, and was later Blue Heron Review’s Featured Author in February 2019. I’ve always appreciated this journal for its publication of thoughtful writing and art, and the re-open for a bonus issue is indeed a bonus!

Christina says it best in her letter:

Dear Reader,

It is such a great pleasure to share this issue with you!  My goal in opening up Blue Heron Review again for a special bonus issue was to provide writers and readers a chance to surround themselves with the energy of hope and promise after this long pandemic year.  You will find exquisite, fine art photography and beautiful poetry to nurture the soul.  These poems reflect the different experiences people felt moved to share.  Through recognizing your own stories of struggle, resilience, and human connection, I hope that the many tomorrows of 2021 seem a bit brighter. 

With kind thoughts,

Cristina M. R. Norcross, Founding Editor
Blue Heron Review

Perfect for Sunday morning reading, enjoy this issue. It was compiled with good energy and intention.

I feel such a kinship with library systems, especially those in small towns. Often a hub, they have the ability to bring together, and in many cases, create community. When Bruce and I traveled Canada for many summers, our first stop was often the local library. It wasn’t just to borrow Wi-Fi to contact home, but also check out local happenings, what types of resources were offered, what folks were reading in their neck of the woods. In fact, I collected a good 7-10 library cards from small town libraries across Canada, from British Columbia to Newfoundland. I may never return to these destinations, but I like to think that my card-carrying membership added to their collective reader base, somehow.

Last fall, I sent some poetry to Mason Street, the Newark Library Literary Journal. The Newark Library is located in Newark, New York, and of course my curiosity about such an offering through a library system got the best of me and I had to learn more about this particular library. Like so many libraries I’ve had the joy of experiencing, the Newark Library is really no different. Community within community.

Mason Street’s Editor and Founder, Celeste Schantz selected my poem “Troubadour” for the winter issue and “Faithful” for the spring. Both poems are in good company, and I was especially delighted, no, fangirl delighted, to see that poet Marge Piercy headlines the spring issue with “My Library Memories.” Swoon! If you haven’t read her work, you should. The first collection of hers that I savored is titled The Moon Is Always Female, a must-read. This is her 7th collection of writing. Organized into two sections, the first is categorized as “amusingly elegiac to the erotic, the classical to the funny (Amazon).” The second section is lunar in nature. It consists of a series of 15 poems for “a calendar based on lunar rather than solar divisions” (Amazon).

I’m really thankful that both “Troubadour” and “Faithful” found a home in the pages of a literary journal of a thriving library far away from home. Should you get the chance, read both issues. Visit the archives. But most importantly, keep writing and sharing our work with the world.

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