Choo-Choo!

I took this photo on my last major Amtrak trip during the summer of 2017. I’m pretty sure it’s the Portland, Oregon Amtrak station, but feel free to correct me in the comments if I’m mis-remembering.

It’s been several years since I’ve kept up with my website in any kind of meaningful way, but since so much has changed for me in the last year–and since I’m about to embark on yet another epic train trip (this time to try and decide upon a new place to call home)–I thought this would be an opportune time to begin chronicling my journeys again. Recently, I was laid off from my job as an English professor at a small, private, liberal arts institution in the Southeast. I had deep roots there. In addition to being my employer for the last eleven years, it was my undergraduate alma mater. I love teaching and know I will miss my students dearly, but I also feel like my layoff may have been just the push out the door I needed. A variety of factors like declining enrollments and other difficulties posed by the pandemic have made this a dire time for many in academia. Having been a contingent, yearly-contract faculty member, I was one of the first to go when cuts were being made. In fact, seven out of the ten professors in my department were laid off, as well as a few non-tenure-track professors in other departments. We called ourselves the Monday Massacre Club on account of the Monday afternoon email we all received informing us of our impending termination. When I first finished skimming that email, I felt an unexpected, somewhat perverse wave of exhilaration at the realization I would no longer have a job tying me to my current home in Fayetteville, North Carolina. I could move, finally: something I had wanted to do for a long time. Granted, I spent the majority of the next day crying on the couch; after all, I loved teaching, and even though Fayetteville has never quite felt like home, my sisters, nieces, and nephew are all nearby. Being here has enabled me to be close to them. But even in the midst of the shock, financial anxiety, and disappointment, I felt an undeniable sense of possibility. Plus the layoff wouldn’t be official until the end of the spring semester, so I was fortunate in the sense that I had some time to plan.

One of my deepest sources of disappointment upon hearing the news was the fact that I’d recently made some significant professional strides that my layoff threatened to undo: after a decade of teaching first-year composition almost exclusively, I’d finally been given creative writing classes, and I’d also taken over Longleaf Press, a literary nonprofit that had been founded in the 90’s by Robin Greene and Michael Colonnese, my undergraduate mentors, who later became my friends and colleagues. Michael and Robin retired from the university in the spring of 2020, when the reality of the pandemic was setting in, and in October, I hosted a virtual poetry reading in their honor. A little over a month later, when I found out about my layoff, I had just begun working on my first publication as editor-in-chief, a beautiful poetry collection by Crystal Simone Smith entitled Down to Earth. Since the press had operated under the umbrella of the university’s nonprofit status since its inception, I didn’t know what would become of it once I lost my job.

There were some minor technical difficulties early on (trickster energy, as Sandy Yannone called it), so the event actually begins about five minutes into the recording.

My connection to the press began in 2007, when I worked as an undergraduate intern on the publication of Roger Weingarten‘s Premature Elegy by Firelight, so my attachment to Longleaf was longstanding and deep. I wanted to preserve my mentors’ legacy and felt it would be a disservice to all of the authors whose work we had published over the years if I were to let the press fold or hand it off to someone who didn’t know it as well as I did or care about it as much. So I figured it was worth a shot: I asked to take the press with me when I left the university, and to my delight and surprise, the administration agreed.

For the last several months, I have been working to not just preserve but expand the press, and one of the lovely, unexpected blessings to come out of all of this is that it has given me a chance to work again alongside Mike and Robin, as well as Roger, and another poet named George Rawlins, whose fantastic collection, Cheapside Afterlife, is forthcoming from Longleaf. We’re re-incorporating as an independent nonprofit and re-envisioning the possibilities now that we’re transitioning away from the university and going out on our own. Whereas we previously operated as a regional publisher of authors in the Southeast, we’re now opening submissions for our full-length poetry book contest to anyone writing in English. We’re also hoping to house the press eventually within a community-integrated arts center of some kind, and toward that aim, I’m looking for an arts-oriented town or city to which to relocate.

I found out a few days ago that Amtrak was running a sale on 30-day rail passes for $299, so to those who know me, it will come as no surprise that I’ve decided to scout out possible locations by train. I just bought the pass and will be planning out my route during the next couple of weeks.

The last time I took a trip like this was in 2017, when I spent a summer backpacking solo via Amtrak and Couchsurfing my way cross-country to and from a residency at Willapa Bay AIR. I’ve often wished I had blogged about that trip, so I’ve decided to do so this time around. Stay tuned to hear updates about my trip and the press. Long live Longleaf!

Next Big Thing

Many thanks to Megan Roberts, author of Matters of Record, for tagging me to participate in Next Big Thing, an expanding blog project of author interviews.

Where did the idea come from for the book?

My older sister Chelsea, to whom the book is dedicated, scared the hell out of me when I was little with these ghost stories about a butcher who had built our house, so I guess the idea was planted then. What surprised me was that as I got older, other people around the little town where I grew up began to elaborate on some of her stories: for instance, when I was waiting tables many years later at the Lumberton 68 Family Restaurant, one of my older regulars asked where I lived, and when I told her, she replied, “Oh, the old slaughterhouse. I looked at that place when it was on the market in the ‘80’s. You know the butcher used to drain the blood in that creek?”

So I guess you could say that the collection is part history and part ghost story, though sometimes it’s hard for me to tell those threads apart.

I should also say that the more I looked into the history of the place, the more bizarre the stories got—so much so that they would not all fit in the chapbook. In the full-length collection, readers can expect, in addition to the butcher poems, some poems about an elephant, Helen McGregor, who died while traveling by foot through the area with the circus in 1832.

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What genre does your book fall under?

Poetry

What actors would you choose to play the part of your characters in a movie rendition?

Hmmm, I think I’d pick Winona Ryder to play my sister. Anthony Hopkins would make an excellent butcher, and Natalie Portman could play the ghost of his wife. For the parents, I would pick Kathy Bates and Jeremy Irons.

What is the one sentence synopsis of your book?

These poems were stitched together with human hair and highway lines in haunted landscapes.

How long did it take you to write the first draft of the manuscript?

The oldest poem in the collection (“Stray”) is from 2007, and the newest (“Dressing the Hog”) is from  2012. So that makes something like six years. I would add, though, that I did not begin to think in terms of “a manuscript” until around 2009, and it took a couple of years more to muster the courage to write the poems that dealt with the theme of incest.

Who or what inspired you to write this book?

Well, I would say I was initially motivated by my sister’s death and a cathartic impulse, but I don’t think that counts as inspiration exactly. Some individual poems, on the other hand, were definitely inspired by people I know & love (shout out to my ever-supportive husband, Gerard) and by other writers, teachers, mentors, and peers who encouraged me and showed me how it’s done (I’ll save the complete list for a full-length collection, but for now, I’ll just mention a few: many thanks to Dorianne Laux, Michael Colonnese, and Robin Greene, especially).

What else about your book might pique the reader’s interest?

I attempted a poem that contains two dirty jokes.

Will your book be self-published or represented by an agency?

Neither–it is being published by Longleaf Press.

The writers I tag will post their own interviews on March 20, 2013:

1. Kelly Michels, author of Mother and Child with Flowers (forthcoming from Finishing Line Press)

2. Rachel Herrick, author of A Guide to the North American Obeast (Forthcoming from The Institute for Contemporary Art.)

3. Cecilia Rodríguez Milanés, author of Everyday Chica (Longleaf Press)

4. Michael S. Begnal, author of Future Blues (Salmon Poetry)

Hey Guys, Check out My Chapbook Cover:

My chapbook, Blood Creek, is due out from Longleaf Press soon, so I thought I’d share with you all the cover image, which was designed by Michael Duprey, a good friend & very talented graphic artist. For the creek, Mike used satellite imagery he’s been mapping out. I’ll be sending out some promotional postcards soon; if you would like one, please email your address to shannoncamlin@gmail.com or message me on Facebook. Cheers!

bloodcreek_cover