• ABOUT
  • PRINT
  • PRAISE
  • SUBSCRIBE
  • OPENINGS
  • SUBMISSIONS
  • CONTACT
The Missing Slate - For the discerning reader
  • HOME
  • Magazine
  • In This Issue
  • Literature
    • Billy Luck
      Billy Luck
    • To the Depths
      To the Depths
    • Dearly Departed
      Dearly Departed
    • Fiction
    • Poetry
  • Arts AND Culture
    • Tramontane
      Tramontane
    • Blade Runner 2049
      Blade Runner 2049
    • Loving Vincent
      Loving Vincent
    • The Critics
      • FILM
      • BOOKS
      • TELEVISION
    • SPOTLIGHT
    • SPECIAL FEATURES
  • ESSAYS
    • A SHEvolution is Coming in Saudi Arabia
      A SHEvolution is Coming in Saudi Arabia
    • Paxi: A New Business Empowering Women in Pakistan
      Paxi: A New Business Empowering Women in Pakistan
    • Nature and Self
      Nature and Self
    • ARTICLES
    • COMMENTARY
    • Narrative Nonfiction
  • CONTESTS
    • Pushcart Prize 2017 Nominations
      Pushcart Prize 2017 Nominations
    • Pushcart Prize 2016 Nominations
      Pushcart Prize 2016 Nominations
    • Pushcart Prize 2015 Nominations
      Pushcart Prize 2015 Nominations
    • PUSHCART 2013
    • PUSHCART 2014
Roving Eye, SpotlightJanuary 24, 2016

Poet of the Month: Nancy Anne Miller

What quality do you think you possess that enables you to draw consistent inspiration from your birthplace? What do you think ‘home’ means to poets? Is this an ever-changing, fluid conception?

An older poet friend once said to me a poet has to find their subject. Writing about Bermuda has made me grow enormously as a poet. I think I am aware of that and also aware that as I insist on going in deeper I find that there is more to write about. I think of myself as an anthropologist of sorts, excavating a culture in my poems. Heaney’s reference to digging is a handy concept here. At first I had to write quite extensively about slavery, because of the dire infrastructure it is regarding island history, now the poems have moved away from that, and of late out towards the undersea for instance.

Loss is a great incentive in my poems. In ‘The Sublime Void’, Bart Cassiman states: “The highly imaginative/creative nature of memory thus involves forgetfulness and loss. It is only through forgetfulness, however, that the past can appear in a manner that is not entirely sterile and thematic, or merely quotational. Such an appearance shaped to a crucial extent by absence can rightly be called the sublime void.” Hence, my memories are active not static, energetic and “not entirely sterile”, which is good fodder for poems.

Regarding the concept of home, I remember arriving in Bermuda and jumping into a cab and breaking into Bermudian dialect with the cab driver. I felt immediately as we bantered back and forth that one’s true country is the country’s language, even more than the terrain we were driving through. Likewise, when I approach the departure gate at the airport in NYC and hear Bermudians speaking in dialect I feel at home.

I’m interested in feminizing language by creating a circular movement throughout the poem. I intend to disrupt the idea of the poem moving towards a climactic end.
I think this is true because Bermudian dialect was my first language, the words I used to create my world with and I think that first naming remains very deep within my body. My saying loquat in an accent resides in me at a physical level that a recently acquired word such as apps never will.  Again those first words opened the world to me, gave me entrance into it and an ownership of it. It is where I created my Eden, become a part of the landscape. Also as I grew up in a segregated island, dialect was a way for me to escape those restrictions and belong to and with the larger group of Bermudians. So I would say Bermudian dialect mapped out my sense of home and place in my early formative years.

How do you know when a poem is finished? Do you think there is always scope for revision, addition, excision?

Valéry got it right when he said that a poem is never finished just abandoned. However, there is a place I can let a poem go. Yeats says, you can hear a click like a box shutting when a poem is done. There is a point for me when I am satisfied with the solution a poem is, although paintings have taught me that both can be opened again, and not to leave a painting or a poem too cooked. This quote from the British sculptor George Fullard captures the notion of a completed work for me:

“There is no method and no intention to speak of there is only the facts learned so far from working. A completed work is not made, it emerges as a survivor out of a phase of action, struggling through an infinity of possibilities to reach the challenge of impossibility.”

Continue Reading

← 1 2 View All

Tags

Afshan ShafiinterviewsNancy Anne MillerPoet of the month

Share on

  • Facebook
  • Twitter
  • Pinterest
  • Google +
  • LinkedIn
  • Email
Previous articleSpotlight Artist: Nayha Jehangir Khan
Next articleAuthor of the Month: Zino Asalor

You may also like

Author Interview: Rion Amilcar Scott

Spotlight Artist: Scheherezade Junejo

Poet of the Month: Simon Perchik

Trackbacks

  1. Nancy Anne Miller: Poet of the Month on “The Missing Slate” | Repeating Islands says:
    February 7, 2016 at 2:28 AM

    […] of island life into serious verse for the first time.” Here are excerpts; read the full interview here (or through the link […]

Ad

In the Magazine

A Word from the Editor

Don’t cry like a girl. Be a (wo)man.

Why holding up the women in our lives can help build a nation, in place of tearing it down.

Literature

This House is an African House

"This house is an African house./ This your body is an African woman’s body..." By Kadija Sesay.

Literature

Shoots

"Sapling legs bend smoothly, power foot in place,/ her back, parallel to solid ground,/ makes her torso a table of support..." By Kadija Sesay.

Literature

A Dry Season Doctor in West Africa

"She presses her toes together. I will never marry, she says. Jamais dans cette vie! Where can I find a man like you?" By...

In the Issue

Property of a Sorceress

"She died under mango trees, under kola nut/ and avocado trees, her nose pressed to their roots,/ her hands buried in dead leaves, her...

Literature

What Took Us to War

"What took us to war has again begun,/ and what took us to war/ has opened its wide mouth/ again to confuse us." By...

Literature

Sometimes, I Close My Eyes

"sometimes, this is the way of the world,/ the simple, ordinary world, where things are/ sometimes too ordinary to matter. Sometimes,/ I close my...

Literature

Quarter to War

"The footfalls fading from the streets/ The trees departing from the avenues/ The sweat evaporating from the skin..." By Jumoke Verissimo.

Literature

Transgendered

"Lagos is a chronicle of liquid geographies/ Swimming on every tongue..." By Jumoke Verissimo.

Fiction

Sketches of my Mother

"The mother of my memories was elegant. She would not step out of the house without her trademark red lipstick and perfect hair. She...

Fiction

The Way of Meat

"Every day—any day—any one of us could be picked out for any reason, and we would be... We’d part like hair, pushing into the...

Fiction

Between Two Worlds

"Ursula spotted the three black students immediately. Everyone did. They could not be missed because they kept to themselves and apart from the rest...."...

Essays

Talking Gender

"In fact it is often through the uninformed use of such words that language becomes a tool in perpetuating sexism and violence against women...

Essays

Unmasking Female Circumcision

"Though the origins of the practice are unknown, many medical historians believe that FGM dates back to at least 2,000 years." Gimel Samera looks...

Essays

Not Just A Phase

"...in the workplace, a person can practically be forced out of their job by discrimination, taking numerous days off for fear of their physical...

Essays

The Birth of Bigotry

"The psychology of prejudice demands that we are each our own moral police". Maria Amir on the roots of bigotry and intolerance.

Fiction

The Score

"The person on the floor was unmistakeably dead. It looked like a woman; she couldn’t be sure yet..." By Hawa Jande Golakai.

More Stories

Bluestocking at twilight

“She’d watch her victims—only in a mirror—/ Their eyes held loose verbs from books she’d once read/ and read just once.” Weekend poem, by Mark J. Mitchell.

Back to top
One last love letter...

April 24, 2021

It has taken us some time and patience to come to this decision. TMS would not have seen the success that it did without our readers and the tireless team that ran the magazine for the better part of eight years.

But… all good things must come to an end, especially when we look at the ever-expanding art and literary landscape in Pakistan, the country of the magazine’s birth.

We are amazed and proud of what the next generation of creators are working with, the themes they are featuring, and their inclusivity in the diversity of voices they are publishing. When TMS began, this was the world we envisioned…

Though the magazine has closed and our submissions shuttered, this website will remain open for the foreseeable future as an archive of the great work we published and the astounding collection of diverse voices we were privileged to feature.

If, however, someone is interested in picking up the baton, please email Maryam Piracha, the editor, at [email protected].

Farewell, fam! It’s been quite a ride.

Read previous post:
Vegetarian Meat

"Evidently, getting to like vegetarian meat is a matter of acquired taste and it’s a dish probably not for the...

Close