Eli Clare is the author of Exile and Pride: Disability, Queerness, and Liberation (South End Press, 1999) and has been widely published. He has walked across the United States for peace, coordinated a rape prevention program and co-organized the first-ever Queerness and Disability Conference. He works for the University of Vermont ‘s LGBTQA Services. We were lucky enough to meet him at a Translating Identity Conference at UVM, and I was happy to get the chance to talk to him about his new book, The Marrow’s Telling, which was recently published by HomoFactus Press.
(1) Why poetry?
As a writer, my first love is poetry. I think of it as a thug who grabbed me by the collar many years ago and whispered in my ear, “You’re coming with me.” I went willingly, not having any idea where poetry would take me or what it would demand. Twenty-five years later I find myself writing a mix of poetry and creative nonfiction; my first book, Exile and Pride: Disability, Queerness, and Liberation, is a collection of essays, and my second book, The Marrow’s Telling: Words in Motion, which ought to be rolling off the press at any moment now, is a mix of poems and short prose pieces, not quite essays but more than prose poems.
Audre Lorde in her essay “Poetry Is Not a Luxury” writes of poetry as a “revelatory distillation of experience.” Poems demand both wildness/revelation–moments where language, sound, and rhythm, rather than thought or idea or analysis, take the lead–and discipline/distillation–the paring down to heart and bone. As a writer, a reader, an activist trying to make sense of the world, I need revelatory distillation.
I also know that in the United States too many of us have been taught to fear or avoid poetry, to feel bored or stupid in its presence. As an activist-poet, I always hope that my poems will be doors held wide open, roller coasters, parachutes opening above you, slow meandering rivers.
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