Tania Pryputniewicz talks about the retreat

AROHO Speaks, Writer to Writer: Interview with Tania Pryputniewicz

Thinking back to the 2011 AROHO retreat, is there one specific moment or event you can identify that sparked an insight or shift in how you perceive either your work or yourself as a writer?

I have the urge to delineate every conversation I had at AROHO’s summer 2011 retreat whether it occurred on that first shuttle to Ghost Ranch, on the morning hike down to breakfast, or sitting on the mesa watching for shooting stars. I didn’t realize just how isolated I’d come to feel (after ten years of immersion in motherhood). I am moved by the web of life-long friends working beside me in spirit now--a posse of cohorts possessing a rich range of personalities and passions. I am no longer a “Lone Ranger.”

During Kate Gale’s afternoon panel, “Become a Literary Citizen,” and the panel of “Non-profit Contrarians” composed of Darlene Chandler Bassett, Kate Gale, and Esther Cohen, the forthright conversations about how to share the responsibility for promoting one’s work and the work of others shifted how I perceived my role as both a writer and editor. I will now ask, as Kate suggested, “What tangible help can I offer the publisher/press that accepts my book for publication? What do I bring to the table besides my role as writer of the manuscript?” In addition, I felt excited as an editor of a small on-line magazine to consider ways of sharing resources and platforms with established non-profits as opposed to reinventing the wheel each time, an idea put forth by Darlene.

Walking back from the panel, Esther’s gentle but direct questions about the motivation behind my choice to be a poetry editor at The Fertile Source (Why are you drawn to the subject? Why do you care about how women are viewed? Was family important to you growing up?) helped me take stock and recalibrate my personal and professional intentions.

Is there a specific woman writer who inspires/d you? If so, can you tell us something about why?

Again, I am flooded with memories regarding each writer I met and feel hard pressed to choose just one. But here goes--I’m thinking of the night Bhanu Kapil read from her poetry collection, humanimal. I could sense the specter of wolf-raised girls, the energy of  those children as palpable as the sun warmed stone seats of the amphitheater and the tuning forks of the cacti at our backs. Later, I couldn’t sleep, the moon emanating through the three tiny windows of my room, a luminous, kaleidoscopic energy coursing through my mind.

During Bhanu’s Mind Stretch, she exuded that same multi-dimensional attention in her approach to her writing process when she shared the questions she posed as part of her process creating the poems for The Vertical Interrogation of Strangers. I’m intensely inspired by the scope of her investigation into human relations and how it translates into her finished work.  Surely a woman who has the courage to ask other women, “Who was responsible for the suffering of your mother?”, and to write about the answers, will continue to leave a trail of profoundly transformative writing in her wake.

Can you describe for us what you’re currently working on?

My current writing joy remains with the making of the poetry photo poem montages (the micro-movies). Photographer Robyn and I have one last photo to add to the micro-movie for Amelia Earhart. Two image folders I’m eager to access next focus on the tangled psychic relationships ensnaring King Arthur’s extended kin. In the poem, “Corridor,” Guinevere recounts a stolen moment of time alone with her mother as they advance the length of the corridor between their bedrooms. And in the poem “Mordred’s Dream: A First Refusal,” Mordred attempts to challenge his mother’s vision for who he should be, both to himself and to Guinevere. I can’t wait to begin.

As I sit beside Robyn and we sift through her latest photo files, the story images itself before our eyes, the ordering of photos an intuitive process. I see the micro-movies as tiny mood bookmarks capable of setting the tone for longer works; I hope later they inspire longer vignettes complete with actors. The micro-movie short form satisfies my passion to enflesh the poems and fits my time constraints as a mother and editor.

At the retreat, I also made a commitment to build a base for a Collaboration Hub in order to support anyone interested in following up on my Mind Stretch presentation, “Female Power in the Face of Adversity: Collaboration as Excavation” (during which we brainstormed lists of iconic, inspiring women and exchanged lists, creating an opportunity to partner and collaborate with one another in the future). I will announce The Hub on AROHO’s Facebook page once we’ve finalized construction on its inner workings and are ready to invite dialogue and share resources.

Recent poetry by Tania Pryputniewicz is forthcoming or appeared on-line at Autumn Sky, Blast Furnace, The Blood Orange Review, Connotation Press, and Linebreak. Her photo poem montages have been published by The Mom Egg (She Dressed in a Hurry for Lady Di, 2009) and  Prairie Wolf Press (Nefertiti on the Astral, 2011). Poetry editor at The Fertile Source, she blogs at Feral Mom, Feral Writer. She lives in the Sonoma County redwoods with her husband, three children, kitten, Siberian Husky, and four feral cats.

Tania Pryputniewicz was interviewed by Lisa Rizzo.