But that is completely different -and offers a completely different feeling and reward-than writing poetry. JB: Working as a director of new play development means working with an artistic director to shape a season and discovering talent in the places no one else is thinking about. RR: How was the transition for you from play writing to writing poetry? Do you ever see a return to theater? Water speaks to my primitive beginnings I spent my childhood swimming in it or traveling on my father’s boat he was a volunteer Coast Guard. I imagined that world with the sea at its center as Shakespeare might have envisioned it with his princes washing up on the shores of Tyre. After I saw the Roman ruins in France, and then later, on the coast of Israel, I began to understand the geography of the ancient Mediterranean and to see it as a world distinct from modern political boundaries. Once, while reading in the ruins of the Roman amphitheater, I witnessed a stage crew building a set for Aida, an experience that found itself in a poem about something altogether different. I lived in Lyon, France for a year and spent many days walking in the Roman ruins. I am a greedy traveler and only travel when I can stay in places for some time. Travel for me is a cauldron for autobiography: I’ve discovered both my sympathies with others and the way in which I am unlike others in long journeys, mostly in Europe. The poem documents a conversation in that cemetery at the edge of British Columbia but veers off into places I’ve never been. Jayne Benjulian: I used to live in the Pacific Northwest and miss that coast. What is your relationship to these locations and travel itself? The poetry editors, Rappahannock Review : “Jacinte” references several distinct locations.
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