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There was a wildness in those poems that craved something orderly and sturdy to lean on. Four quatrains of fairly short and uniform lines. Several of the poems in my first book, The Tulip-Flame, share this poem’s form.

How did this poem arrive at its final form? Did you consciously employ any principles of technique? But the ending came almost fully formed, in a burst. I remember that much of this poem was written in intense concentration and toil. I’d work on my one poem every day, often first thing in the morning and last thing at night, often for hours at a time, and by the end of the month it would be finished.ĭo you believe in inspiration? How much of this poem was “received” and how much was the result of sweat and tears? It seemed like a slow pace compared to some writers, but I was happy with it. I started other poems, too, and brought them as drafts to workshop, but I concentrated on and finished one at a time. My MFA was a four-year program, and by the second year I’d developed a steady rhythm of finishing one poem a month. I’m not sure of the number of revisions, but it was written during a period in which I was working hard on a single poem at a time. How many revisions did this poem undergo? How much time elapsed between the first and final drafts? I had lots of time to think while walking up and down the steep hills in Fayetteville. As with many of my poems from that time, it likely started as a line or an image that came to me as I walked to or from campus at the University of Arkansas in Fayetteville, where I was an MFA student. I think I wrote this poem in 2008, maybe early 2009. When was this poem composed? How did it start? In a vast field on which the seasons hang She is currently an Assistant Professor of Creative Writing at Baylor University.

Her poems have appeared in The Paris Review, Orion, The Southern Review, and elsewhere, and her awards include a Ruth Lilly Fellowship and a Pushcart Prize. She is also the author of a chapbook, Then Winter (Bull City Press, 2017). Smith for the Cleveland State University Poetry Center First Book Prize, named a finalist for the PEN Center USA Literary Award, and won Foreword Reviews Poetry Book of the Year Award, the Eric Hoffer Award, and a Texas Institute of Letters Award. She is the author of The Tulip-Flame (2014), which was selected by Tracy K. Chloe Honum grew up in Auckland, Aotearoa/New Zealand.

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