{"id":66864,"date":"2014-02-18T12:45:49","date_gmt":"2014-02-18T17:45:49","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=66864"},"modified":"2014-02-18T13:08:32","modified_gmt":"2014-02-18T18:08:32","slug":"all-you-do-is-perceive-an-interview-with-joy-katz","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2014\/02\/18\/all-you-do-is-perceive-an-interview-with-joy-katz\/","title":{"rendered":"All You Do Is Perceive: An Interview with Joy Katz"},"content":{"rendered":"
\"Photo(c)2011<\/a>

Photo: Star Black<\/p><\/div>\n

In her third book of poetry, <\/i>All You Do Is Perceive<\/a>, Joy Katz moves between narrative, lyrical, and meditative language, making meaning from the switches in register. Her images\u2014a newborn, a lynched man, a woman\u2019s mastectomy scar\u2014are dependably urgent and resonant.<\/i><\/p>\n

The book begins with a poem about bringing home an adopted baby as ashes from the World Trade Center settle over Brooklyn. \u201cThe woundable face of a boy\u201d fills the speaker with terror and awareness. Other poems wrestle with the conventions of the baby as an image\u2014Katz is intent on portraying motherhood without succumbing to sentimentality. To resist preciousness, she invents \u201cendearments\u201d for her baby: \u201cmy bus, my tarmac.\u201d In Katz\u2019s work, beauty and glamour twine with danger. An \u201cambulance dazzles like a cocktail ring\u201d; a speaker befriends a holocaust and takes it to a movie; the sounds of a newborn \u201crun over her like mice.\u201d <\/i><\/p>\n

A former Wallace Stegner and National Endowment for the Arts fellow, Katz lives in Pittsburgh, Pennsylvania, where she teaches in the graduate writing program at Chatham University.<\/i><\/p>\n

Tell me a little bit about the origins of All You Do Is Perceive<\/i>. <\/b><\/p>\n

The title of the book is a little accusatory. OMG, all Joy does<\/i> is perceive. Meaning\u2014ask my husband\u2014no one got to the grocery store again. On my kitchen counter, there\u2019s a cooking magazine opened to a self-help article, \u201cHow to Savor a Moment.\u201d I needed help figuring out how not<\/i> to savor a moment\u2014how to move through time, seeing in an ordinary, not-intense way. <\/b><\/p>\n

From my son, I learned a deep, meditative seeing. I watched him looking at his own hands or at a little car or something. For hours. Maybe it was ten minutes? Or days at a time. I was trapped with a small baby, but I was in a trance state, like a heroin high. It was addictive. My book\u2019s epigram comes from Bishop George Berkeley, who says, roughly, I exist because I perceive. You exist because I perceive you. Writing the poems, I came to think that regarding is a form of love, but the regarding is not necessarily accurate. In the poems, people are always misperceiving one another. But misperceptions are a part of being alive to others. You don\u2019t need truth or beauty. All you do is perceive. That\u2019s all you need to have loved and lived fully. <\/p>\n

In one of your descriptions, you first tell the reader what something is not. What are you pushing against in these \u201canti-descriptions\u201d?<\/b><\/p>\n

If you look at a woman\u2019s chest after a mastectomy, you can see the scar as a design, and that might make it easier to perceive. In my poem \u201cStudy of a Friend with One Breast,\u201d I write, \u201cnot ruching \/ not unbreast\u201d to remind myself to see what is there, plainly, not to decorate it or to long for a certain idea of wholeness. My friend who had the mastectomy went to a talk by a breast cancer survivor. \u201cYou are sexy!\u201d the woman yelled to the audience, who fist-pumped. And my friend said, \u201cDo I have to be?\u201d It was a total undoing of a certain perception.<\/p>\n

Your poems often reference places\u2014Varick Street, Brooklyn, Buffalo. Do you perceive differently in different cities?
<\/b><\/p>\n

\"Joy<\/a>I like to live in unselfconscious cities because I\u2019m most relaxed in them. For example, in Buffalo, where I grew up, and in Pittsburgh, where I live now. They are robber-baron cities, way past their age of glory. They are ordinary places. If you\u2019re in a caf\u00e9 or the library, no one is sitting next to you with their novel or screenplay. I like not to be perceived, it turns out. I can\u2019t think very well when I live in a place like Brooklyn, where every inch, to my mind, has been sanded, painted, thought about, and enticingly lit\u2014all the perceiving has been used up.<\/p>\n

One of the poems in this collection, \u201cWhich from that Time Infus\u2019d Sweetness into My Heart,\u201d is composed almost entirely of dependent clauses. What made you write it that way?<\/b><\/p>\n

I wanted to write a poem that\u2019s just a series of beginnings\u2014to hold a poem back from getting underway\u2014and see what happened. \u201cWhich from that Time\u201d was so much fun to write. My heart pounded when I wrote it. If you make a long poem and never let it \u201chappen,\u201d it\u2019s like hanging on the edge of something exciting, never quite getting to it\u2014which is an exciting sensation in itself. I harvested the \u201cbeginnings\u201d in that poem from, among other places, abandoned drafts in my poetry graveyard, Shakespeare plays, and Sharon Olds.<\/p>\n

In your essay \u201c<\/b>Baby Poetics<\/b><\/a>,\u201d you write that you fear a \u201closs of credibility\u201d when you write about having a child. What sort of dangers do you face when writing about motherhood? <\/b><\/p>\n

If a baby comes into a draft I\u2019m working on, I helplessly recall things people say about poems with children in them and the women, always the women, who write them. Things like, Normally I hate poems with kids, but yours are okay. And, I\u2019ll read her again when she\u2019s out of her baby phase. Those are only things people\u2014men, in this case\u2014say. As an artist, I get anxious working with motherhood, because I don\u2019t want to write a sentimental, housebound, squishy, narcissistic poem about a baby. The true danger is self-consciousness, which wrecks the writing process. I am not very good at blowing off criticism, but I try to use my anxiety about it as material for the poem.<\/p>\n

In \u201cThe Imagination, Drunk with Prohibitions,\u201d you take on gender dynamics in literary tropes. \u201cWomanhood is more embarrassing than manhood,\u201d you write. Do you find there\u2019s something embarrassing or humiliating about being a woman writer?<\/b><\/p>\n

The potential for humiliation is everywhere for women. Plenty of people still agree with what Nathanial Hawthorne said about women being a tribe of sentimental scribblers. My poem came out of a conversation with the poet Sarah Vap about the ambient pressure against subjects like girlhood, grandmothers, religion, shoes, \u201cthe domestic,\u201d on and on. In the poem, I gauge my own cringing about these subjects and make a taxonomy of embarrassment. Pressure in Poetryland, though, is the least of it if you think about the potential for the humiliation of women<\/a> in places like college campuses, where the gender climate is hostile and rapists go unpunished.<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

In her third book of poetry, All You Do Is Perceive, Joy Katz moves between narrative, lyrical, and meditative language, making meaning from the switches in register. Her images\u2014a newborn, a lynched man, a woman\u2019s mastectomy scar\u2014are dependably urgent and resonant. The book begins with a poem about bringing home an adopted baby as ashes […]<\/p>\n","protected":false},"author":121,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[907],"tags":[12911,1132,12910,1572,165,2047],"class_list":["post-66864","post","type-post","status-publish","format-standard","hentry","category-at-work","tag-all-you-do-is-perceive","tag-interviews","tag-joy-katz","tag-motherhood","tag-poetry","tag-poets"],"acf":[],"yoast_head":"\nAll You Do Is Perceive: An Interview with Joy Katz by Elizabeth Hoover<\/title>\n<meta name=\"description\" content=\"February 18, 2014 \u2013 In her third book of poetry, All You Do Is Perceive, Joy Katz moves between narrative, lyrical, and meditative language, making meaning from the switches\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link 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