A Passage to Poetry

Marin County's rich wellspring of poetry has generated many groups of writers who come together regularly to help one another in the subtle art of composing poems. At least one such group of women poets has been at it for more than a decade, meeting every other week to share and critique one other's work. What makes a group like this successful? The responses below reveal the character, diversity, and successful chemistry of this group.

What brought each of you to poetry?

Terry Phelan: What led me to poetry was winning a contest in the 6th grade for a poem I wrote about my pillow. I can still remember it:

 
A pillow's the place you rest your head
When you are in your nice soft bed
You sink into your pillow slowly
You cry in it when you feel lowly
You clonk people with it when you are happy
But it's the best when you feel nappy!

I think Wordsworth started out pretty much the same way.

Ella Eytan: I always wanted to write, maybe it was growing up in Minnesota -- those long winters. I found poetry at Emeritus College of Marin around 25 years ago, and found my mentor, Tom Centolella, around the same time. I've studied with other poets, but always circled back to him. If something works, keep at it.

Judith Stephens: At seven I wrote my first poems in the form of greeting card text. My dad said they were better than what we found on [commercial] cards. It didn't look like much of a career, so I drew pictures for a while. At the age of 10 I had read, thanks to my dad, "Call of the Wild" and on my own, "The Count of Monte Cristo." My favorite radio program was "The Lone Ranger," partly because of the music. I'm fond of the William Tell Overture to this day. I rewrote the Lone Ranger because his character seemed a little one-sided. "Mom," I would call, "How do you spell 'unconscious?'" She knew I was up to something. At twelve I asked her, "What do I do when I've read all the good books?" She kept a straight face and said almost the only positive comment I remember her making to me about my writing: "Maybe you'll write one yourself."

Angelika Quirk: I grew up in Germany reading poets such as Schiller, Goethe, Eichendorf and Rilke. I did not start writing poetry until 1990. My poems are written mostly in English although the subject matter reflects my German heritage.

Suzanne Himmelwright: In the early nineties, I was writing memoir in a class taught by Tom Centolella. Surrounded by poets, I began to experiment and discovered that I could express the essence of my experiences in poetry form. Fewer words and "the best words in the best order." For me the creative process clarifies and heals. I'm putting together a group of poems about my husband's enduring twelve years of Alzheimer's. Actually it's the story of my survival. Tom Centolella continues to be my inspiring teacher.

How did you all find each other?

Suzanne Himmelwright: In 1998 the group was formed. We were taking a poetry class at Book Passage. Our teacher was Dianna O'Hehir, who had been head of the Creative Writing Department at Mills College. Students came from all over the Bay Area. Seven of us decided to continue writing together. In the past thirteen years, participants have changed, but the spirit stays the same.

Judith Stephens: I had to work as a legal secretary -- a wipe-out job for writing anything with detail, so one day my friend Louise Murphy suggested we take a poetry writing class taught by a Dianna O'Hehir. She was a good teacher, but I loved some of the other students. When the class ended, I couldn't stand to let go of them. Others felt the same so we decided to keep meeting. That was 12 or more years ago. I still write poetry because, as I said before, some things can only be said as a poem.

Terry Phelan: I met these fine women in the Book Passage writing class taught by Dianna O'Hehir. They were very cool and good writers and already good friends. But I screwed up my courage to ask, "um, if they knew of any writing groups that wanted a new member?" And they welcomed me with open arms.

What makes this group work so well?

Ella Eytan: I love the people in the group. The act of writing poetry opens a door into the soul. Sharing that for years with the same women is such a blessing. Also, sometimes what you are writing seems so apparent to you that you can be surprised when others don't see it. That is useful, after all, you want your work to be accessible. Then there is the necessity of a poem for the next meeting. It keeps you working.

Terry Phelan: It's an organic and beautiful thing. We really enjoy one another, and we love and respect each other's writing, and are good stewards with the work that has been placed in our hands when we critique each other's poems. After doing an MFA program and some other workshops, I no longer let strangers critique my work -- only people I know and trust, and only people whose writing I love and respect. A good writing group is like gold. And besides, Ella always makes popcorn.

Judith Stephens: Our group works so well because we're not competitive. This is rare. Each person listens with the writer's work and style in mind (rather than her own style) and offers anything, big or little, she thinks might make it clearer or more of what it already is. I feel absolutely SAFE with this group. You have to feel safe to put out there the tenderest, most vital, inner realizations.

Angelika Quirk: We meet every 2 weeks, [a time frame] which keeps us very connected to our writing and sharing of poems. I so much appreciate this supportive environment. I respect and admire the writing of each one of our group: their unique approaches and styles. I treasure their feedback and always work on refining my poems. Since English is not my native language, I don't always catch mistakes of prepositions or awkwardness of expression; this is why it helps me to have other people reading and commenting on my writing. After a meeting I often get new ideas to write about. We feel comfortable with each other and share our vulnerable side in some of our personal accounts. We are not only poets but also friends who share a part of our being with each other.

Judith Stephens: I love these women and the ones we've added. Sometimes when I go to the meeting I don't have a poem, but I go to hear what they've come up with.

Ella Eytan: I would encourage anyone without a group to form one. Just ask, eventually you will succeed. Then what is required is a sincere desire to help each other achieve the best that they can do, and to do that with tact and affection.

- An Update from Marin County Poet Laureate 'Lyn Follett

Nomination Process Opens for Third Marin Poet Laureate

By Dylan Thomas

performed by

The Rebound Players

with Joel Eis, Colm Martin, Roy Mash, and Margaret Stawowy

Three Perfomances:

Wednesday, December 14, 2011: Cecil Giscombe, Kathy Evans & Brian Kirven.
Wednesday, January 11, 2012: Stephanie Mendel, Karen Benke & Susan Woolridge.
Wednesday, February 8, 2012: Ellery Akers, Charles Entriken.
Wednesday, March 14, 2012: Chris Olander, Terri Glass & Bill Gainer