As the second in my “Writers Chat” series, I’m delighted to re-visit my interview with poet Gabriel Fitzmaurice which first took place in June 2016.
Gabriel Fitzmaurice ‘The Irish A.A. Milne’ (Declan Kiberd)
SG: Congratulations on the launch of Will You Be My Friend? at the 2016 Listowel Writers’ Week. Will You Be My Friend strikes me as a poetry collection that will be picked up again and again – not unlike Robert Louis Stevenson’s A Child’s Garden of Verses. Tell me, Gabriel, how did you manage the selection process of poems from your previous collections. Did you involve readers, or family, or did you select your own favourites?
I chose my own favourites from my children’s books in the English language. (I have written a couple of books for children as Gaeilge too). In choosing, I took into account the poems that go down well when I read them to children in schools, libraries, bookshops etc. I also had adults, Moms and Dads, Nanas and Grandads etc as well as the general reading public in mind as, to quote the writer and journalist Billy Keane, “these poems cross over to adults as well”. And, as you say, adults “secretly enjoy them” – particularly the naughty ones!
SG: I think that’s the key, Gabriel! I have to say, many of the poems are deceptively clever. I’m thinking here of ‘What’s a Tourist’ which works on so many levels. Do these type poems come easily to you or are they about drafting and editing?
You say that the poems are “deceptively clever”. A lot of people feel that way about my poems, my poems for adults too. I try to make my poems readable, enjoyable and accessible. I believe that poetry should give pleasure as well as making one think. Sometimes the poems can be read on a number of levels which is OK too: some words have multiple meanings, for instance. The first draft of a poem comes easily to me. I am inspired to write, thank God – I don’t say “I must sit down and write a poem now”. A phrase, a line, a verse possess me and I simply have to get it down – be that when I’m driving my car (I pull over and write) or in my bed (I’ll get up in the middle of the night if it comes to me in a dream). Then the hard work begins. I edit, change, edit to make my meaning as clear as I can make it. This can take a long time until I’m finally satisfied. Sometimes I’m lucky – the poem comes clean onto the page at the first draft. “What’s a Tourist?” is one such poem. I was in class one day and the cigire (the inspector) was questioning my class about Geography. He was boring them silly. When he asked them “What’s a tourist” one young boy had enough and said “a man with a camera taking photos of a cow”. Just like that. I just wrote down what he said!
SG: It often takes a child to say it as it is, I think! You touch on bodily functions in poems like ‘Diarrhorea’, ‘Shampoo’, ‘Bursting Pimples’ and ‘Pooh’. Children of a certain age love, and adults squirm but secretly laugh at them. Yet they deal with situations that we’ve all found ourselves in or witnessed happen to another person. How do you find these poems go down when you read them to a crowd?
I write about things that matter to real people, be they children, adults or myself. I remember the rhymes we had in the schoolyard when I was growing up in the 1950s and early ‘60s. They were real poetry, ours alone and some of them were VERY rude. We loved them all the more as they were our secret, not to be shared with adults. That’s what I try to do with my naughty rhymes. Children LOVE them. I visit a lot of schools, and learning support teachers constantly tell me that when reluctant readers give up on reading they still take great pleasure in my really rotten rhymes!
SG: It’s great to see children react to your poems – and, as you say, it’s often the rhymes and the rhythms that reluctant readers connect with. Sometimes these same children might even try extending your verses or writing their own. ‘Imagination’ is wonderfully inspirational. Was encouraging the creation of poetry one of your aims when you were gathering poems for this collection?
The poems are child-friendly and children love them. When I’m asked about writing for children vis-a-vis writing for adults I reply: “when I write for children I enter a child’s mind; when I write for adults, I get to know my own”. I hope that my poems will help children to cope with their own emotions – happiness, sadness, loss, death etc etc. When I give workshops, the children react to them and write their own poems under their influence.
SG: I think my children would love to attend one of your workshops! You cover a range of human emotions from the tragic death in ‘A little girl visits her brother’s grave’ to the amusing ‘School tour’ song that will be so familiar to readers, and the ‘A young child learns to writer’, again, so familiar, and the ‘Lonely Day’. Do you think that poetry mirrors life and that perhaps it could be a source of solace, or even company to young, and old?
Yes it does – if it’s any good. Seamus Heaney once said that poetry should be strong enough to help. I have been asked to write poems for funerals, mortuary cards, wedding anniversaries, people going into exile, exiles returning home, birthdays, football victories etc. Poems can help us deal with all sorts of occasions.
SG: I like that idea, that it cannot be ‘just’ a poem, that it has to be ‘strong enough to help’. Finally, Gabriel, tell me about the beautiful illustrations by artist Karen Vaughan. I was particularly taken with her interpretation of ‘Messing around.’
Karen Vaughan designed my covers for Liberties Press and I was delighted when they asked her to illustrate “Will You Be My Friend?” I LOVE her illustrations as I’m sure the children (and adults) will too. My only problem is that there are not enough of them, they are so good.
Yes, hopefully we will see more of her illustrations alongside more of your work soon – though you have said this might be your last collection but time will tell.
Thanks, Gabriel for such honest answers and readers can purchase Will You be My Friend? from Liberties Press here.