Library Journal called him the most widely published unknown poet. However, I’ve followed Simon Perchik’s poetry for decades. His newest book, THE ROSENBLUM POEMS (Cholla Needles), is 140 poems written in triplets.
This coffee is still learning, spills
sweetens night after night
the way fireflies flavor their legs
then wait for the rippling hum
that’s not a bat
And, one of my favorites:
You keep the limp, stoop
the way this cane
lets you pretend its wood
At almost a century old, Perchik’s work certainly deals with aging, but most deeply with perception. Those triplets give me, as a reader, a sense of motion, uncertainty, even possibility.
Miriam’s Well is very happy to have an interview from the poet that answers the blogs usual three questions:
1. What is your personal/aesthetic relationship to the poetic line? That is, how do you understand it, use it, etc.
2. Do you find a relationship between words and writing and the human body? Or between your writing and your body?
3. Is there anything you dislike about being a poet?
1. Enjambment is an important concern for me.The line should have a feel so that it’s not just chopped-up prose with wide margins. Not only the reader’s breath must be considered but surprise and the tension so necessary to the text.
2. If there is a relationship I’m not aware of it. I do know that in the process of writing I often find myself agitated and often find my heart beating faster and louder. I just consider that a cost of doing business.
3. I’ve never considered myself a poet; just someone who writes poetry. In fact, except for a few close friends I never told people I wrote poetry. I think the title “poet” is something others call you, not something you call yourself by.