​Tell us a little about your work in Let Us Gather: Diversity and the Arts: what inspired it, how you came to write it, etc.


“The Woman Who Rode Through a Tornado in a Bathtub and Survived” was inspired by reports last year that a woman in Texas did just that. I grew up in Texas and suffered nightmares about tornadoes and once was stranded on a roadside near Caldwell, Texas, as a tornado passed, so the story struck a chord. But the image of the white bathtub also reminded me of a sheet of paper, how it must have been like a magic carpet flying through the sky, how writing is the perspective of power but feels sometimes powerless, a desire both compelling and prone to fearfulness. Like me, the woman is reckoning with seeing herself from such a great height, coming to terms with the truth of it when she lands in someone’s (Marianne Moore’s?) garden.

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I began writing “Crossing the Potomac in a Supershuttle Van” at AWP 2017 in DC. Going there so soon after the inauguration, I wasn’t sure how I would feel seeing sights I was so familiar with. But the experience of the city became for me less about the inert structures and more about the people I met and saw, the living tableau that felt like love, a familial love that felt like home. The writer James David Duncan writes about the more-than-human feeling of love he woke up feeling one night, and wrote to the ornithologist responsible for saving the peregrine falcon from extinction, asking him, “Have you felt it?” The morning I woke up in DC, I did.

On writing Fingerspell


​“Fingerspell” is a word familiar to those who use sign language; it means a word for which a sign doesn’t exist, a word that must be spelled out using the ASL alphabet.

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I began learning sign language at the suggestion of my daughter’s doctors. From a genetic screening, I learned early in the pregnancy that she had Trisomy 21, more commonly known as Down syndrome, a condition that also put her at higher risk for related medical complications. When she was born she needed surgery to repair a duodenal atresia, was diagnosed with hypothyroidism, as well as an atrial septal defect–a hole in her heart–all of which were terrifying. Those days following her birth, hospital stay, and the season of her infancy seemed underlit with precarity, an intensity that heightened emotions at both ends of the spectrum.I felt every emotion as if through a vivid filter, supersaturated. I was learning ASL, caring for my daughter, and writing these poems, and I began to understand language as embodied beyond the vocal. I was seeing the linguistic and the gestural as participating in a kind of poetic that was unfamiliar yet deeply satisfying. And because I was new to ASL, at a point in the language acquisition process primed for improvisation, trying to make due with my limited vocabulary, my poet brain was being charged with novelty, with new ways to speak. I felt I was under a beautiful spell.

“What is the God particle in us if not the bolt of being alive?
Poetic logic accesses it better for me than other forms.”

virgamagazine.com/interview-with-lindsay-illich-rile-heave/