���Ĵ�ý

Poets Maddie Gallo and Gabriel Reed became close friends after they enrolled in Hollins’ Master of Fine Arts (M.F.A.) in creative writing program two years ago and were in the same first-year tutorial class. Fittingly this spring, they not only celebrated together the completion of their respective M.F.A. degrees, but also the achievement of another milestone in their lives: the publication of each writer’s first collections of poetry.

�Ҳ�������’s Acorn, Eggshell, Honeycomb and Reed’s Springbook have both been accepted for publication by Groundhog Poetry Press (GPP). Founded by Professor of English and editor of The Hollins Critic R.H.W. Dillard, GPP describes itself as “a small, independent press dedicated to publishing absolutely the best poetry we can find without regard to any factor other than quality.”

The news came as a complete surprise to Gallo. “I wasn’t thinking of it as a book at all until it got accepted as a book,” she says. For Reed, his work is actually composed of two separate projects. Nevertheless, he says, those projects “resonate with one another. The more I thought about how they spoke to one another, the more I was sure that I wanted them together.”

“I Never Thought This Would Happen So Fast”

Gallo was pursuing a Master’s degree in English literature at Wake Forest University when she had an epiphany.

“It was a great program, but I realized I was more interested in creative writing than literary analysis,” she recalls. One of her professors suggested Gallo explore enrolling in an M.F.A. program.

“Because I’m from Radford (located approximately 50 miles from Roanoke), I already knew about Hollins’ creative writing M.F.A. program from people who had gone there. Since I’d been in North Carolina for two years, I thought it would be nice to be closer to home in Virginia.”

Other factors convinced Gallo to apply to Hollins as her first choice. “I could study poetry, which is my favorite genre, but Hollins is kind of unique in that it encourages you to write in other genres as well. A lot of M.F.A. programs are strict in that you can only write poetry or fiction. I wanted to be able to experiment with fiction as well as nonfiction. I applied to some other places, but when I got into Hollins, it was settled.”

Gallo praises Dillard, who taught her first-year tutorial class, for “helping me find my footing and voice in poetry. In my second year, I was more confident in who I was as a writer and the kind of ideas I wanted to write about.” Her second-year tutorial professor, Associate Professor of English and Creative Writing Thorpe Moeckel, furthered that guidance.

“I felt that he gave me the permission to be experimental and strange with my poetry,” she explains. “I’ve always had anxiety about writing poem after poem on the same topic and I can get bored with that repetition.” She worried about how the various subjects and themes she addresses throughout what would become Acorn, Eggshell, Honeycomb would come together into a cohesive whole, but Moeckel “reminded me that the unifying factor of every collection, whether it’s a one-themed project or just a book of unique pieces, is the poet’s voice. He told me, ‘A Maddie poem is always a Maddie poem,’ and while that might seem like a simple comment, it was an enlightening moment for me.”

Gallo adds it was “inspirational” to be in classes where “for the first time I was around a bunch of extremely talented and amazing creative writers. Hollins is good about giving you the time and the right people to work with. They challenged me to become a better writer. I look back at my poems before Hollins, and I think, ‘Who wrote those?’ I feel like I grew so much and in so many different ways. I was able to carve out space and dedicate so much time to doing something I always loved my whole life. I experienced a sense of community there.”

From the outset, �Ҳ�������’s goal as a graduate student was to write “a really good final thesis” of poetry that reflected how she wanted to go about being a writer and the kind of work she hoped to craft. “It was something long-term where I could come back to these poems. I was going to dedicate the whole summer after I got my M.F.A. to working with them, and then see if somewhere in the future I could find a home for them with a publisher.” Gallo admits she is “prone to doing constant surgery on my work. I’ll work on a poem forever, and I’ve got poems from years ago I’m still editing. But, I’m trying to give my poems room to breathe and focus only on the edits that need to be done.”

When Gallo submitted her thesis, Dillard recognized the progress she had made in her writing since coming to Hollins. “A few days later, he reached out to me and said, ‘I think this is book material,’ and that his press would love to publish it with their next batch of books. I was stunned. I never thought this would happen so fast.”

Acorn, Eggshell, Honeycomb features themes of femininity (“Women’s relationships to others and themselves, particularly the anxieties concerning their own bodies.”); nature (“It’s a constant comfort to me.”); and poetry itself (“The art of poetry is nearly always a positive thing amid the global and daily tragedies we face.”). The book draws its title from the headings of each of the book’s three sections, which each contain about 15 poems. “I’m obsessed with the ordering of books and collections,” she says. “When I get a book of poetry I think about why the author chose to put one poem first and another poem last, why certain poems are in the middle, and so on. I thought a lot about the order in which I wanted things to appear in Acorn, Eggshell, Honeycomb before I was even considering it as a book. For me, there’s a definite kind of logic and system for each section, but one of the things I enjoyed hearing from my classmates when they read the draft was that they got to decide for themselves what differentiates an ‘Acorn’ poem from an ‘Eggshell’ or ‘Honeycomb’ poem. It’s a fun thing to leave that open-ended for other readers, too. For me, the reader’s perspective is a huge part of what poetry is. I don’t expect and I don’t want readers to think like me. I want each poem to have its own meaning for each person.”

Bringing Acorn, Eggshell, Honeycomb to fruition was certainly a highlight of �Ҳ�������’s time in Hollins’ creative writing M.F.A. program. Serving as a teaching fellow and working with undergraduates for the past year was another. “I taught fundamentals of poetry and fiction writing, and it was so much fun helping students fall in love with poetry. Of course I want to keep writing, but after that experience I have to continue teaching. It’s really important for me to keep encouraging other people to want to write. There’s no feeling like that.”

“I’d Always Hoped This Would End Up Being My First Book”

While he had always loved poetry, Reed was firmly grounded in fiction writing until the end of his senior year as an undergraduate at Carson-Newman University in his home state of Tennessee. “I started writing poems the way a lot of people do through self-expressive diary type writing,” he recalls. The mentorship of Appalachian poet Susan O’Dell Underwood profoundly influenced him, as did the fact that in writing workshops, “people liked my poems a lot more than my fiction. So, I stuck with it.”

Reed had already been applying to creative writing M.F.A. programs, but only in fiction. “I was afraid my M.F.A. applications were going to be a waste because I wanted to write poetry now, but then I came across Hollins’ website.” He says he was struck by Hollins’ philosophy “that wasn’t so much specialization in a genre as an interest in the voice you want to curate. And, it’s so writing intensive. It was exactly what I needed.”

In the creative writing M.F.A. program at Hollins, Reed says “I never felt like I wasn’t getting respect and attention from my peers.” During his first year, he was part of a four-person tutorial group led by Dillard where “we were all writing very different poems, but I got the freedom and the room to play, explore, and find my way.” He also started reading more formal poetry and was particularly drawn to the sonnet, which consists of 14 lines and uses a standard rhyme scheme.

Working with Professor of English Cathryn Hankla during his second year at Hollins, Reed says he began “shifting my thinking about my poetry. I narrowed in on what I was attempting to write, and Cathy was perfect for helping me find that voice. One thing she enabled me to see is that the poem has a life of its own, especially if the reader comes away with something separate from what you had in mind. Sometimes someone will have an understanding of your work that’s so much better than what you intended. I had some amazing experiences with visiting writers, too, in broadening my definition of what poetry can be and what it can do.”

Another experience that tremendously impacted Reed and his writing was the birth in January of his daughter, Eloise. Juggling fatherhood as well as serving as a teaching fellow meant “I had less time to waste. I was forced to focus more instead of being in the freeform mode I was in, and I feel like I did the best work of my life this past year.”

That work included his graduate thesis. Written in two parts, the thesis’ first section consists of a long narrative poem about “two people on a farm and how they fall in love with the land,” while the second is made up of sonnets that Reed penned in anticipation of his daughter’s birth. He says he conceived the latter as a response to The Dolphin, a book of sonnets by the American poet Robert Lowell “that ruthlessly chronicles Lowell’s leaving his wife, Elizabeth Hardwick, and daughter, Harriet. Lowell even steals lines from Hardwick’s letters throughout. I was trying to write the anti-Dolphin. Whereas The Dolphin remembers the time in Lowell’s life when he was moving away, I was trying to lean into a celebratory space of the everyday, what it meant to me to become a father, and how to be faithful to and inhabit that.” Reed adds that he conceived of the long poem that opens his thesis as a way to “prepare the reader for a personal encounter.”

Based on Hankla’s recommendation, Dillard welcomed Reed’s thesis for publication by GPP. “I’d always hoped this would end up being my first book,” Reed says. Inspired by a work he admires called The Summer Book, he decided to call his collection Springbook. “One of the sonnets that ends the book is a birth poem and the process of witnessing that. My daughter was born on January 2, thus the book ends in winter and I’m looking ahead. It’s that cliché of spring representing rebirth and new life.”

After living in Roanoke for the past two years to attend Hollins, Reed has moved back to where he’s originally from in the Knoxville area to complete a Ph.D. in poetry at the University of Tennessee. He plans to pursue both teaching and writing, and he says Springbook will continue to resonate for him beyond being his debut book publication. “I see this book as not just kind of a craft project, but also as a time stamp of my life in Roanoke, the beginning of my family and my daughter’s life.”