Originally published at Stone Telling blog. You can comment here or there.
Our interviewee today is Lisa M. Bradley, who contributed to the Body issue with her poem “Teratoma Lullaby“. Lisa’s nonfiction essay “Listening to the Lost, Speaking for the Dead: Speculative Elements in the Poetry of Gabriela Mistral” has appeared in the very first issue of Stone Telling, followed by “Litanies in the Dark: The Poetry of Alfonsina Storni” in the second issue. Lisa also had two other pieces of poetry published by us, Embedded (issue 9) and another poem of epic length, “we come together we fall apart” (ST7: the Queer Issue), which was nominated for the Rhysling award and was reprinted in Here, We Cross.
Lisa M. Bradley resides in Iowa with her spouse, child, and two cats. She has poetry forthcoming in Mythic Delirium, Strange Horizons, and In Other Words. The “someone bewitched…more bear than man” in “Teratoma Lullaby” is named Art. Art’s story, “The Pearl in the Oyster and The Oyster Under Glass,” can be found in the Fungi anthology from Innsmouth Free Press.
I knew someone bewitched
more bear than man.
When I told him about my twin
he stroked his paw down my back
so so gently
(lest his invisible claws rip my skin)
and asked if my twin might not be
- from Teratoma Lullaby
ST: What inspired this particular poem? What would you like readers to know about your context, and how it relates to your poem? A friend of mine was participating in Haiku Mondays, and one week her prompt was “teratoma.” I’ve been fascinated with the phenomenon of teratomas since I read Stephen King’s The Dark Half, and the topic lent itself to some stylistic experiments I wanted to try, so I started writing “Teratoma Lullaby.” I’ve felt at war with my body since childhood, and the invisible illnesses I’ve developed over time have amplified my frustrations. The poem began as an intellectual exercise but quickly morphed into a weird rebus for that sense of not cohering within my self, and the perhaps concomitant desire to excise certain memories and emotions.
ST: Is the Body a central theme in your work? If so, what other works of yours deal with it? If not, what called you to it this time? I come to speculative poetry from a horror background, so yes. Horror is obsessed with the Body, which can be a battleground for competing forces (as in my poem “The Haunted Girl”) or a model of systemic failures (as in “In Defiance of Sleek-Armed Androids”), just to name two modes of body horror. In my work, the Body’s state reflects the Mind’s (“we come together we fall apart”). My characters often inventory the Body out of their desire to impose order (“The Skin-Walker’s Wife” and my Exile novels.)
ST: What else would you like to tell our readers about your poem? My grandmother sang the song in “Teratoma Lullaby” to my little sister, to the tune of “The Itsy Bitsy Spider.” The metaphasis “Buenos nachos” in place of “buenas noches” is a family joke, though I used it to different effect in the poem.
ST: Do you have any upcoming projects you might like to talk about? I had an(other) epic poem appear in Strange Horizons recently: Una Canción de Keys. (I write short poems, too, I really do.) I am also writing a series of blog posts, “Writing Latin@ Characters Well,” that I hope to continue, time and RSI permitting.
ST: Thank you very much, Lisa!
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