An Interview with Bill Gainer
Up the Staircase Quarterly: Bill, you have been involved in the writing community since the 1960s. I know you as a poet and an avid organizer and participant of poetry readings. Can you tell us a little more about yourself? What other activities do you spend time with? What pisses you off? What fills you with joy?
Gainer: In appearance I’m just a main stream kind of guy. I like it that way. People tend to leave me alone, I like that too. It gives me time – to write, edit and involve myself with those of like mind. The truth is I live comfortably these days, Kae St. Marie and a few others keep my aggressions in check – it’s all good. A big part of what I do involves the underground economy – I give a lot away and receive a lot in return. I invest in my friends and commit little to my enemies– there are a few. I like guns, knives, smoky barrooms, trucks, dogs, passionate women – and quiet kids! I don’t like the gentrification of America, political correctness, or folks who think savagery is cute. I have a very small group of very close friends – six – maybe seven, all artist and writers who do great and wondrous things. Them I love.
UTSQ: What was your first significant literary encounter? How did this experience shape your future as a writer?
Gainer: I think my first love was Hermann Hesse. A lot of us were reading him in the sixties. About the same time I found Richard Brautigan. It was then the world of writing really opened up for me. Both Hesse and Brautigan offered me a vision of how the imagination can give clarity to reality and how the moments of our lives hold all there is ever to tell – which in turn led me to fall in love with the non-fiction novel and the memoir. Truman Capote’s In Cold Blood is possibly the greatest “in the moment” work I’ve ever read. I love works of the moment. Which takes me back to the poem. For me, one aspect of a good poem is it allows the reader to visit the moment in which it was written – instantly. Hesse and Brautigan made me aware of the importance of the moments which are mine.
UTSQ: Your book, A Note in the Window by Red Alice Books, is a fantastic and impactful compilation of short poems. I am a fan of Brautigan’s short poems, and fell in love with your book immediately. What do you find most challenging about writing in this format? What appeals to you about the short poem? What other short poem writers would you recommend to readers?
Gainer: The short poem, the hardest poem to write. In just a few lines you have to get in, get out and say something before they know you’ve passed through. It has to be more than a journal entry, but not a statement of action. It needs to be complete – to tell the world not what you know, but what you feel. It needs to leave the emotions of the moment on the page. That’s what you have to share – the intimacy of who you are. The short poem reminds – We are not statesmen, politicians, or journalists – we are poets. Our job is to fill the heart, not the page. That’s why the short poem is so difficult to write. You only have a heartbeat to connect with your audience – don’t waste it…
The truth is the short poem is the most maligned, underappreciated and complicated jewel of the poetic realm. I’ve been writing them for over 40 years and still don’t know all they have to offer. I know when done right they are beautiful, when done by the unskilled, they’re crap. This is the deception of the short poem, everybody thinks they can write them. Some can, others don’t realize their sin. What draws me to the short poem is the simplicity of the work, the innocence of the act when done well, and the clarity of emotion when given honestly.
There are many excellent writers working the short poem. Here are a few I enjoy:
Steve Sanfield lives in my area of the world and writes some marvelous stuff. His work is often referred to as American Haiku, which is a term I’ve never come fully to appreciate. None the less, whatever his short work is called, it is wonderful.
John Bennett is from the Pacific North West and focuses on the human condition. He calls his short work “Shards.” Though the word shard implies broken pieces, Bennett’s work is much more. He is well worth having on your bookshelf.
Ann Menebroker works out of the Sacramento region of Northern California. Ann’s work is close to my heart. It often springs from the moments of her life. She gives substance to the places, people and emotions surrounding her. She is known for her economy of words.
Richard Brautigan – Often referred to as the Hippy Poet. I strongly recommend his “The Pill Versus the Springhill Mine Disaster.”
These writers all have books in print. I suggest Amazon.com as a starting place. Focus on their poetry, as they do write in other genres.
UTSQ: Your poems are, at times, quite humorous and light hearted. I also enjoy your love poems. Many poets tend to distance their writing from these sentiments. Why do you believe many young poets feel they have to write only serious, devastating poems? Is it simply personal preference, or could it also be a misconception of what poetry is “supposed to be?” Do you feel that humor should be utilized more in contemporary poetry?
Gainer: I think the humor in my work comes from the fact I am a very pragmatic kind of guy – there are lots of things in the world which hold little value for me. It’s not to say these things aren’t important, they just aren’t important to me. In my world there is always the three questions at work: Who cares? Why? And, so? If you can find reason in all three of these questions then we may have something to deal with them. If not – let it go. The humor often surfaces when folks refuse to let it go. Besides, the world is a pretty goofy place. If I can help it along, I’m happy to.
You asked about young writers, touching on why they seem to want to share the weight of the day in their poems. I really think it is part of personal growth and the becoming aware of the bigger obligation. At first light most of these poems offer little. More often than not they are just regurgitations of the daily headlines (dead-burnt-bodies-with eyeballs popping out kind of stuff). They’re “The Evolution-Revolution Poems.” Sooner or later the evolution-revolution reference shows up in all of these pieces. Yes it does get old, but I think the young need time to work through these feelings. If they have the courage to do it in front of me – okay, if not, okay. These works are good places to start gathering the tools necessary to become a writer. Some will, most won’t. They just go away. Lots do. It is kind of too bad, but this is a life style and it can be a tough go. Some of the young ones do well when swimming in the goldfish bowl, but when thrown in with the sharks – life gets different. I hope the experience allows them the strength to take us all someplace good someday.
To answer the last part of your question – Yes, humor holds an important place in my poetry. For me, humor is what takes poetry to the streets, to the barrooms, the unemployment lines - to the people. Humor is what lets the folks know, “You’re alright kid – you’re one of us!”
UTSQ: In a recent interview you spoke about the importance of practice, clarity of language and intention, and eliminating filler words from poems. You certainly practice what you preach, and you do it beautifully. Could you elaborate a little on these ideas and how they enhance your work? What advice would you give to new writers?
Gainer: There really isn’t a lot to say here. I mentioned earlier – we’re not journalists, we’re poets – our job is to fill the heart, not the page. We live in fast paced times – tell me what you have to tell me and let’s go… Say what you mean… Don’t wonder around the page trying to figure out what you want the reader to know. It is okay to edit, to throw things away, to rework the monuments. Strive for clarity – English is full of pitfalls, with practice you will find them all. With skill you’ll learn to avoid them.
UTSQ: Writers, the longer they write, have a natural progression that comes from both writing experience and life experience. How has your writing changed over the years? Have your topics, tones, or style shifted from your earlier works? What does your personal writing evolution look like?
Gainer: I think I have followed the same curve as most writers. When I was younger I worked the angry political stuff. Though I was published a lot, most of it was just terrible. The turning point for me came as an undergrad. I had a writing instructor, Lorena Cassady, who had a very gentle way of telling me my stuff sucked. Cassady was a great help in giving me permission to be successful. My work has changed wildly since. These days I seldom deal with politics, rarely waste time telling people what I think I know, and I fall in love – a lot. I write love poems, live in the moment and tell the world how I feel about it.
UTSQ: What projects are you currently working on? Do you have any new books in the works? What books of yours are currently available to readers?
Gainer: There is always something going on. I do a lot of things on the quiet with my friend Richard Hansen of “Poems for All” fame. He and I have been involved in the “Red Alice Books, Pulp Poems Series” and the “Poems on Magnets Guerilla Project.” I think I’ll be doing another book with Red Alice next year, there is a chapbook in the works and a full-length thing with an outfit up north. You can find my books on Amazon and some are listed on my website: billgainer.com. I generally do lots of radio, travel and read 30-40 dates a year. You can always find me on the Facebook – or just ask a friend!
UTSQ: Give us a little taste of your work. Please share with us a favorite poem that you have written. What makes this one special to you?
Gainer: here are a few short things I enjoy:
Falling in Love
Dark hair,
dark eyes
and that skin –
yeah, I fall in love,
a lot,
she’s just the latest
not to know.
Hello, Goodbye...
I much prefer hello,
how you been,
I’ve missed you.
Goodbye –
I’m always the last
to turn away –
maybe
you haven’t
noticed...
The Haunting of Moments
Like the ghosts
of the confessional
the moments whisper –
“You’re not here
to try to find
another place
to be...”
The Delicacy of Pain
Essentially
the note
from the pharmacist
said –
taking this drug
could cause you
to butcher the wife –
in her sleep.
The wife,
in a panic
demanded –
what is this?
The first thing
to come to mind –
an alibi…
UTSQ: Finally, Bill, if you could have a meal with anyone, dead or alive, real or imaginary, who would it be? And what on earth would the two of you eat?
Gainer: Wallace and Gromit – CHEESE!
__________________________________
Bill Gainer contributes to the literary scene as a writer, editor, promoter, publicist and poet. He reads and works with a wide range of poets and writers, from the emerging to the nationally known. He has won the San Francisco Beat Museum’s Poetry Contest and the Sacramento News and Review’s Flash Fiction Contest. He continues to edit for the PEN Award winning R. L. Crow Publications. His Latest book is The Fine Art of Poisoning. Visit him at billgainer.com.
Gainer: In appearance I’m just a main stream kind of guy. I like it that way. People tend to leave me alone, I like that too. It gives me time – to write, edit and involve myself with those of like mind. The truth is I live comfortably these days, Kae St. Marie and a few others keep my aggressions in check – it’s all good. A big part of what I do involves the underground economy – I give a lot away and receive a lot in return. I invest in my friends and commit little to my enemies– there are a few. I like guns, knives, smoky barrooms, trucks, dogs, passionate women – and quiet kids! I don’t like the gentrification of America, political correctness, or folks who think savagery is cute. I have a very small group of very close friends – six – maybe seven, all artist and writers who do great and wondrous things. Them I love.
UTSQ: What was your first significant literary encounter? How did this experience shape your future as a writer?
Gainer: I think my first love was Hermann Hesse. A lot of us were reading him in the sixties. About the same time I found Richard Brautigan. It was then the world of writing really opened up for me. Both Hesse and Brautigan offered me a vision of how the imagination can give clarity to reality and how the moments of our lives hold all there is ever to tell – which in turn led me to fall in love with the non-fiction novel and the memoir. Truman Capote’s In Cold Blood is possibly the greatest “in the moment” work I’ve ever read. I love works of the moment. Which takes me back to the poem. For me, one aspect of a good poem is it allows the reader to visit the moment in which it was written – instantly. Hesse and Brautigan made me aware of the importance of the moments which are mine.
UTSQ: Your book, A Note in the Window by Red Alice Books, is a fantastic and impactful compilation of short poems. I am a fan of Brautigan’s short poems, and fell in love with your book immediately. What do you find most challenging about writing in this format? What appeals to you about the short poem? What other short poem writers would you recommend to readers?
Gainer: The short poem, the hardest poem to write. In just a few lines you have to get in, get out and say something before they know you’ve passed through. It has to be more than a journal entry, but not a statement of action. It needs to be complete – to tell the world not what you know, but what you feel. It needs to leave the emotions of the moment on the page. That’s what you have to share – the intimacy of who you are. The short poem reminds – We are not statesmen, politicians, or journalists – we are poets. Our job is to fill the heart, not the page. That’s why the short poem is so difficult to write. You only have a heartbeat to connect with your audience – don’t waste it…
The truth is the short poem is the most maligned, underappreciated and complicated jewel of the poetic realm. I’ve been writing them for over 40 years and still don’t know all they have to offer. I know when done right they are beautiful, when done by the unskilled, they’re crap. This is the deception of the short poem, everybody thinks they can write them. Some can, others don’t realize their sin. What draws me to the short poem is the simplicity of the work, the innocence of the act when done well, and the clarity of emotion when given honestly.
There are many excellent writers working the short poem. Here are a few I enjoy:
Steve Sanfield lives in my area of the world and writes some marvelous stuff. His work is often referred to as American Haiku, which is a term I’ve never come fully to appreciate. None the less, whatever his short work is called, it is wonderful.
John Bennett is from the Pacific North West and focuses on the human condition. He calls his short work “Shards.” Though the word shard implies broken pieces, Bennett’s work is much more. He is well worth having on your bookshelf.
Ann Menebroker works out of the Sacramento region of Northern California. Ann’s work is close to my heart. It often springs from the moments of her life. She gives substance to the places, people and emotions surrounding her. She is known for her economy of words.
Richard Brautigan – Often referred to as the Hippy Poet. I strongly recommend his “The Pill Versus the Springhill Mine Disaster.”
These writers all have books in print. I suggest Amazon.com as a starting place. Focus on their poetry, as they do write in other genres.
UTSQ: Your poems are, at times, quite humorous and light hearted. I also enjoy your love poems. Many poets tend to distance their writing from these sentiments. Why do you believe many young poets feel they have to write only serious, devastating poems? Is it simply personal preference, or could it also be a misconception of what poetry is “supposed to be?” Do you feel that humor should be utilized more in contemporary poetry?
Gainer: I think the humor in my work comes from the fact I am a very pragmatic kind of guy – there are lots of things in the world which hold little value for me. It’s not to say these things aren’t important, they just aren’t important to me. In my world there is always the three questions at work: Who cares? Why? And, so? If you can find reason in all three of these questions then we may have something to deal with them. If not – let it go. The humor often surfaces when folks refuse to let it go. Besides, the world is a pretty goofy place. If I can help it along, I’m happy to.
You asked about young writers, touching on why they seem to want to share the weight of the day in their poems. I really think it is part of personal growth and the becoming aware of the bigger obligation. At first light most of these poems offer little. More often than not they are just regurgitations of the daily headlines (dead-burnt-bodies-with eyeballs popping out kind of stuff). They’re “The Evolution-Revolution Poems.” Sooner or later the evolution-revolution reference shows up in all of these pieces. Yes it does get old, but I think the young need time to work through these feelings. If they have the courage to do it in front of me – okay, if not, okay. These works are good places to start gathering the tools necessary to become a writer. Some will, most won’t. They just go away. Lots do. It is kind of too bad, but this is a life style and it can be a tough go. Some of the young ones do well when swimming in the goldfish bowl, but when thrown in with the sharks – life gets different. I hope the experience allows them the strength to take us all someplace good someday.
To answer the last part of your question – Yes, humor holds an important place in my poetry. For me, humor is what takes poetry to the streets, to the barrooms, the unemployment lines - to the people. Humor is what lets the folks know, “You’re alright kid – you’re one of us!”
UTSQ: In a recent interview you spoke about the importance of practice, clarity of language and intention, and eliminating filler words from poems. You certainly practice what you preach, and you do it beautifully. Could you elaborate a little on these ideas and how they enhance your work? What advice would you give to new writers?
Gainer: There really isn’t a lot to say here. I mentioned earlier – we’re not journalists, we’re poets – our job is to fill the heart, not the page. We live in fast paced times – tell me what you have to tell me and let’s go… Say what you mean… Don’t wonder around the page trying to figure out what you want the reader to know. It is okay to edit, to throw things away, to rework the monuments. Strive for clarity – English is full of pitfalls, with practice you will find them all. With skill you’ll learn to avoid them.
UTSQ: Writers, the longer they write, have a natural progression that comes from both writing experience and life experience. How has your writing changed over the years? Have your topics, tones, or style shifted from your earlier works? What does your personal writing evolution look like?
Gainer: I think I have followed the same curve as most writers. When I was younger I worked the angry political stuff. Though I was published a lot, most of it was just terrible. The turning point for me came as an undergrad. I had a writing instructor, Lorena Cassady, who had a very gentle way of telling me my stuff sucked. Cassady was a great help in giving me permission to be successful. My work has changed wildly since. These days I seldom deal with politics, rarely waste time telling people what I think I know, and I fall in love – a lot. I write love poems, live in the moment and tell the world how I feel about it.
UTSQ: What projects are you currently working on? Do you have any new books in the works? What books of yours are currently available to readers?
Gainer: There is always something going on. I do a lot of things on the quiet with my friend Richard Hansen of “Poems for All” fame. He and I have been involved in the “Red Alice Books, Pulp Poems Series” and the “Poems on Magnets Guerilla Project.” I think I’ll be doing another book with Red Alice next year, there is a chapbook in the works and a full-length thing with an outfit up north. You can find my books on Amazon and some are listed on my website: billgainer.com. I generally do lots of radio, travel and read 30-40 dates a year. You can always find me on the Facebook – or just ask a friend!
UTSQ: Give us a little taste of your work. Please share with us a favorite poem that you have written. What makes this one special to you?
Gainer: here are a few short things I enjoy:
Falling in Love
Dark hair,
dark eyes
and that skin –
yeah, I fall in love,
a lot,
she’s just the latest
not to know.
Hello, Goodbye...
I much prefer hello,
how you been,
I’ve missed you.
Goodbye –
I’m always the last
to turn away –
maybe
you haven’t
noticed...
The Haunting of Moments
Like the ghosts
of the confessional
the moments whisper –
“You’re not here
to try to find
another place
to be...”
The Delicacy of Pain
Essentially
the note
from the pharmacist
said –
taking this drug
could cause you
to butcher the wife –
in her sleep.
The wife,
in a panic
demanded –
what is this?
The first thing
to come to mind –
an alibi…
UTSQ: Finally, Bill, if you could have a meal with anyone, dead or alive, real or imaginary, who would it be? And what on earth would the two of you eat?
Gainer: Wallace and Gromit – CHEESE!
__________________________________
Bill Gainer contributes to the literary scene as a writer, editor, promoter, publicist and poet. He reads and works with a wide range of poets and writers, from the emerging to the nationally known. He has won the San Francisco Beat Museum’s Poetry Contest and the Sacramento News and Review’s Flash Fiction Contest. He continues to edit for the PEN Award winning R. L. Crow Publications. His Latest book is The Fine Art of Poisoning. Visit him at billgainer.com.
