Sarah Herrin on ‘On Thousand Good Answers.’
Sarah (she/her) is a queer poet based in Colorado. She graduated from the Savannah College of Art & Design with a BFA in Sequential Art, where she also studied Creative Writing in the South of France. She is the author of chapbooks The Oceanography of Her and Anti/Muse, and the digital zine I Can Make A Love Poem Out Of Anyone. As a survivor of sexual assault and PTSD, she runs Beyond The Veil Press, advocating for mental health awareness and art as therapy. She is also a long-distance runner, cat mom, and visual artist.
When did you realize you were a poet, and how did that happen?
I’ve always been a storyteller, writing stories since I was little, and went to art school with the aim of being a comic artist. I wrote mostly fiction then, was really into zombies and superheroes, but then I went on a study abroad in France, in 2011. It was my first time out of the country, and I was experiencing some really intense emotions around personal independence, love, and heartbreak. Suddenly my real life was more interesting than fantasy, and I had so much to say. I began to use poetry as a way to tell short stories and fell in love with the art form.
Can you tell us a bit about the book you just published with Sunday Mornings at the River?
One Thousand Good Answers is a blackout version of my first poetry collection, published in 2018. This new edition whittles down 100 poems to 30 and applies the blackout method to create new work entirely.
What inspired you to write this book?
The desire to revisit my past and change my story - literally - was born from new trauma. In June 2021, I was sexually assaulted by a close friend and two others, and it had me searching for ways to take my power back. Rewriting my first book, poems I wrote almost ten years ago, became one of the weapons.
What does the title mean?
The original title was One Thousand Questions (And No Good Answers), which was how I felt about this toxic love at the time (and still do, frankly) so I wanted to keep with the blackout theme and create more love for myself.
What was one of the most surprising things you learned in creating your books?
I found that taking a Sharpie to my old poems was empowering and therapeutic. I had desired this person for so long, in spite of the betrayals and the abandonments, but I never turned that love back on myself - until now. Seeing it in writing, in black and white on the page, in my own handwriting, was incredibly healing.
What is the key theme in the book?
We love others so deeply, we can forget to love ourselves in the same way. You have the power to change your story. You’re not enslaved to astrology or fate or the lack of others’ actions. You can create your own destiny. Write a love poem to yourself - your good heart deserves it more than anyone.
How did writing your first book go? Do you have any tips for authors that are thinking about printing a book?
I felt I needed to purge these poems, from 2011-2015 before I could begin my next project. I wanted to take the reader on a journey, from heartbreak to healing. And mostly, I wanted to complete a project so that I would have something to show to a publisher, like a portfolio. Poetry is my passion, but I also look at it as my career.
Writing my first book was a difficult experience because of all the emotions it forced me to relive. And because it was 100 poems, it was overwhelming at times. I took what I learned from art school and broke it down into 3 acts – beginning, middle, end – and tried to make it make sense in the storytelling arc.
Who are some of your literary or artistic crushes, and did they influence you at all while writing this book?
I love Sylvia Plath, Anais Nin, Patti Smith, Mary Oliver and modern poets like Andrea Gibson, Chen Chen, Richard Siken, Alex Lemon, Maggie Nelson... But in this case, I was greatly influenced by my poetry community, who encouraged me to continue this project. All of my followers who engage with me, the people in workshops I take regularly, my dear poet friends, this project is also because of you.
Do your subjects read your poetry?
My poems are mostly about ex-lovers and, very rarely, my husband. [deep breath] Ha! My ex read an early manuscript of my first book and gave it a good review, so that was gratifying. My husband has become a strong supporter of my work, but he’s not really a poetry guy, so he doesn’t read my work often. But he does come to my readings.
Publishing your work is a vulnerable process, how do you deal with that?
It’s very vulnerable. There are a lot of poems that I never expected to read aloud. I’m starting to rethink the writing process because of it, not to censor myself, but craft it better – I hope. As far as people reading my poems, it’s what I’ve always wanted. Ex-lovers, husband, dear friends, this is all for you. We should all be more vulnerable.
Do you think someone could be a writer if they don’t feel emotions strongly?
I want to be supportive and say, Sure, the world needs all kinds of writers. Being a writer, like an artist, makes you observant. But for me, I can’t write if I can’t feel. It’s all about that bolt of lightning, the sudden appearance of the muse, imploring me to dance barefoot in the rain with her.
What is the first book that made you cry?
I’m a Sagittarius, I don’t cry much. [queen emoji] But actually, reading your new book, The Lady From Across The Sea, on the plane back from New York after we met, made me tear up a bit. It’s so damn relatable to what I’ve been going through for years. I like to think our work is sisters.
What are common traps for aspiring writers?
Revise revise revise revise. Also pay attention to form. Please. I think the biggest mistake aspiring writers make, and one I made in the beginning, was not reading. I wrote my first book without ever reading any poetry. Embarrassing. After that, I made it a point to get as many famous poets from the library as I could, study books on writing poetry, buy books from modern poets. There is so much to learn about form, language, pacing… Reading Instagram poetry is good, but it’s not the same as reading a real book. And I’ve started taking writing classes again, too.
Do you take poetry classes or read books on poetry?
I am constantly taking poetry classes and reading books on how to improve my poems. The Friday morning classes with CBAW have become my church.
Do your family and "real life" friends read your work?
Since my “internet” friends make up a solid group of “real life” friends, yes. Power to the Poets! The online community has saved me. Before I joined IG, I knew maybe three poets, and no one read my work. But we have to remember that IG is a tool, it’s not the main platform for our work. We can use it to meet poets in real life, make real friends, publish real work. We need each other. Poetry is having a powerful movement right now. I’m very grateful for everything that poetry has brought into my life.
What does "good poetry" mean to you?
A good story makes the reader feel something in the body, with sensory and specific details. That’s it. Good poetry makes a reader say, yeah, I’m not alone after all. Or makes them look at themselves or their lives in a new light. A good story lights a fire. Also, I love a clever metaphor.
If you could tell your younger writing self anything, what would it be?
Give up comics drawing and become a writing major instead.