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on Monday, April 28, 2008 - 04:34 PM EST | Posted by : Burk28 | 239 Reads
Vancouver Poet Marc Creamore
by William B. Burkholder
Marc Creamore grew up in the '60s and early '70s. In his teens he began listening to Bob Dylan and reading the Beat poets, which led to an interest in the spoken word. He currently lives in Vancouver, British Colombia. His newest book is "Notes From the Abandoned Orchard of the Moon" (Frog Hollow Books, 2007). Other titles include "The Wrong Side of the Curtain," "Corridors," "Bleaker Street" and "Tea Leaves and Denim."
He was interviewed for Third Reader.com by Poetry Editor William B. Burkholder.
William B. Burkholder: I am fascinated by your style and your ability to render such visualistic pieces. Can you talk to us a bit about how you got your start in writing poetry?
 Marc Creamore: My formative years were the late '60s and early '70s. The self-expression and creativity of those halcyon times almost became a lifeblood of sorts for me. I had been dabbling in poetry a little earlier, in my mid-teens, but with the explosion that began to occur, particularly in the music scene, I really started to delve into poetics on a much deeper level. I listened to Bob Dylan, began reading the Beat poets in earnest and realized the possibilities of spoken word as a means of higher expression.
WB: Vancouver is a city well-known for its many artists and writers. How does living there contribute to your creativity?
MC: That's a tough one for me to answer. I'm basically a relatively solitary person, love quietude, interacting with close friends and family, thus I have never really linked myself with any particular group. The artistic community in Vancouver is indeed quite vibrant; however, I have never affiliated myself with anyone. The natural beauty of the city and the province does have a deep impact on my inner person though.
WB: Would it be possible for you to share with us your process? In other words, what does Marc Creamore do in preparation for writing? Do you research any of your subjects, or is it spur of the moment writing?
 MC: I usually write very rapidly. I really feel that each and every one of us has an individual voice lurking inside, and that if one really listens carefully one can bring that creative inner voice to the forefront. I make little or no changes after the initial burst onto the paper. I guess in many ways I believe in the Beat poets approach to writing … once you get it down, don't alter it because that is when it's in its purest form. The only time I did any research at all was during the writing of my latest book. I have always wanted to attempt to reflect back and try to capture what I felt was happening during the '60s. Thus, I read many other perspectives in order to refresh and perhaps integrate some of the nuances of those times. The long poem "Do You Remember the Marketplace of Dreams" is a good example of this.
WB: Do you have any favorite poets, writers, musicians or artists?
MC: Bob Dylan, first and foremost. He made me understand that language was limitless and that you could wander down any avenue of self-expression and find riches there. Other singer/songwriters and poets that have influenced me would be Tom Rapp and Pearls Before Swine, Robin Williamson, David Tibet and his band Current 93, Rimbaud, Kenneth Patchen, Allen Ginsberg and Jack Kerouac. I also have a deep appreciation for the Asian ancients of Japan and China. Their use of understated language and meditative thought has given me much reflection over the years.
WB: I am sure that your family and loved ones are very proud of your literary accomplishments. What role have they played in your ability to write such fantastic work?
MC: When I met my wife Donna in the '80s I had basically given up pursuing the poetry game. But with her encouragement I decided to give it another go, so to speak, and the result is five volumes of published work. For this I will ever be grateful, because without her understanding and enthusiasm none of this would have been possible. My younger brother Robin and George Koller have been sources of inspiration as well.
WB: If given the opportunity, what advice would you give to aspiring poets and writers?
MC: Just write whatever you find swirling around inside your mind. Break every rule in the literary handbook if necessary, because a person's individual voice is his or hers alone … polish it and nurture it until you become comfortable with what it is that it is trying to say. Read as much as possible—philosophical texts and as much poetry as you can. When reading poetry, read it aloud to yourself and listen in quietly to your own mind, your own music. There is much value there.
WB: The resonance of your work speaks to the higher consciousness that we all possess, but at times refuse to see. Can you relay in a few words to us, what your overall message is to the reader of your work?
MC: I honestly believe that at this crucial time humanity is beginning to realize that if we are to evolve as a species that we must revolutionize our thought processes. There are borders all around us, whether they be political, religious or created in the mind itself and that it is imperative that we break them down if we are ever to grow. I understand that this will be very difficult … we have had century after century of limiting the ability of the mind to truly explore the vast spectrum of possibilities it possesses. But if we are to survive in the future, we must set aside our differences and come together in a collective spirit of compassion and deep understanding. This, I guess, is the basic premise that I have been trying to expound poetically for the last 35-40 years.
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