1. How did you discover you were a poet/writer?
This idea of liminality pervaded my cellular identity, formulating from moments of pubescence through the whole of, by way of a defense for self-preservation. From the warrant of scarring grace borne comfort, I become subsumed in the challenge of weight-bearing language quite early on with its telling instruments for prosody, traversing against time and space and the surrealism of maturity, giving voice to the shackled and the taciturn of my youth, while minims of me can be sequentially held like a speech-dwelling with what has been endured and lost. Thus, I brook in this hunger to write, to let fall and lacquer myself in allegory, crutching long in rhythm and rhyme on soothing poetic, healing graciously on its words.
2. What spaces do you like to create in?
February mere. December cruel. Rotund May. When the heart is an exacting invective and the days are composed as if on a single note and the concepts of home blurred beyond shape, and the drinks are too opulent to feed the inward quivers, I find remedy in my brittle nest of the world. I dash off words like watery stones borne within grotto, smeared notes churling between dark and beauty, quietly waiting for the portal of space to spring open from walls, from wisps of Gauloise cigarette with beggar in my throat, laying me thusly suffocated toward artistry, inherent in the spaces that haunt, eroticized where the nearest blades of syntax ease into flesh, courting me home.
3. Where’s your favorite place to write right now?
Falling into monotony, I am all spine and fluidity, padding over a reclaimed barn wood chair. Fingers nuzzling in mesmeric proportion to the sleek, clean lines of white alphabet across the grey-slate Apple keyboard; pendant light casts mosaic splashes of amber resting on a Belgian butcher’s table beneath a pitched ceiling. This cozy recessed kitchen panels in antique sage gingham-checked wallpaper, with pressed anemones lay adorned quintessentially lattice-back, and thusly, is my favorite place to lurk beneath the narratives of my trapdoor.
4. Who is someone you consider inspirational to your life/work and why?
My children. They are simultaneously my linear expression and digressive lyrics, in which one thing is always lulling and pinging me back, as surely as memories in time, disconnecting me from the devastation of the natural world, easing my transit down on the snug post, at an incline where I remain evacuated all hints of anything disemboweled, in the manner of threading toward my terminus without falling, being written through.
5. In a world with so much constant media and stimulation, what do you believe is the value of the written word?
I write along nuances of flight and force, on a tangent breaching the balance of oral perversity and literal reverence. Where my poetic epiphany takes cadence as a locus of articulation, I do tenuously identify with the social means of the contemporary conversation, by which this digital phenomenon can catapult a poet’s body of work to an unimagined zenith, make it approachable and accessible for the mainstream, in turn paving the way for the proliferation of creative writing programs in a given society as well as the migration of the global literary culture. It seems, in short, I soundly believe the written word is the driving force of this modern-day intellectualism as well as its discursive virtual success, a simultaneous juxtaposition and illuminating of a poet’s modernistic venture and her linguistic truth.
6. What super power would you choose, and why?
Hyperthymesia or Superior Autobiographical Memory. I want to be lost in remembering, where I could walk myself into many tomorrows, retracing my infant steps of a long ago time.
Lana Bella is the fourth Featured Woman Writer this October. A three-time Pushcart Prize, Best of the Net & Bettering American Poetry nominee, she is an author of three chapbooks, Under My Dark (Crisis Chronicles Press, 2016), Adagio (Finishing Line Press, 2016), and Dear Suki: Letters (Platypus 2412 Mini Chapbook Series, 2016). She has poetry and fiction featured with over 400 journals, including Acentos Review, Comstock Review, Expound, Ilanot Review, Notre Dame Review, Rogue Agent, and Word/For Word. Her work is set to appear in Aeolian Harp Anthology, Volume 3. Lana resides in the US and the coastal town of Nha Trang, Vietnam, where she is a mom of two far-too-clever-frolicsome imps.