by Patricia Gomes 

Jeffrey Spahr-Summers (aka ZZ Baggins) began writing poetry 30 years ago while living in South Africa. He currently lives in Tulsa, Oklahoma ... he is a former Chicago Stage Poet and Founder of the former Chicago Poetry Agenda (CPA), which sponsored feature readings and workshops throughout Greater Chicago and its school systems. He has also read his poetry on the University of Chicago's radio station, at the Chicago Peace and Music Festival and in front of teepees. He is also a former participant of The Greater Dallas Community of Writers. As a former active Board Member of the Tulsa Arts and Humanities Literary Arts Council, Jeff has participated in numerous poetry ventures, readings, workshops, and the early evolvement of The Write Place (now called The Poetry Cafe). Several years ago, Jeff ran a series of workshops annually in conjunction with Tulsa Junior College (now called Tulsa Community College) and has been involved in workshops across the country. 
 
His work has appeared in Erie, Hammers, Strong Coffee, Newsletter Inago (featured in entire issue as Poet of The Month), Scenezines, San Fernando Poetry Journal, and other small presses. He is in two anthologies, Chicago Saloon Poets and See the Light. Jeff's book, Fear of Heights was published through his own press in 1984. He currently edits, produces, and publishes The Poetry Victims, a non-profit daily email Poem of the Day along with guest poets.

 
Moth Dust 
 
Like powder on my fingers 
From having touched God 
I rub it lightly into my skin 
Soaking up the dusty love 
 
— © 2004 J.A. Spahr-Summers 

PG: You began writing poetry 30 years ago—do you remember your first poem? Who, or what, was it about? 
 
JSS: Thirty years, yeah!  I don't remember the title of my first poem, but I can tell you Shakespeare inspired it; it was a love poem for a girlfriend in South Africa. 
 
PG: Tell me about the first time you performed before a live audience—were you terrified? Do you ever get stage fright? 
 
JSS: The first time I performed before a live audience was on Cherry Street in Tulsa, Oklahoma in the early 1980's.  I threw up on the stage, I was so nervous.  Stage fright?  Yeah, I still have it every single time! 
 
PG: Reading "in front of teepees"—how did that come about? Who was your audience, what it was like to read your work in such a naturalistic setting? Which poems did you read? 

JSS: Eddie Two Rivers, a fellow poet in Chicago, asked me to share the feature billing with him at a Chicago nature center.  It was an Earth Day celebration with the accompanying audience.  I enjoy reading poetry outside and would often reason on the beach of Lake Michigan with other poets.  At the reading with Eddie, I read some of my South Africa poems, in addition to several of my own Native American works. 

PG: You have done a bit of traveling, how many languages do you speak fluently? 
 
JSS: Many languages interest me, but fluently?  NONE!  Okay, okay—English. I used to speak Afrikaans fluently, but I'm a little rusty now.   

PG: What is it that keeps you writing poetry? What's your main source of inspiration? 
 
JSS: Writing is my stress and creative impulse release.  I'm shy by nature, so it's my means of communicating with people.  Other poets' work inspires me.  I think it is important for growth as a writer to read as many other writers' works as possible. Nature itself inspires me to a great extent. 

PG: You are one of the most prolific writers I've ever known—have you ever experienced writer's block? How do you manage to turn it around? 
 
JSS: Absolutely! Many times.  Starting The Poetry Victims brought me out of the worst case ever.  I only wrote about twenty poems in the five-year period prior to TPV. It was hell. 
 
I can't say for certain that I've ever really gotten over any writing block until it ran its course.  Listening to music doesn't help, probably because I do that all the time anyway, and everything I write turns into poetry somehow so writing in other genres doesn't work either. (I've given up trying to write in other genres!) I'd have to say what's probably the best trick for me is reading the work of other poets. 

PG: Is it less taxing for you to write about strangers—faces on the street—rather than friends and family? 

JSS: When I was young, I censored myself because of family and friends (didn't want to hurt anyone's feelings, you know).  But as I've gotten older, I realize that I have to write for me, and no one else.  People learn to accept that if they care about you.  Most of my poems are about people or things I know.  Write about what you know about - it's true. 

PG: In your opinion, what is your best work? 
 
JSS: I think my best work was Watching Daddy Die, perhaps Avocado Lovers, Talk About My Girl, or maybe I Know a Rose.  That's a tough call; I have a lot of favorites.  A lot of good new ones, I think.  That is the interesting thing about writer's block for me— after every period of it, I see significant growth in my writing.  The latest poem is always a favorite, whatever it happens to be. 

PG: Do you still get rejections, and if so, has your reaction to rejections changed over the years? 
 
JSS: In the early 80's I received a lot of rejections.  I haven't received one since about 1990, although granted I haven't submitted nearly on the scale I used to, but I learned the most important secret: research.  Find out who publishes what kind of poetry.  It is a waste of time to just pop one off to anywhere, most publications have blinders on and are very specific in the style they want.  The annually published Poet's Market is the best tool out there.  I do a lot of research before I submit.  Rejections cannot be taken personally; if we did, we'd probably all stop writing.  Rejections are not a reflection of a poet's talent, but more just the editor's tastes.  With The Poetry Victims, I try hard to publish a broad spectrum of poets and styles; variety is important.

 
PG: The Cherry poem series is a favorite of mine; what was the inspiration, or who was your muse, behind that wonderful group? 
 
JSS: Well, the first one was written in 1990.  An early influence of mine was Erica Jong.  Her poetry is very sensual, and she often used to write about fruits and vegetables, which I am also fond of.  The first one, Cherry, was initially a reference to virginity.  There are twelve Cherry Series Poems now, written as recently as two months ago.  Not all of them deal with virginity, but they do deal with sensual attraction.

Cherry Juice 
 
Blushing 
Liquid 
Virgin red 
Pouring 
Her broken 
Heart 
Out 
 
Cherry Pit 
 
After 
The 
Sweetness 
Before 
The 
Cold hard 
Reality 
Becomes  
Regret 
Spit it 
Out 

— © 2004 
 
PG: Does the writing come easier by daylight or moonlight? 
 
JSS: Definitely by moonlight! 
 
PG: Finish this sentence: "I have always wanted to write a —." 
 
JSS: I have always wanted to write THE perfect love poem … and a novel! 
 
PG: Modern poetry—name three favorites. 
 
JSS: Wow! Only three, hmmm ... Carolyn Forche, Erica Jong, Maya Angelou, Anne Sexton, Lawrence Ferlingetti, Robert Bly, (I can't do just three!) Gwendolyn Brooks, Angela Jackson, but this can change on any given day.  Then there are also the poets that I know! 

PG: Poetry Victims—where did the idea come from? Are you pleased with its success? Did you expect it to catch on as fast as it did? 
 
JSS: One day I saw my son Justin, reading a book that I loved when I was in my twenties: A Confederacy of Dunces; perhaps you've heard of it?  Justin is 13 now, and never having read any of my poetry, I decided that, considering his reading material, he was ready for them.  At first I sent poems to only him every day, but within a week or so, I decided to also add other members of my family: my sisters, my mother, my stepmother, nieces, nephews and then friends, etc.  So, in my mind these people were victims of my poetry.   
 
But, it wasn't enough to just send my poems, I wanted to expose them (him) to other poets they (he) might not otherwise choose to read.  I started doing submission drives on the Internet.  I am thrilled with its success.  I never dreamed it would become this popular.  October 1st, by the way is our 6-month anniversary.  I have aspired to publish a magazine for years, but it is an expensive endeavor to produce one.  This is my affordable alternative.  At this point though, it is becoming more than just the poetry, it is about the people.  How (like yourself), an issue or poem has really helped them deal with something in their life.  My own soapbox to philosophize.  But, much of what I say is still first and foremost for my son's benefit. 
 
PG: Finish this sentence: "The only thing more important to me than poetry is —." 
 
JSS: The only thing more important to me than poetry is my son Justin. Surprised? 
 
PG: Music plays an important role in your life; have you ever tried your hand at song lyrics? 
 
JSS: In my head I have, but never put anything to paper until Daddy's Hunting Blues recently.  If that's any indication, I'll not do any more.

PG: Do you play any musical instruments? 

JSS: Electric bass, acoustic guitar, bass ukulele, bit of Drums, tiny bit of piano or keyboards, and an African finger instrument, but I've no idea what it's called. 

PG: Off the top of your head, choose one:

a. Possible or Impossible … and why 
b. Passive or aggressive?
c. Cats or dogs … and why
d. Queen’s Bohemian Rhapsody or Led Zeppelin’s Stairway to Heaven? 
 
JSS: a. Possible because anything is possible, it's just a matter of attitude. 
b. Passive 
c. Dogs: they're always happy to see you, they'll die for you if necessary. 
d. Bohemian Rhapsody—hands down. 
 
PG: Can you remember the first musical recording you bought with your own money? 
 
JSS: The first single (45) was I Hear You Knocking by Dave Edmunds. The first album was Bayou Country by Creedence Clearwater Revival.  I still have them.  
 
PG: Still speaking musically, who is the greatest solo performer ever? 
 
JSS: Paul McCartney—surprise, surprise. 

PG: Best band? 
 
JSS: The Beatles. 

PG: I've just handed you a crystal ball: what do you see yourself doing five years from now?

JSS: Paying off child support.  Publishing poetry magazines and books.