On Every Beach the Sand is Different.

On Every Beach the Sand is Different.

Portraits painter, Natalie Dekel, interviewed by Gil Dekel. Gil Dekel: When did you start painting? [1] Natalie Dekel: I was left-handed and my mother was worried that I will not be able to use my right hand. Where I was born and grew up, everyone had to be the same and had to write in school using their right hand only… So at the age of one my mother gave me a lot of pencils and told...

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Introspection.

Introspection.

Matt Manley (painter, teacher, digital artist, and illustrator of Rumi wall calendars published by Brush Dance) – interviewed by Natalie Dekel. Natalie Dekel: Your work seems a mix of symbols and memories – a puzzle leading the viewer to discover a story. Is this correct? Matt Manley: I think this could be an accurate view of my work, as long as the story being...

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Turning On the Light Without Choosing Which Way It Will Spread.

Turning On the Light Without Choosing Which Way It Will Spread.

The authorial-Self, a ‘Muse’ of poetry, is interviewed by Gil Dekel. Gil Dekel: I am very happy to be able to interview my own ‘Muse’, my own creative self, and ask him about processes of inspiration in writing poetry. [1] I would like to thank you, the authorial-Self, for ‘descending’ from the so-called ‘collective unconsciousness, the spirit world’, and coming over here,...

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In You We See The Light.

‘The Band of Brothers’ in an interview with Gil Dekel. Gil Dekel: This interview is taking place through an automatic-speech experiment, where spiritual intelligent forms (‘beings’) are channelled through a medium. So, can I start by asking you: what is your name? BB: We do not give names, because it is unnecessary where we are coming from… We do not wish to...

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I Was Always a Genius.

Poet Alan Corkish interviewed by Gil Dekel. Gil Dekel: I get the feeling that your poetry is based mainly on telling a story, an event, rather than depicting a picture. Is this correct? [1] Alan Corkish: I’m not sure about what you mean Gil. Language is complex, I don’t think you can hang labels onto anyone’s poems that are that simplistic. To be honest, I sometimes write stuff just...

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Becoming Something Deeper.

Poet Myra Schneider interviewed by Gil Dekel. Myra Schneider: Hi, Gil, welcome… would you like some tea? [1] Gil Dekel: That would be nice. [2] [getting tea] [3] Gil Dekel: Did you always live in London? [4] Myra Schneider: I have been living here a long time now, since 1955, in this house. This room was my son’s bedroom, and it is now my poetry workshop room. [5] Your wonderful book...

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Whirlpool of Emotions.

Poet Clive Wilmer interviewed by Gil Dekel. Gil Dekel: Hello, Clive… [1] Clive Wilmer: Nice to meet you, Gil, at last… [2] I wasn’t sure if this is Cambridge Central Station, because it looks so ‘open’; quite wide… [3] Yes, it’s an unusual lay-out here. This part of England is very flat, like Holland… [4] In The Mystery of Things, your recent book, there are...

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Insight into Words.

Poet Maggie Sawkins interviewed by Gil Dekel. Gil Dekel: You have been writing since the age of nine. How does the process of writing poetry work for you? [1] Maggie Sawkins: I think that there are different processes for different poems. Sometimes it is two things that seem opposites, and you make a connection. That is, a tension between two things that a poem can grow out of. For example,...

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The Arc of Grace.

Poet Sylvia Paskin interviewed by Gil Dekel. Gil Dekel: How do words come to you? [1] Sylvia Paskin: Often they come as a burst of emotion. Sometimes I hear or read something, or something happens to me. And around this set of feelings you find yourself writing about it. That’s how the poem begins to form. I usually write long-hand, I don’t write directly to the computer. I make notes....

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Rising to the Surface of Language.

Poet Anne Stevenson interviewed by Gil Dekel. Gil Dekel: Can we talk about your creative process of writing? [1] Anne Stevenson: For me, writing poems is not so much a process as a way of feeling my way in the dark. Lines come to mind; I work them over in my head and then somehow collect a poem out of them. Ideas usually arrive after the lines. For example, the first five stanzas or so of A...

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