AGNI: You use repetition to great effect in your poem “Choke” (AGNI 85). How do you know what bears repeating in your work, and how does the repeated word or phrase change (for you, hopefully for a reader) as you bring it back again? In other words, what do you expect repetition to do?
Ahmed: First, thanks for your kind words about my poem, David! My poem “Choke” is sort of a retelling of “Jack and the Beanstalk” in two voices: an unidentified interviewer, and a rural Indian farmer. I can’t say I really know what bears repeating in my poems, but in this case, the voice of the interviewer seemed loud and insistent as I wrote, as though the urge to repeat the questions arose from the interviewer’s dissatisfaction with the initial response. So maybe the interviewer’s repetition stems from a desire to both clarify and undermine the farmer’s replies. At the same time, by giving the farmer a chance to reply more than once to the same question, I think I hoped to create a sense of accumulation, with a larger story emerging bit by bit from snippets. I also hoped to convey a kind of layering and revision that would compel the reader to question both the interviewer and the respondent, with the farmer at times responding to the inquiry with a kind of counter-inquiry. In addition to repeating some of the interviewer’s questions and part of the farmer’s replies, I tried playing around with the repetition of the word “choke.” I was interested in thinking about the various connotations and uses of the word, both the physical act of choking or being choked, as well as the more abstract uses of the term in “choke off” or “chokehold.”
AGNI: One of the things that stands out in your poem “The Feast” is your use of camerawork; you use description to move the reader’s attention from the speaker’s father to the food, from the food to the river, and then on to the children, and so on. How conscious were you of this camerawork in the writing process? How did you know what needed attention, and when?
I wrote “The Feast” about a year and a half after my father died of multiple myeloma. I was visiting a new river park with my kids, the kind of picnic spot my parents visited frequently when I was a child. For a long moment, I felt as though I had somehow stepped outside of time as we conceptualize it, as though the past and present had collapsed. While I did not actually “see” him, I felt my father’s presence very deeply in that park. I suddenly became hyper-aware of all of the seemingly concrete, physical details of the setting: the grass, the trees, the moss, the water. But all the while, I was aware of something else happening. The experience was strange but somehow comforting, as though I’d been given a chance to revisit a familiar dream that was meant to represent real life. So I think that, as I wrote the poem, I was compelled to convey the sensory details of the land and water, perhaps as a counterweight to the strange alteration of time that I had felt.
Dilruba Ahmed’s debut book, Dhaka Dust (Graywolf Press, 2011), won the Bakeless Prize. Her poems have appeared in Alaska Quarterly Review, American Poetry Review, New England Review, and Poetry. New work is forthcoming in Kenyon Review, Copper Nickel, 32 Poems, Ploughshares, and Aquifer. Her poems have been anthologized in Literature: The Human Experience (Bedford/St. Martin’s), Indivisible: An Anthology of Contemporary South Asian American Poetry (University of Arkansas), and elsewhere. Ahmed is the recipient of The Florida Review’s Editors’ Award, a Dorothy Sargent Rosenberg Memorial Prize, and a Katharine Bakeless Nason Fellowship from the Bread Loaf Writers’ Conference. Find out what she’s published in AGNI here.