Bill Yarrow is a Professor of English at Joliet Junior College where he teaches creative writing, Shakespeare, and Introduction to Film. He is the author of five full-length volumes of poetry (ACCELERANT from Nixes Mate Books, AGAINST PROMPTS from Lit Fest Press, THE VIG OF LOVE for Glass Lyre Press, BLASPHEMER from Lit Fest Press and POINTED SENTENCES from BlazeVOX) as well as five chapbooks. His poems have appeared widely in national and international journals including PANK, Gargoyle, FRiGG, Diagram, Contrary, THRUSH, Poetry International, RHINO, Magma, Staxtes, and Levure Littéraire. His work also appears in the anthologies Aeolian Harp, Volume One; This is Poetry: Volume Two; and Beginnings: How 14 Poets Got Their Start. He is an editor of the online journal Blue Fifth Review and has been nominated eight times for a Pushcart Prize.

Eckleburg: What captures your interest most in your work, now, as a reader of your work?

BillYarrow: Precision. 

Eckleburg: What are you working on now?

BillYarrow: A volume of New and Selected Poems. 

Eckleburg: Who and what are your artistic influences?

BillYarrow: Books: The Castle of Perseverance, Petrarch’s Secretum, Truth is More Sacred by Edward Dahlberg and Herbert Read, A Private Correspondence by Henry Miller and Lawrence Durrell, Melincourt by Thomas Love Peacock, Opium: The Diary of a Cure by Jean Cocteau, “The Marriage of Heaven and Hell” by William Blake, I Am Not Ashamed by Barbara Payton, Project for a Revolution in New York by Alain Robbe-Grillet, Life of Johnson by James Boswell, Paris Spleen by Charles Baudelaire, The Letters of Gustave Flaubert, Paul Gaugain’s Intimate Journal, Life and Death of Mr. Badman by John Bunyan, Max Havelaar by Multatuli, Jacques the Fatalist by Denis Diderot, Lectures on Rhetoric and Belles Lettres by Hugh Blair, Life of William Blake by Alexander Gilchrist, Mercier and Camier by Samuel Beckett, The Innerworld of the Outerworld of the Innerworld by Peter Handke, Waste Books by G. C. Lichtenberg, A Girl Named Zippy by Haven Kimmel, Animals in Translation by Temple Grandin, The Tipping Point by Malcolm Gladwell, Niebla by Miguel de Unamuno, Spring’s Awakening by Frank Wedekind, Bouvard and Pecuchet by Gustave Flaubert, Richard II by Shakespeare.

Artists: Everyone.

Movies: Too many to list.

Eckleburg thanks BillYarrow. Do you have new work published here at Eckleburg or elsewhere? Add your Selfie Interview and share the news with our 10,000+ reading and writing community. If you have a new book out or upcoming, join our Eckleburg Book Club and let our readers know about it.


Julie Marie Wade teaches in the creative writing program at Florida International University in Miami. She has published ten collections of poetry and prose, most recently Same-Sexy Marriage: A Novella in Poems and The Unrhymables: Collaborations in Prose, co-authored with Denise Duhamel. Wade reviews regularly for Lambda Literary Review and The Rumpus and makes her home on Hollywood Beach with her spouse Angie Griffin and their two cats.

Eckleburg: What captures your interest most in your work, now, as a reader of your work?

Julie Marie Wade:

Honestly, “New Mother” is one of my first forays into fiction writing. When I was a PhD student at the University of Louisville, I did an independent study with a terrific fiction writer there named Paul Griner who encouraged me to discover why I identified as a poet and creative nonfiction writer, aka “not a fiction writer,” by writing fiction. I loved his via negativa proposal and began to explore to explore the possibilities. When I finished my program and was hired as a faculty member in the creative writing program at Florida International University, I found myself in extraordinary literary company once again–this time with four accomplished fiction writers (Lynne Barrett, Debra Dean, John Dufresne, and Les Standiford) as colleagues and friends.
While my teaching focus at FIU is poetry, creative nonfiction, and most recently hybrid forms, I’m finding that there are stories I want to tell *as stories*–not, say, as narrative glimpses inside a poem–and stories that aren’t born from my direct experience the way my work with memoir/lyric essay typically is. “New Mother” is one of those stories. All the stories I have written so far and am interested in writing next have to do with queer identities and the misunderstandings that often arise from heterosexual presumptions.
In this story, I was thinking about the protagonist Leah’s belief that her close friend Zoe must have carried a secret torch for her since high school, given that Zoe is a lesbian and Leah is a woman. But the story surprised me because Leah’s false belief about her friend’s desire for her didn’t make me empathize with Leah’s character less; instead, it made me feel even more compassion for her.
I guess what I’m learning most notably right now is how much writing fiction can teach me about subject positions and experiences that aren’t my own–something I had only previously recognized as a *reader* of the genre.

Eckleburg: What are you working on now?

Julie Marie Wade:

I’ve had some enormous literary serendipity recently, resulting in this triptych of good news: In February 2020, The Ohio State University Press will publish my new lyric essay collection, Just an Ordinary Woman Breathing. In September 2020, The Word Works will publish my new experimental poetry collection, D  R   IF   T. And as if that wasn’t all thrilling enough, Brenda Miller and I have recently learned that our collaborative lyric essay collection, Telephone: Essays in Two Voices, was selected by Hanif Abdurraqib as the winner of the 2019 Cleveland State University Press Nonfiction Book Award. CSU Press will publish that collection in September 2021.

Eckleburg: Who and what are your artistic influences?

Julie Marie Wade:

My love of poetry was awakened in high school, first with Dickinson and Whitman, and later in college with the work of many poets, particularly Adrienne Rich. (I loved her poems but also cherished the knowledge that she was an essayist, too.) As I kept reading poems throughout college, I was drawn especially to Sharon Olds, Sandra Cisneros, and Lucille Clifton–poets whose work I sought out in their single-author collections, beyond the anthologies where I first encountered them.
By graduate school, I was reading the books my professors assigned to me, but also the work authored by those professors. I fell in love with Suzanne Paola’s poetry, and Bruce Beasley’s poetry, and Brenda Miller’s lyric essays. These professor-mentors led me to other writers they knew I needed: Harryette Mullen, Rae Armantrout, Claudia Rankine, Bernard Cooper, Mark Doty–and more–and more.
In my next grad program, I studied with Tracy K. Smith and Toi Derricotte, so I began reading their work, too, and I also discovered, in one of the most auspicious accidents of my life, the work of Denise Duhamel, which led me to the work of Maureen Seaton, two poets I could not live without now. I also became fans of the work of fellow emerging poets, like James Allen Hall and Aaron Smith and Stephen S. Mills–all of whom write work that resonates deeply with me and grants me ever-greater permissions in my writing life. Now some of my favorite writing influences are also former students who are beginning to publish their own collections of work–writers like Ashley M. Jones, Ariel Francisco, Laurel Nakanishi, Jen Soriano, and Dawn S. Davies. 
I guess it’s obvious, but I’m influenced in some sense by everyone I read and write, everyone I’ve studied with in the past and teach with now, and certain by everyone I have the privilege of teaching. I build my courses around writers who have influenced my vision of what a poetry collection or a memoir or a lyric essay can be–writers that include (but are not limited to!) Daisy Hernandez, Lily Hoang, Maggie Nelson, Eula Biss, Ross Gay, David Hernandez, Jessica Jacobs, Valerie Wetlaufer, Rigoberto Gonzalez, Barrie Jean Borich, Rick Barot,  Karen Salyer McElmurray, Ocean Vuong, and Jenny Boully.
My newest writing influence is a writer I only met and began to read for the first time this summer–Matthew Olzmann. I’m astonished by the wonder in his work and the tender invitations his poems extend to me as both a fellow writer and fellow human.

Eckleburg thanks Julie Marie Wade. Do you have new work published here at Eckleburg or elsewhere? Add your Selfie Interview and share the news with our 10,000+ reading and writing community. If you have a new book out or upcoming, join our Eckleburg Book Club and let our readers know about it.

SELFIE INTERVIEW | Nicole Miyashiro

What captures your interest most in your work, now, as a reader?

I’m interested in lyrical flow and urgency, and savor moments when all other story elements blend to elevate these two and keep the story moving.

What are you working on now?

Right now I’m working on a collection of fictionalized vignettes — linked to “Spectators” and “I Will” — that explores the psyches of those who mobilized around one man’s dream to introduce orca captivity to Seattle (and to the US). In between, I work on other short stories and poetry, always poetry.

Who and what are your artistic influences?

For me, it all started with Joyce Carol Oates and Tim O’Brien – add to that Caitlin Horrocks, Otessa Moshfegh, Ito Romo, Melinda Moustakis, Melissa Febos, Dorianne Laux, Ted Kooser, Lorrie Moore, Anthony Doerr, and more… News reports, visual art, film, and music/song lyrics have also had their influence along the way…

Read “Spectators” by Nicole Miyashiro

This killer whale broke surface twelve feet out, arching its oily mass out from the water, and then it dove, aimed in our direction. One of us grabbed the shotgun. Our catch was good, but orcas could eat our salmon right through the nets, swarm us in packs of up to forty. We knew the risks. It was the wretched ‘blackfish.’ We’d heard how a pack of them had come up on a whaler’s catch recently, attacking its haul in a fury of relayed darts and tears, mucking up the water with their methodical peeling back of the blue whale’s skin…. READ MORE