March 12, 2025 • 37 mins
Buckle up, folks! In this episode, we had an absolute blast chatting with the multi-talented Jenny Dickinson, who wears her poet and silversmith hats with flair. Imagine the sun shining in Texas as she shares her journey of self-publishing her poetry collection, 'Pluto in Capricorn', amidst the chaos of soggy journals and garden plans. Talk about turning lemons into lemonade – or in this case, poetry! Jenny's process of gathering her scattered thoughts while sipping coffee on her porch was both hilarious and relatable. It’s like a creative boot camp where life threw her a curveball, and she hit it out of the park with her words.
As we dove deeper, we explored Jenny's unique approach to poetry, which is all about capturing the raw and real moments of life, especially the tumultuous relationships we all seem to navigate. The way she balances the heavier topics with a sprinkle of humor is like a breath of fresh air. It's refreshing to hear someone express the messiness of life without the burden of despair, reminding us all that it’s okay to feel lost sometimes, as long as we keep moving forward. Plus, she shared some delightful anecdotes about her experiences performing poetry, including a memorable burlesque show incident that had me in stitches!
But wait, there’s more! We also delved into her silversmithing journey, where she crafts jewelry that not only looks stunning but also tells a story. Just picture wearing a piece that resonates with your soul while it catches the light – talk about a conversation starter! Jenny's passion for merging her poetry with her crafts is an inspiring testament to living a creative life. So if you’re in need of some creative inspiration or just want to kick back and enjoy some witty banter about art and life, this episode is your ticket to a delightful escape. Tune in and let Jenny’s journey inspire your own artistic adventures!
Takeaways:
- Jenny Dickinson's journey from poet to silversmith showcases the beauty of creative multitasking.
- The process of self-publishing can be surprisingly smooth, making it accessible for aspiring authors.
- Jenny's ability to reflect on past relationships brings a sense of hope and resilience to her poetry.
- The podcast emphasizes the importance of taking breaks in writing, allowing thoughts to marinate before revisiting them.
- Silversmithing is not just a craft for Jenny; it's a meditative practice that reuses materials creatively.
- The laughter and light-hearted banter between Jenny and Timothy remind us that art can be fun and expressive.
Links referenced in this episode:
Bio
Jennie Allida Dickenson Is a millennial hailing from the Northeastern Nevada high desert. She has lived in San Francisco, CA Olympia, WA and points throughout East Texas where she currently resides. A Jennie of all trades, she has held a myriad of jobs but prefers to think of herself as a silversmith. A poet, perhaps, when the poems get wrangled out of her. This collection features strictly her poems, but she plans to publish memoirs from the many adventures she has survived.
This poetry collection spans more than fifteen years of the author’s adventurous life. Buckle up for poems of love, romance, tragedy, heartbreak, determination and self-actualization. Read it as a memoir, or a warning tale, let it flow over you as words that have passed. There is a new chapter being written with every new experience. This is the flotsam and jetsam from the years between 2008-2024. My life is my signature and it is a gripping account of all the bullets I have dodged.
I invite you into the mess of my heart. Through the raw,...
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:04):
Create our Podcast InterviewJenny Dickinson hello friend. This
is Timothy Keem O'Brien, yourhead instigator for Create Art podcast
where I bring my over 30 yearsof experience in the arts and education
(00:27):
world to help you, your innercritic, and create more than you
consume. So in this interview,I'll be talking with Jenny Dickinson.
Now, Jenny is a millennialhailing from northeastern Nevada
high desert, and she's livedin San Francisco, California, Olympia,
(00:51):
Washington, and partsthroughout East Texas where she currently
resides. Now, she's a jack ofall trades and she's held a myriad
of jobs, but prefers to thinkof herself as a silversmith and a
poet when her poems getwrangled out of her. Now, she's just
(01:12):
published a new book, Pluto inCapricorn, and it's a collection
of poems that she's done overthe years, self published. And when
I met up with her, Iimmediately knew she was the person
for the show. So withoutfurther ado, I'm going to go ahead
(01:32):
and let that interview rollhere and enjoy the laughter and the
fun that she and I have herein this interview. All right, well,
thank you everybody forjoining us here for Korean Art Podcast.
I have the privilege of havingJenny Dickinson on the show here
(01:53):
with us today. Jenn, how is itin Texas today?
Today in Texas it isbeautiful. It's like 80 degrees outside.
The sun's shining and I needto get out there and plant my garden.
Yeah, I'm here in Virginia andI've got about a month before I can
plant my garden. But Idefinitely miss Texas and having
(02:15):
the 80 degrees in February,that is for sure.
You miss it until, you know,August comes around.
Oh yeah, no, when August comesaround, it's 110. No, thank you.
So I wanted to start rightoff. You have a wonderful book that
I had the pleasure of getting,Pluto in Capricorn that you put out.
(02:39):
You're a poet, you're asilversmith. Let's jump into the
poetry first and we can talkabout the silversmith stuff as well
because, you know, anytime Ican get some time with a poet that
is as talented as you are, Iwant to use up that time really good.
Oh, thank you.
Absolutely. I was reallyimpressed. And is this your very
first book of poetry that youhave published?
(03:01):
Yeah, this is my firstpublished poetry and I self published
it.
Excellent. How was thatprocess for you? I know it can be
intimidating for some people.
You know, back in the day whenI thought about publishing and you
know, always thought aboutsending it to literary magazines
(03:22):
and stuff, like that. And Ireally never got around to it. But
I was unemployed for about amonth and I spent every day sitting
on my front porch collectingall the poetry. And I had a mishap
where I have like probably 48journals, and they're all in this
(03:43):
one cabinet. And it had gottenwet and so I had spread them all
out over the floor, trying tosalvage and dry them. And I know
there's some lost poems inthere, you know, the ink ran and
I figured I needed to typethem all up, even just to make some
(04:04):
space and maybe burn thedrivel. But I decided not to burn
all the journals. And so I didtype all of them up. And it was quite
the process. It was kind ofemotionally taxing. But I sat on
the front porch drinking andsmoking. Either I was drinking coffee
or some beer or something, andI just, I went for it. And it actually
(04:29):
was really easy to the processof self publishing on Amazon. Otherwise
I don't think I would havedone it. And I'm not sure if I could
have shopped it to anyone.
I hear you on that one. I'vedone the, the Amazon publishing and
I also did Lulu. I started offwith Lulu Publishing, which is self
(04:51):
publishing, and I wassurprised at how easy it was because,
you know, if you know how toformat a, you know, a Microsoft Word
document and you know how toupload a file, you're a published
author, which is like, wow,how does that make you feel to have
that book on your shelf?
(05:12):
It's pretty nice. I'm kind ofglad to get it out of the way, actually.
I've always wanted to do it,and I feel like as my freshman attempts,
it's pretty good. I'm happy toshare it with people.
It's kind of like Doritos.Once you've done the first one, then
the second one's going tocome, and then the third one's going
(05:34):
to come and then the fifthone's going to come and. Yeah, you
know, and before you knowwhat, Simon and Schuster is knocking
on your door going, hey, weneed to publish you.
Well, that'd be cool.
Yeah.
I'm writing. Trying to write aprose shorts like a novel at the
moment, but it's a whole lotdifferent than poetry.
How is it different for youfrom writing poetry?
(05:57):
Well, dialogue. Putting myvoice into, you know, or trying to
speak through someone else'svoice and have the dialogue there
or, you know, just make upwhat's in their mind and what they're
thinking is totally differentfrom poetry, because I know what
(06:18):
I'm thinking, and I know whatI'm saying, but this is a whole,
you know, and I'm trying touse a different lexicon for, you
know, it'll be interesting. Ithink I'm. I think if I hack away
at it every day, I can get it.I might have to send it to you and
see what you think first.
(06:38):
Absolutely, absolutely. I'd behappy to read it. You heard it here
first, folks. We got a bookcoming out. So now when you're writing,
have you ever. When you'rewriting a poem, have you ever liked.
Scrapped it, you know, kind ofput it on a shelf and then come back
to it maybe a year or two or15 years later and. And completely
(07:00):
changed it entirely.
Yes, that's one of myprocesses, actually, is to write
and then come back at itlater. I always find something to
change. It's very rare thatI've written something and it just
stood alone. I think there'sonly one poem in the book that is
(07:21):
that way and it's the shortestone. The Radical Appreciation and
one of the first poems. I usedto do writing workshops in a little
ghost town called Tuscarora,Nevada. And it's a little ghost town
that used to be a gold miningtown and now it's just populated
by 12 to 15 artists. And Iwould get into the writing workshops
(07:46):
there by, you know, helpingCook and being the Girl Friday. And
Nancy McLelland, she ran theworkshops. And I think she was also
a professor at UC Santa Cruz,I believe, or UC Davis, I'm not quite
sure. Can't remember. It was along time ago, but that was one of.
(08:06):
One of the things she told meis to just let it sit. And so for
a lot of these poems, I letthem sit four years before I went
back and rewrote them or justmoved them around or cut. Cut a lot
of stuff. Because I believepoetry is supposed to express something
(08:26):
in the least amount of wordspossible. Kind of. I don't know for
sure.
I mean, those Greeks, they hadit all wrong. These 5,000 pages of
the same poem, it's like, no,no, you could have said it in three
sentences. Have you evercollaborated with another artist
(08:48):
using a different medium withyour poetry?
Not with visual art, but inthe past, I have put poetry to music.
I had a recording that I didfor the poem. Gosh, what was the
title of that poem? It's oneof the songs. I got two or three
(09:12):
songs in the book. And sothose I've actually performed in
front of audiences and hadlike, you know, just live recordings
of. Done with a cello playernamed Cello Joe. And that was back
in 2011. And before that, Iwould just kind of go off the cuff
(09:35):
and use some of my poetry tofreestyle with a friend that I had
named Carlos Canales orBaltazar Canales. And he had all
those recorded. Andunfortunately he was murdered in
Houston just two years ago.And I don't know whatever happened
to any of those recordings. Hewas running a. His own little artist
(09:58):
collective down there.
I'm just thinking about thenames Cello Joe and Bazar. That's.
Those are some awesome names.
Those are some of my exboyfriends. But I'm sure you read
about a couple of them in this book.
I did. And I was like, oh, Iknow that guy. Because I might have
(10:18):
been. I mean, not that, youknow, I might have been that type
of guy. One of the things Ireally liked about that, you know,
being a guy, being a CIS maleand all that comes with. I never
felt. What's the word I'mlooking for? I never felt like you
(10:40):
were giving me, giving us guysthe middle finger by saying, you
know, screw all men, I hateyou all, blah, blah, blah. I was
really taken with how you kindof balanced everything with. It was
just like, okay, yes, thishappened, you know, and you were
able, it seemed like a lot oftimes you were able to move on from
that or do better for that.
(11:03):
I'm very empathetic to otherspoints of view and myself. I know
that I can be crazy, you know,and I can understand, you know, the
man's point of view and maybewhy our relationship didn't work
out or. And how I was treatedto some extent. But I've also always
(11:27):
had hope and knowing like,okay, well, that didn't work out.
I dodged a bullet. And so Ifeel like I've dodged a lot of bullets.
Like there was a reason thatit didn't work out.
There is this sense of hopein, in these poems. And that's what
(11:50):
was really touching me aboutit, because I was like, okay, she's
not giving up, she's movingon. And I know my personal life,
there's times I'm like, ohman, I got burned really bad and
do I want to move on? But thenreading your stuff, it's like, yeah,
you can move on and you canmake something of yourself, which
(12:10):
I think is fantastic. I thinkthat's one of the reasons why I connected
with it so much. So well.
That's one of the things thatI hope that readers can take away
is that you might have hadthis relationship and your heart
was broken, but you can pickyourself up and mend that broken
heart and find someone elseand give a little bit of hope. Because
(12:34):
there are a couple poems withthe theme of a little bit of, like,
thought of suicide. And. Andthat has like, this is really. Honestly
me. I've thought about it, andI've always been really glad having
been a thought, not an action.And I really want people to see that.
(12:56):
It could be bad at the moment,but there's always another adventure
around the corner.
That's true. In my other life,in my. One of my other podcasts that
I do, it's all about suicideprevention and all that. And it's
one of these things that a lotof us. I don't want to say everybody.
I don't want to paint withthat broad of a brush. But, you know,
(13:18):
a lot of us think about it.Not. Not a lot of people actually
go through with the act, But Ithink that's. It kind of connects
people together. What do you.We've. We've been at our deepest
pits. We've been at the innerwit's end, and that thought comes
in. But then picking up andmoving on and looking at better days
(13:40):
is the way to go. And reallyconnected with your poetry in that.
Do you ever use silence orempty space in your writing? Because
I find that there. I. Iperform my poetry Friday nights is
my poetry night, so. And Ialways make sure to, you know, when
(14:00):
it's appropriate or when Ireally want to pound a point home,
I throw. I'll throw in a pauseor I'll throw in silence. Are you
using that in any of your works?
I'd say maybe leave thingsunsaid purposefully, but it's been
a very long time since I'veperformed any poetry, and I have
a tendency to try to rush overit. And so I've got to remind myself
(14:23):
to, like, leave a pause. Thelast actually time I did perform
was at some burlesque showsthat my friend was putting on. And
so I was reading some of moreof the erotic poems. And actually
I got in trouble by thecoordinator of the burlesque show
(14:45):
once for. For reading a poemthat is not in this book. She said
everybody came up to meafterwards and said, you really needed
trigger warnings for that. Iwas like, okay, sorry, folks. Yeah,
I don't know if that one willever be published, but.
That'S the poem I want to read.
(15:08):
Yeah. When the whole audienceis kind of upset with you. Yeah.
At A burlesque show. Come on.How? You know.
Yeah, it was kind of fun.Before that, I did poetry readings
in San Francisco a little bit,and in Nevada, I'd been doing that
(15:29):
for. Since I was, like, 14.
Oh, wow. Okay. How are theaudiences different in different
locations for you?
Well, the poetry readings inNevada were at a bar called the DLC
Gallery, and that was once amonth. And that was really cool because
(15:51):
it would be the same people,and for many years, kind of, they
would request poems. They werelike, oh, read that poem, and read
that one again. And I thoughtthat was neat because they got to
know me and see me grow. Thepoetry readings in San Francisco
I went to were called you'd'regoing to die. I think there's still
(16:11):
an Instagram page for thatpoetry reading that was. That was
more of a controlledenvironment. And, okay, read one
poem about death. And so Ithink it was. I don't know. I felt
way more nervous at the SanFrancisco readings because I was
like, oh, this is the artmecca. And as for the burlesque shows,
(16:35):
I thought I had a pretty goodact. You know, other girls were taking
their clothes off and dancing,but I had people audience just. And
I was fully clothed, so prettygood. I don't have to take my clothes
off. You're listening, though.
Gives me an idea for tonight'spoetry reading. I might have to do
a burlesque show at the poetryreading. Luckily, my nephew owns
(17:00):
the coffee shop, so I can getaway with that. All right, so I want
to get us into silversmithing,but one question I want to ask you
about your poetry is this. Ifone of your poems could be turned
into a piece of jewelry, whatwould that jewelry look like?
(17:21):
That is a very interestingquestion. I guess I. I've seen some
really cool, like, cuffbracelets that actually had poetry
on them. I actually am wearinga piece that's really interesting.
So the audience can't seethis, but you can. This was a UN
(17:43):
coin minted for the 25thanniversary of the UN that I cut
out. And it is a man hammeringhis sword into a plowshare. And then
on the other side, it'sreversible. And you can see stones
from either side, and they'vegot a brick motif. I made that in
(18:08):
regards to. Because that coinwas minted when Alexander Solzhenitsyn,
the year he had won the NobelPrize for literature for his writing
A Day in the Life of IvanDenisovich. And in that book, he
was a bricklayer, and that'swhat he took pride in his work, and
(18:31):
so I need to write a poemabout it. But I made that necklace
with that kind of, you know, anecklace about it. I took a coin
from that year that the USSRwouldn't let him leave to go accept
his prize and made it abouthis book.
Now, when you're doingjewelry, when you're doing silversmithing,
(18:53):
is there a like. Like what youjust showed us here? Is there a story
to all the pieces or justcertain ones or maybe commission
pieces?
I have done some commissionsthat have a story to them. Personal
pieces for people and personalpieces for myself. But most of the
(19:18):
time, I'm just trying to makesomething that's going to. Frankly,
I make multiples of stuff, andI'll make a big run of rings and
all sorts of different sizeswith stones that, you know, will
fit all sorts of differentpeople. And I can sell them for 20
(19:39):
bucks a pop because I do tryto keep a lot of affordable things
on hand. And then on mydisplay, I'll have like a. I have
this belt buckle that has someinscriptions on it. That was kind
of a story, a little personalmemory, but I have it for sale. Yeah,
I've made some men's weddingrings that kind of had their own
(20:05):
story. But really, I'm justtrying to have.
A little side hustle thatmakes perfect sense. Absolutely.
There's nothing wrong withthat. This podcasting thing is my
side hustle, because rightnext door to me here is I have my
work computer, and I do thatfor eight hours. Sometimes I do a
(20:25):
little bit of this while I'mdoing that. So.
Yeah, I would be nice to makesome more meaningful pieces. The
hard thing is when I make ameaningful piece, I want to keep
it, and then I therefore, I'mnot selling it.
(20:46):
Now, if you could work with acertain metal or gemstone that you
haven't worked with yet, whatwould that be and why would you want
to work with that?
Well, I do like 18 karat gold,and I haven't used much of it just
because I have had the skillsof being a little silversmith for
(21:08):
many years, but not a lot ofmoney to be buying gold and making
stuff out of it. And I startedout with copper and moved to silver,
just working with copperscraps and found items and teaching
myself. And then I've heardthat gold is, you know, a lot easier
(21:30):
and pleasant to work with. I'dalways be kind of nice to graduate
to actually being like, youknow, make some real luxury goods
and not just this silverstuff, but I've also taken many years
to put together a studio, andit's still quite bare bones. I used
(21:51):
to call my jewelry companyElida's Big Rocks and Bare Bones.
And now I call it a lighterscope. And I still work with a acetylene
torch that I bought on theNavajo reservation. So you see, the
Native American silversmiths Iwould go. When I would drive through
(22:14):
New Mexico, I would stop attheir little supply store and buy
stuff. So I'm still using alot of the tools from there. I haven't.
I know how to use all theother types of torches and stuff
because I worked in some nicestudios before, but in my own studio,
I'm still bare bones.
Nothing wrong with that.Nothing wrong with that. Now the
(22:39):
physical, because I've neverdone silver smithing, never worked
with gemstones, nothing likethat. If you were to see some of
the sculpture stuff that I'vedone, you'd be like, don't. But one
thing that I've noticed when Ihave made sculpture out of metal
is, is that physical act ofworking with metal. It can be very
(23:00):
meditative, like poetry. What.What's that physical act for you?
Like, what. What do you getout of it?
I just like melding metal tomy will. And I like the fact that
if I get upset, I can justthrow it in the crucible and melt
it and it's not lost. Like,whereas if I messed up a drawing
(23:25):
and burnt it, it's just gone.And I can take the metal and reuse
it again, cast it or, youknow, if it didn't work out. I do
like the process of sawing andkind of feels alchemical to use a
torch and connect the metal.That just is my favorite part. I
(23:51):
hate polishing, but it is.Once it's polished and shiny, it's
like, okay, that's nicelooking. I like to make things that
won't break is one of mynumber one things. Like, I don't
set opals and rings becauseopals are soft. I try to use really
hard stones. And I like theidea of making something that I think
(24:14):
would, like, be found in somegrave by an archaeologist.
That's a cool way to thinkabout it. Yeah, that's, you know,
and. And then maybe the poetryis the hieroglyphics that some archaeologist
finds. And they go, oh, thisis what these people in the, you
know, 21st century weretalking about.
Well, William Blake, he was apoet, but he also made. What are
(24:40):
they called? Etchings. So onmetal, these etching plates with
fantastical scenes and so I'vebeen thinking about how I could put
poetry into etching like that,because I do have a couple vats of
acid and lots of copper, and Icould, you know, use that for my
(25:03):
poetry. I did make an etching,a little portrait of Ezra Pound at
one point.
Nice. That's cool. Yeah.Because when I was reading your bio
in in Pod Match, I'm like,silversmithing and poetry. I know
(25:23):
poetry, silversmithing,jewelry, stuff like that. I. I watch
Forged in Fire. Maybe atypical guy kind of thing.
But I like that show.
Okay, cool.
I said, I haven't made a knife yet.
You haven't made a knife yet.Okay, Maybe next year we'll get you
(25:46):
on forge and fire, you win the$10,000, and there you go. Yeah,
I'll talk to my guys in forgeand fire. We'll see what we can do
for you. One more thing that Iwanted to ask you here on silversmithing
is, is there a technique ortool in silversmithing that fascinates
(26:08):
you, even though that you maynot use it often, or if I could wave
a magic wand and there's atechnique or a tool that you would
want? And I go, okay, poof.You got it. What would that be?
Well, there's two. Okay. I'mgoing to start with technique. And
I have done it once before.It's called mokume gane or gone G
(26:32):
A N E. And it's. It looks likea topographical map out of different
alloys of metal. And it'smixes of gold, silver, and copper,
and occasionally others, Ithink it's called. Some of the alloys
are shibu and shakudo, Ibelieve. And I worked with. I made
(26:52):
my own blank of it once andmade a couple men's wedding rings
out of it. But you do like Idid mine. It was 24 layers. And you.
That brings me to the tool. Ireally need a rolling mill. And you
beat it up as you send itthrough the rolling mill, and you
get this swirling patterns anddifferent layers, and that would.
(27:18):
I would love to make anotherblank of Mokulegane. And then for
the tool, that rolling mill, Ijust need one because I've, you know,
borrowed and used other ones.I like to take some coins and roll
them. Like to take silvercoins and use those. But you can
make your own wire and allthat. And it could really help me
(27:42):
utilize my scrap. I could justroll it back out instead of having
to figure out how to cast itinto something too cool.
So any listener out there thathas an extra rolling Mill or is just
like, hey, you know, I got toget this poet, the silver smith,
a rolling mill. Get on thewebsite, links are in the show notes.
(28:02):
You know, maybe. Well, youknow, maybe you'll make some jewelry
for them or write a poem forthem at the same time.
Oh, there you go. That'd be agame changer to have a rolling mill.
So on the flip side fromsilversmithing, let's go back to
poetry. Similar questionthere. Is there a style of poetry
(28:25):
or a poetry related experimentthat you've wanted to try but haven't
done yet?
Huh? I would. I think theepitome of a good poem would be like
if I could just read it on abusy corner and cause a car accident
because people were justpaying attention. But I don't know
(28:47):
if that's what you mean.
That's perfect too. Yeah,absolutely. That would be cool.
I would like to write a poemthat got turned into like a really
popular song. That would bepretty cool. I just, I'm not much
of a rhymer. Every time I'vetried a rhyme and do little couplets
(29:09):
and such, I just. It sounds sodumb to me. So I haven't really managed
that quite yet. Become a songwriter.
I'm right there with you. Ican't do rhyming poetry. I've tried
to do it and it soundshorrible in my head and I'm just
like, dude, just burn it andget rid of it. So don't do that.
Well, Jenny, it is beenfantastic talking with you. I'm glad
(29:33):
we got a chance to, to sitdown and get this out to. To everybody
here. Is there any questionthat you wanted me to ask that I
did not ask?
No, but I had a question foryou. I wanted to ask if you had a
favorite poem out of my book.
(29:55):
Yes, I do.
I'm excited to know which one.
I think my favorite one wasHarsh Realities.
Oh.
Yeah, that one I really liked.And is it 5D sleep? Yeah, but yeah,
Harsh Realities was the one Ireally, I really like.
(30:17):
Oh, that's really interestingto know. That was one that almost
didn't make it in there.
Well, see, it was supposed tomake it in there. So that way, you
know, it was supposed to be inthere. No, but that's a great question
and I didn't even think to askthis, but how did you decide with
all the palms that you have,how do you go? Okay, I'm gonna put
(30:39):
these in it, but I'm not gonnaput those in it.
Well, I do have some, like Itold you about the poem from the
burlesque show that got me inso much trouble. That one is kind
of an epic poem. It's. Itwould have been 10 pages long in
the book, and I figured thatit was meant to be looked at longer
(31:02):
and maybe be its own thing atsome point. I also had written an
epic poem because that's oneof the. I just always wanted to be
like Ovid and write an epicpoem or something. I wrote a epic
poem about Hurricane Hardenand another one about the Keystone
(31:24):
or the Keystone Pipeline, andit's called Keystone Pipeline Ultimatum.
So.
So I have like three epicpoems that I decided were just their
own things and too long forthe book and really not on them.
So. But otherwise, if the poemreally sucked.
Maybe these are future books, right?
(31:47):
Yeah. I also took out some ofmy really early, early poems. I have
some written when I was likesub 17, so 14, 15, 16. I'd left those
out.
I know how that goes. I leftall of my. Anything before 18, I
(32:08):
was like, yeah, no, not gonnahave people read that because then
they're not going to readanything else. All right, Jenny,
well, thank you again so muchfor joining me here on Create Art
podcast. It's been a pleasuretalking with you. Pleasure learning
about a little bit aboutsilversmithing and. And about your
poetry. I promise Jenny that24. You will have at least 12 people
(32:32):
buy the book. So I needeverybody to go do that. Otherwise
I got to buy 12 copies of it.So make sure that you go out, check
the show notes on that for usand definitely check out Jenny's
website for all of hersilversmithing and her jewelry, because
we're recording this beforeValentine's Day. But you know, if
(32:52):
you got somebody that youlove, they need jewelry, right?
Yeah. And I've got somethingthat'll fit anyone. And I promise
if y'all buy the book, you'llfind at least one poem that you can
relate to.
Mm. I've got about 10, andI've got them all dog eared. So definitely
(33:13):
get the book. Definitely.
Well, thank you, Tim, forhaving me. It was a real pleasure
to talk to you.
You got it, Jenny. Thank youso much. All right, so that was my
interview with JennyDickinson. And as you can tell from
this interview, we both had agreat time talking. A lot of laughter
was had, and it's always greatto talk with another poet that really
(33:36):
gets it. And I really got herpoetry. And I think you can hear
that throughout this entireinterview. Now you're probably asking
yourself, hey, Tim, how do youget great guests like this. Well,
I use Pod Match and what thatallows me to do is allows me to reach
out to people that are on theapp there and allows them to reach
(34:00):
out to me. And that's actuallywhat happened here. Jenny reached
out to me, looked at myprofile, just like you do with any
social media type thing, and,and we connected and got this interview
set up. And here it is for youright now. So check it out in the
show notes. I will have myaffiliate link in there. And yes,
(34:21):
with Pod Match, you can getpaid to do with that. I do make a
small bit of money off of theinterviews that I do with Pod Match,
but I wouldn't recommend it toyou unless could show you that it
works. And you can hear thatin this interview. So give Pod Match
a look if you want to be onpodcasts or if you have a podcast
(34:45):
and you need great guests. Nowwith podcasts there, you need, as
a podcaster, you need a way toshare your podcast. And what I use
to do that is Podcast Beacon,basically what that is, when I'm
at the grocery store or at aconference conference or out at the
art gallery or something likethat, I wear this little wristband.
(35:07):
And when it's appropriate, Italk to people about my podcast.
And maybe you know that theywant to be interviewed on the podcast
or they want to learn moreabout it. Well, instead of handing
them a business card thatthey're going to lose, I just hold
out my arm, show my wrist,have them put their phone over my
wrist, and it goes right tothe website there. My good friend
(35:29):
Matthew Passi runs PodcastBeacon and I give it a look. See
for yourself if you have apodcast. There's no better way to
share your podcast than withPodcast Beacon. And before we go
for today, I wanted to let youknow about a new company that I started
up. It's called TKB PodcastStudio. You can go to TKP podcast
(35:52):
studio.com and if you needhelp starting up your own podcast,
I am there for you to give youwhat you need. TKP Podcast Studio
is kind of my money maker, forlack of a better term. So that way
I can provide you with greatpodcasts. And it is my network hub
(36:15):
for all my other podcasts thatI run. So give it a look, see for
yourself and see what else I'mdoing around the world and see some
of my professional portfolioand some of the fun stuff that I
have going on there. So again,tkbpodcaststudio.com is the place
to go to see everything thatI'm doing there. All right, now it
(36:38):
is time to turn you on to therest of your day. I need to get on
with my day. You know me, Irecord these on Sundays, so I need
to get upstairs and gethanging out with my kiddos, which
is the reason why I do allthese podcasts. But I want you to
go out there, maybe write somepoetry if you've been inspired by
today's show, or go grabJenny's book. It is fantastic. And
(37:05):
go out there, tame that innercritic. Create more than you consume.
Go out there and make some artfor somebody you love. Yourself.
I'll talk to you next time.
Create our Podcast InterviewJenny Dickinson hello friend. This
is Timothy Keem O'Brien, yourhead instigator for Create Art podcast
where I bring my over 30 yearsof experience in the arts and education
(00:27):
world to help you, your innercritic, and create more than you
consume. So in this interview,I'll be talking with Jenny Dickinson.
Now, Jenny is a millennialhailing from northeastern Nevada
high desert, and she's livedin San Francisco, California, Olympia,
(00:51):
Washington, and partsthroughout East Texas where she currently
resides. Now, she's a jack ofall trades and she's held a myriad
of jobs, but prefers to thinkof herself as a silversmith and a
poet when her poems getwrangled out of her. Now, she's just
(01:12):
published a new book, Pluto inCapricorn, and it's a collection
of poems that she's done overthe years, self published. And when
I met up with her, Iimmediately knew she was the person
for the show. So withoutfurther ado, I'm going to go ahead
(01:32):
and let that interview rollhere and enjoy the laughter and the
fun that she and I have herein this interview. All right, well,
thank you everybody forjoining us here for Korean Art Podcast.
I have the privilege of havingJenny Dickinson on the show here
(01:53):
with us today. Jenn, how is itin Texas today?
Today in Texas it isbeautiful. It's like 80 degrees outside.
The sun's shining and I needto get out there and plant my garden.
Yeah, I'm here in Virginia andI've got about a month before I can
plant my garden. But Idefinitely miss Texas and having
(02:15):
the 80 degrees in February,that is for sure.
You miss it until, you know,August comes around.
Oh yeah, no, when August comesaround, it's 110. No, thank you.
So I wanted to start rightoff. You have a wonderful book that
I had the pleasure of getting,Pluto in Capricorn that you put out.
(02:39):
You're a poet, you're asilversmith. Let's jump into the
poetry first and we can talkabout the silversmith stuff as well
because, you know, anytime Ican get some time with a poet that
is as talented as you are, Iwant to use up that time really good.
Oh, thank you.
Absolutely. I was reallyimpressed. And is this your very
first book of poetry that youhave published?
(03:01):
Yeah, this is my firstpublished poetry and I self published
it.
Excellent. How was thatprocess for you? I know it can be
intimidating for some people.
You know, back in the day whenI thought about publishing and you
know, always thought aboutsending it to literary magazines
(03:22):
and stuff, like that. And Ireally never got around to it. But
I was unemployed for about amonth and I spent every day sitting
on my front porch collectingall the poetry. And I had a mishap
where I have like probably 48journals, and they're all in this
(03:43):
one cabinet. And it had gottenwet and so I had spread them all
out over the floor, trying tosalvage and dry them. And I know
there's some lost poems inthere, you know, the ink ran and
I figured I needed to typethem all up, even just to make some
(04:04):
space and maybe burn thedrivel. But I decided not to burn
all the journals. And so I didtype all of them up. And it was quite
the process. It was kind ofemotionally taxing. But I sat on
the front porch drinking andsmoking. Either I was drinking coffee
or some beer or something, andI just, I went for it. And it actually
(04:29):
was really easy to the processof self publishing on Amazon. Otherwise
I don't think I would havedone it. And I'm not sure if I could
have shopped it to anyone.
I hear you on that one. I'vedone the, the Amazon publishing and
I also did Lulu. I started offwith Lulu Publishing, which is self
(04:51):
publishing, and I wassurprised at how easy it was because,
you know, if you know how toformat a, you know, a Microsoft Word
document and you know how toupload a file, you're a published
author, which is like, wow,how does that make you feel to have
that book on your shelf?
(05:12):
It's pretty nice. I'm kind ofglad to get it out of the way, actually.
I've always wanted to do it,and I feel like as my freshman attempts,
it's pretty good. I'm happy toshare it with people.
It's kind of like Doritos.Once you've done the first one, then
the second one's going tocome, and then the third one's going
(05:34):
to come and then the fifthone's going to come and. Yeah, you
know, and before you knowwhat, Simon and Schuster is knocking
on your door going, hey, weneed to publish you.
Well, that'd be cool.
Yeah.
I'm writing. Trying to write aprose shorts like a novel at the
moment, but it's a whole lotdifferent than poetry.
How is it different for youfrom writing poetry?
(05:57):
Well, dialogue. Putting myvoice into, you know, or trying to
speak through someone else'svoice and have the dialogue there
or, you know, just make upwhat's in their mind and what they're
thinking is totally differentfrom poetry, because I know what
(06:18):
I'm thinking, and I know whatI'm saying, but this is a whole,
you know, and I'm trying touse a different lexicon for, you
know, it'll be interesting. Ithink I'm. I think if I hack away
at it every day, I can get it.I might have to send it to you and
see what you think first.
(06:38):
Absolutely, absolutely. I'd behappy to read it. You heard it here
first, folks. We got a bookcoming out. So now when you're writing,
have you ever. When you'rewriting a poem, have you ever liked.
Scrapped it, you know, kind ofput it on a shelf and then come back
to it maybe a year or two or15 years later and. And completely
(07:00):
changed it entirely.
Yes, that's one of myprocesses, actually, is to write
and then come back at itlater. I always find something to
change. It's very rare thatI've written something and it just
stood alone. I think there'sonly one poem in the book that is
(07:21):
that way and it's the shortestone. The Radical Appreciation and
one of the first poems. I usedto do writing workshops in a little
ghost town called Tuscarora,Nevada. And it's a little ghost town
that used to be a gold miningtown and now it's just populated
by 12 to 15 artists. And Iwould get into the writing workshops
(07:46):
there by, you know, helpingCook and being the Girl Friday. And
Nancy McLelland, she ran theworkshops. And I think she was also
a professor at UC Santa Cruz,I believe, or UC Davis, I'm not quite
sure. Can't remember. It was along time ago, but that was one of.
(08:06):
One of the things she told meis to just let it sit. And so for
a lot of these poems, I letthem sit four years before I went
back and rewrote them or justmoved them around or cut. Cut a lot
of stuff. Because I believepoetry is supposed to express something
(08:26):
in the least amount of wordspossible. Kind of. I don't know for
sure.
I mean, those Greeks, they hadit all wrong. These 5,000 pages of
the same poem, it's like, no,no, you could have said it in three
sentences. Have you evercollaborated with another artist
(08:48):
using a different medium withyour poetry?
Not with visual art, but inthe past, I have put poetry to music.
I had a recording that I didfor the poem. Gosh, what was the
title of that poem? It's oneof the songs. I got two or three
(09:12):
songs in the book. And sothose I've actually performed in
front of audiences and hadlike, you know, just live recordings
of. Done with a cello playernamed Cello Joe. And that was back
in 2011. And before that, Iwould just kind of go off the cuff
(09:35):
and use some of my poetry tofreestyle with a friend that I had
named Carlos Canales orBaltazar Canales. And he had all
those recorded. Andunfortunately he was murdered in
Houston just two years ago.And I don't know whatever happened
to any of those recordings. Hewas running a. His own little artist
(09:58):
collective down there.
I'm just thinking about thenames Cello Joe and Bazar. That's.
Those are some awesome names.
Those are some of my exboyfriends. But I'm sure you read
about a couple of them in this book.
I did. And I was like, oh, Iknow that guy. Because I might have
(10:18):
been. I mean, not that, youknow, I might have been that type
of guy. One of the things Ireally liked about that, you know,
being a guy, being a CIS maleand all that comes with. I never
felt. What's the word I'mlooking for? I never felt like you
(10:40):
were giving me, giving us guysthe middle finger by saying, you
know, screw all men, I hateyou all, blah, blah, blah. I was
really taken with how you kindof balanced everything with. It was
just like, okay, yes, thishappened, you know, and you were
able, it seemed like a lot oftimes you were able to move on from
that or do better for that.
(11:03):
I'm very empathetic to otherspoints of view and myself. I know
that I can be crazy, you know,and I can understand, you know, the
man's point of view and maybewhy our relationship didn't work
out or. And how I was treatedto some extent. But I've also always
(11:27):
had hope and knowing like,okay, well, that didn't work out.
I dodged a bullet. And so Ifeel like I've dodged a lot of bullets.
Like there was a reason thatit didn't work out.
There is this sense of hopein, in these poems. And that's what
(11:50):
was really touching me aboutit, because I was like, okay, she's
not giving up, she's movingon. And I know my personal life,
there's times I'm like, ohman, I got burned really bad and
do I want to move on? But thenreading your stuff, it's like, yeah,
you can move on and you canmake something of yourself, which
(12:10):
I think is fantastic. I thinkthat's one of the reasons why I connected
with it so much. So well.
That's one of the things thatI hope that readers can take away
is that you might have hadthis relationship and your heart
was broken, but you can pickyourself up and mend that broken
heart and find someone elseand give a little bit of hope. Because
(12:34):
there are a couple poems withthe theme of a little bit of, like,
thought of suicide. And. Andthat has like, this is really. Honestly
me. I've thought about it, andI've always been really glad having
been a thought, not an action.And I really want people to see that.
(12:56):
It could be bad at the moment,but there's always another adventure
around the corner.
That's true. In my other life,in my. One of my other podcasts that
I do, it's all about suicideprevention and all that. And it's
one of these things that a lotof us. I don't want to say everybody.
I don't want to paint withthat broad of a brush. But, you know,
(13:18):
a lot of us think about it.Not. Not a lot of people actually
go through with the act, But Ithink that's. It kind of connects
people together. What do you.We've. We've been at our deepest
pits. We've been at the innerwit's end, and that thought comes
in. But then picking up andmoving on and looking at better days
(13:40):
is the way to go. And reallyconnected with your poetry in that.
Do you ever use silence orempty space in your writing? Because
I find that there. I. Iperform my poetry Friday nights is
my poetry night, so. And Ialways make sure to, you know, when
(14:00):
it's appropriate or when Ireally want to pound a point home,
I throw. I'll throw in a pauseor I'll throw in silence. Are you
using that in any of your works?
I'd say maybe leave thingsunsaid purposefully, but it's been
a very long time since I'veperformed any poetry, and I have
a tendency to try to rush overit. And so I've got to remind myself
(14:23):
to, like, leave a pause. Thelast actually time I did perform
was at some burlesque showsthat my friend was putting on. And
so I was reading some of moreof the erotic poems. And actually
I got in trouble by thecoordinator of the burlesque show
(14:45):
once for. For reading a poemthat is not in this book. She said
everybody came up to meafterwards and said, you really needed
trigger warnings for that. Iwas like, okay, sorry, folks. Yeah,
I don't know if that one willever be published, but.
That'S the poem I want to read.
(15:08):
Yeah. When the whole audienceis kind of upset with you. Yeah.
At A burlesque show. Come on.How? You know.
Yeah, it was kind of fun.Before that, I did poetry readings
in San Francisco a little bit,and in Nevada, I'd been doing that
(15:29):
for. Since I was, like, 14.
Oh, wow. Okay. How are theaudiences different in different
locations for you?
Well, the poetry readings inNevada were at a bar called the DLC
Gallery, and that was once amonth. And that was really cool because
(15:51):
it would be the same people,and for many years, kind of, they
would request poems. They werelike, oh, read that poem, and read
that one again. And I thoughtthat was neat because they got to
know me and see me grow. Thepoetry readings in San Francisco
I went to were called you'd'regoing to die. I think there's still
(16:11):
an Instagram page for thatpoetry reading that was. That was
more of a controlledenvironment. And, okay, read one
poem about death. And so Ithink it was. I don't know. I felt
way more nervous at the SanFrancisco readings because I was
like, oh, this is the artmecca. And as for the burlesque shows,
(16:35):
I thought I had a pretty goodact. You know, other girls were taking
their clothes off and dancing,but I had people audience just. And
I was fully clothed, so prettygood. I don't have to take my clothes
off. You're listening, though.
Gives me an idea for tonight'spoetry reading. I might have to do
a burlesque show at the poetryreading. Luckily, my nephew owns
(17:00):
the coffee shop, so I can getaway with that. All right, so I want
to get us into silversmithing,but one question I want to ask you
about your poetry is this. Ifone of your poems could be turned
into a piece of jewelry, whatwould that jewelry look like?
(17:21):
That is a very interestingquestion. I guess I. I've seen some
really cool, like, cuffbracelets that actually had poetry
on them. I actually am wearinga piece that's really interesting.
So the audience can't seethis, but you can. This was a UN
(17:43):
coin minted for the 25thanniversary of the UN that I cut
out. And it is a man hammeringhis sword into a plowshare. And then
on the other side, it'sreversible. And you can see stones
from either side, and they'vegot a brick motif. I made that in
(18:08):
regards to. Because that coinwas minted when Alexander Solzhenitsyn,
the year he had won the NobelPrize for literature for his writing
A Day in the Life of IvanDenisovich. And in that book, he
was a bricklayer, and that'swhat he took pride in his work, and
(18:31):
so I need to write a poemabout it. But I made that necklace
with that kind of, you know, anecklace about it. I took a coin
from that year that the USSRwouldn't let him leave to go accept
his prize and made it abouthis book.
Now, when you're doingjewelry, when you're doing silversmithing,
(18:53):
is there a like. Like what youjust showed us here? Is there a story
to all the pieces or justcertain ones or maybe commission
pieces?
I have done some commissionsthat have a story to them. Personal
pieces for people and personalpieces for myself. But most of the
(19:18):
time, I'm just trying to makesomething that's going to. Frankly,
I make multiples of stuff, andI'll make a big run of rings and
all sorts of different sizeswith stones that, you know, will
fit all sorts of differentpeople. And I can sell them for 20
(19:39):
bucks a pop because I do tryto keep a lot of affordable things
on hand. And then on mydisplay, I'll have like a. I have
this belt buckle that has someinscriptions on it. That was kind
of a story, a little personalmemory, but I have it for sale. Yeah,
I've made some men's weddingrings that kind of had their own
(20:05):
story. But really, I'm justtrying to have.
A little side hustle thatmakes perfect sense. Absolutely.
There's nothing wrong withthat. This podcasting thing is my
side hustle, because rightnext door to me here is I have my
work computer, and I do thatfor eight hours. Sometimes I do a
(20:25):
little bit of this while I'mdoing that. So.
Yeah, I would be nice to makesome more meaningful pieces. The
hard thing is when I make ameaningful piece, I want to keep
it, and then I therefore, I'mnot selling it.
(20:46):
Now, if you could work with acertain metal or gemstone that you
haven't worked with yet, whatwould that be and why would you want
to work with that?
Well, I do like 18 karat gold,and I haven't used much of it just
because I have had the skillsof being a little silversmith for
(21:08):
many years, but not a lot ofmoney to be buying gold and making
stuff out of it. And I startedout with copper and moved to silver,
just working with copperscraps and found items and teaching
myself. And then I've heardthat gold is, you know, a lot easier
(21:30):
and pleasant to work with. I'dalways be kind of nice to graduate
to actually being like, youknow, make some real luxury goods
and not just this silverstuff, but I've also taken many years
to put together a studio, andit's still quite bare bones. I used
(21:51):
to call my jewelry companyElida's Big Rocks and Bare Bones.
And now I call it a lighterscope. And I still work with a acetylene
torch that I bought on theNavajo reservation. So you see, the
Native American silversmiths Iwould go. When I would drive through
(22:14):
New Mexico, I would stop attheir little supply store and buy
stuff. So I'm still using alot of the tools from there. I haven't.
I know how to use all theother types of torches and stuff
because I worked in some nicestudios before, but in my own studio,
I'm still bare bones.
Nothing wrong with that.Nothing wrong with that. Now the
(22:39):
physical, because I've neverdone silver smithing, never worked
with gemstones, nothing likethat. If you were to see some of
the sculpture stuff that I'vedone, you'd be like, don't. But one
thing that I've noticed when Ihave made sculpture out of metal
is, is that physical act ofworking with metal. It can be very
(23:00):
meditative, like poetry. What.What's that physical act for you?
Like, what. What do you getout of it?
I just like melding metal tomy will. And I like the fact that
if I get upset, I can justthrow it in the crucible and melt
it and it's not lost. Like,whereas if I messed up a drawing
(23:25):
and burnt it, it's just gone.And I can take the metal and reuse
it again, cast it or, youknow, if it didn't work out. I do
like the process of sawing andkind of feels alchemical to use a
torch and connect the metal.That just is my favorite part. I
(23:51):
hate polishing, but it is.Once it's polished and shiny, it's
like, okay, that's nicelooking. I like to make things that
won't break is one of mynumber one things. Like, I don't
set opals and rings becauseopals are soft. I try to use really
hard stones. And I like theidea of making something that I think
(24:14):
would, like, be found in somegrave by an archaeologist.
That's a cool way to thinkabout it. Yeah, that's, you know,
and. And then maybe the poetryis the hieroglyphics that some archaeologist
finds. And they go, oh, thisis what these people in the, you
know, 21st century weretalking about.
Well, William Blake, he was apoet, but he also made. What are
(24:40):
they called? Etchings. So onmetal, these etching plates with
fantastical scenes and so I'vebeen thinking about how I could put
poetry into etching like that,because I do have a couple vats of
acid and lots of copper, and Icould, you know, use that for my
(25:03):
poetry. I did make an etching,a little portrait of Ezra Pound at
one point.
Nice. That's cool. Yeah.Because when I was reading your bio
in in Pod Match, I'm like,silversmithing and poetry. I know
(25:23):
poetry, silversmithing,jewelry, stuff like that. I. I watch
Forged in Fire. Maybe atypical guy kind of thing.
But I like that show.
Okay, cool.
I said, I haven't made a knife yet.
You haven't made a knife yet.Okay, Maybe next year we'll get you
(25:46):
on forge and fire, you win the$10,000, and there you go. Yeah,
I'll talk to my guys in forgeand fire. We'll see what we can do
for you. One more thing that Iwanted to ask you here on silversmithing
is, is there a technique ortool in silversmithing that fascinates
(26:08):
you, even though that you maynot use it often, or if I could wave
a magic wand and there's atechnique or a tool that you would
want? And I go, okay, poof.You got it. What would that be?
Well, there's two. Okay. I'mgoing to start with technique. And
I have done it once before.It's called mokume gane or gone G
(26:32):
A N E. And it's. It looks likea topographical map out of different
alloys of metal. And it'smixes of gold, silver, and copper,
and occasionally others, Ithink it's called. Some of the alloys
are shibu and shakudo, Ibelieve. And I worked with. I made
(26:52):
my own blank of it once andmade a couple men's wedding rings
out of it. But you do like Idid mine. It was 24 layers. And you.
That brings me to the tool. Ireally need a rolling mill. And you
beat it up as you send itthrough the rolling mill, and you
get this swirling patterns anddifferent layers, and that would.
(27:18):
I would love to make anotherblank of Mokulegane. And then for
the tool, that rolling mill, Ijust need one because I've, you know,
borrowed and used other ones.I like to take some coins and roll
them. Like to take silvercoins and use those. But you can
make your own wire and allthat. And it could really help me
(27:42):
utilize my scrap. I could justroll it back out instead of having
to figure out how to cast itinto something too cool.
So any listener out there thathas an extra rolling Mill or is just
like, hey, you know, I got toget this poet, the silver smith,
a rolling mill. Get on thewebsite, links are in the show notes.
(28:02):
You know, maybe. Well, youknow, maybe you'll make some jewelry
for them or write a poem forthem at the same time.
Oh, there you go. That'd be agame changer to have a rolling mill.
So on the flip side fromsilversmithing, let's go back to
poetry. Similar questionthere. Is there a style of poetry
(28:25):
or a poetry related experimentthat you've wanted to try but haven't
done yet?
Huh? I would. I think theepitome of a good poem would be like
if I could just read it on abusy corner and cause a car accident
because people were justpaying attention. But I don't know
(28:47):
if that's what you mean.
That's perfect too. Yeah,absolutely. That would be cool.
I would like to write a poemthat got turned into like a really
popular song. That would bepretty cool. I just, I'm not much
of a rhymer. Every time I'vetried a rhyme and do little couplets
(29:09):
and such, I just. It sounds sodumb to me. So I haven't really managed
that quite yet. Become a songwriter.
I'm right there with you. Ican't do rhyming poetry. I've tried
to do it and it soundshorrible in my head and I'm just
like, dude, just burn it andget rid of it. So don't do that.
Well, Jenny, it is beenfantastic talking with you. I'm glad
(29:33):
we got a chance to, to sitdown and get this out to. To everybody
here. Is there any questionthat you wanted me to ask that I
did not ask?
No, but I had a question foryou. I wanted to ask if you had a
favorite poem out of my book.
(29:55):
Yes, I do.
I'm excited to know which one.
I think my favorite one wasHarsh Realities.
Oh.
Yeah, that one I really liked.And is it 5D sleep? Yeah, but yeah,
Harsh Realities was the one Ireally, I really like.
(30:17):
Oh, that's really interestingto know. That was one that almost
didn't make it in there.
Well, see, it was supposed tomake it in there. So that way, you
know, it was supposed to be inthere. No, but that's a great question
and I didn't even think to askthis, but how did you decide with
all the palms that you have,how do you go? Okay, I'm gonna put
(30:39):
these in it, but I'm not gonnaput those in it.
Well, I do have some, like Itold you about the poem from the
burlesque show that got me inso much trouble. That one is kind
of an epic poem. It's. Itwould have been 10 pages long in
the book, and I figured thatit was meant to be looked at longer
(31:02):
and maybe be its own thing atsome point. I also had written an
epic poem because that's oneof the. I just always wanted to be
like Ovid and write an epicpoem or something. I wrote a epic
poem about Hurricane Hardenand another one about the Keystone
(31:24):
or the Keystone Pipeline, andit's called Keystone Pipeline Ultimatum.
So.
So I have like three epicpoems that I decided were just their
own things and too long forthe book and really not on them.
So. But otherwise, if the poemreally sucked.
Maybe these are future books, right?
(31:47):
Yeah. I also took out some ofmy really early, early poems. I have
some written when I was likesub 17, so 14, 15, 16. I'd left those
out.
I know how that goes. I leftall of my. Anything before 18, I
(32:08):
was like, yeah, no, not gonnahave people read that because then
they're not going to readanything else. All right, Jenny,
well, thank you again so muchfor joining me here on Create Art
podcast. It's been a pleasuretalking with you. Pleasure learning
about a little bit aboutsilversmithing and. And about your
poetry. I promise Jenny that24. You will have at least 12 people
(32:32):
buy the book. So I needeverybody to go do that. Otherwise
I got to buy 12 copies of it.So make sure that you go out, check
the show notes on that for usand definitely check out Jenny's
website for all of hersilversmithing and her jewelry, because
we're recording this beforeValentine's Day. But you know, if
(32:52):
you got somebody that youlove, they need jewelry, right?
Yeah. And I've got somethingthat'll fit anyone. And I promise
if y'all buy the book, you'llfind at least one poem that you can
relate to.
Mm. I've got about 10, andI've got them all dog eared. So definitely
(33:13):
get the book. Definitely.
Well, thank you, Tim, forhaving me. It was a real pleasure
to talk to you.
You got it, Jenny. Thank youso much. All right, so that was my
interview with JennyDickinson. And as you can tell from
this interview, we both had agreat time talking. A lot of laughter
was had, and it's always greatto talk with another poet that really
(33:36):
gets it. And I really got herpoetry. And I think you can hear
that throughout this entireinterview. Now you're probably asking
yourself, hey, Tim, how do youget great guests like this. Well,
I use Pod Match and what thatallows me to do is allows me to reach
out to people that are on theapp there and allows them to reach
(34:00):
out to me. And that's actuallywhat happened here. Jenny reached
out to me, looked at myprofile, just like you do with any
social media type thing, and,and we connected and got this interview
set up. And here it is for youright now. So check it out in the
show notes. I will have myaffiliate link in there. And yes,
(34:21):
with Pod Match, you can getpaid to do with that. I do make a
small bit of money off of theinterviews that I do with Pod Match,
but I wouldn't recommend it toyou unless could show you that it
works. And you can hear thatin this interview. So give Pod Match
a look if you want to be onpodcasts or if you have a podcast
(34:45):
and you need great guests. Nowwith podcasts there, you need, as
a podcaster, you need a way toshare your podcast. And what I use
to do that is Podcast Beacon,basically what that is, when I'm
at the grocery store or at aconference conference or out at the
art gallery or something likethat, I wear this little wristband.
(35:07):
And when it's appropriate, Italk to people about my podcast.
And maybe you know that theywant to be interviewed on the podcast
or they want to learn moreabout it. Well, instead of handing
them a business card thatthey're going to lose, I just hold
out my arm, show my wrist,have them put their phone over my
wrist, and it goes right tothe website there. My good friend
(35:29):
Matthew Passi runs PodcastBeacon and I give it a look. See
for yourself if you have apodcast. There's no better way to
share your podcast than withPodcast Beacon. And before we go
for today, I wanted to let youknow about a new company that I started
up. It's called TKB PodcastStudio. You can go to TKP podcast
(35:52):
studio.com and if you needhelp starting up your own podcast,
I am there for you to give youwhat you need. TKP Podcast Studio
is kind of my money maker, forlack of a better term. So that way
I can provide you with greatpodcasts. And it is my network hub
(36:15):
for all my other podcasts thatI run. So give it a look, see for
yourself and see what else I'mdoing around the world and see some
of my professional portfolioand some of the fun stuff that I
have going on there. So again,tkbpodcaststudio.com is the place
to go to see everything thatI'm doing there. All right, now it
(36:38):
is time to turn you on to therest of your day. I need to get on
with my day. You know me, Irecord these on Sundays, so I need
to get upstairs and gethanging out with my kiddos, which
is the reason why I do allthese podcasts. But I want you to
go out there, maybe write somepoetry if you've been inspired by
today's show, or go grabJenny's book. It is fantastic. And
(37:05):
go out there, tame that innercritic. Create more than you consume.
Go out there and make some artfor somebody you love. Yourself.
I'll talk to you next time.
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