“We took shelter from where / why,” writes Sasha Steensen in the opening lines House of Deer (Fence Books; 88 pages). Like most of the others, this poem, “Domestication and the Chase,” visits the rural Ohio where Steensen’s back-to-the-land parents raised her, proposing along the way new definitions of family, wildness, and the lyric form.
Threading through personal and national memories, Steensen navigates the charged spaces between mother- and daughterhood, fairytale and anecdote, human and animal, and nostalgia and radical disenchantment. If coming of age in 1970s America disabused the poet of her childhood idealism, this book charts its revival; culling her memories and family history for moments of striking tenderness and awe, Steensen weaves her personal narratives with our national history, offering tales grounded in a particular place and time but also expansive, mythic, and familiar. We spoke to her via email about her book.
ZYZZYVA: Let’s start by discussing your writing process as you worked on House of Deer. Did you consult family members or conduct any research on 1970s America?
Sasha Steensen: Much of it, as you can imagine, was taken from memory. In the writing process, I became interested in the fissures inevitable in memory work, as well as the attempt to both re-present and, occasionally, bridge these fissures via storytelling. Storytelling is central to family cohesion, especially for the child who is completely reliant on stories to make sense of her earliest years. It is just as central, perhaps even more so, when the family is struggling with its identity and its viability, and so I was interested both in the ways I (re)told the stories I had heard from my parents, as well as how, when prompted, they would retell these same stories. With this in mind, I did interview them, and I shuffled through family photos and newspaper articles. I had a few Garrettsville Gazettes on hand, but mostly I did non-textual, anecdotal research for this book.
I did read a few books on the Back-to-the-Land movement, but they seemed so staid when compared to my actual childhood, so that research really did not make it into the book. Arielle Greenberg recommended Melissa Coleman’s This Life Is in Your Hands: One Dream, Sixty Acres, and a Family’s Heartbreak, which is quite beautiful, but I didn’t read that book until I was done with House of Deer. I did re-familiarize myself with some of the history of the early 1970s, but mostly because I wanted to think about the way these national stories, like our familial stories, change shape and significance over time.