Karen Pierce Gonzalez: 'The creative process for me is a galaxy filled with images of light and sound'

A chat with Karen Pierce Gonzalez about her new book Moon Kissed, Earth Wrought, Vision Drunk (Bottlecap Press, 2025)

How would you describe Moon Kissed, Earth Wrought, Vision Drunk in one sentence?

A poetry-with-art conversation with three Babylonian women of Mesopotamia.

The art and the poems in this book are breathtaking and work so well together. What comes first in the creative process, the artwork or the poem?

You are so kind. The creative process for me is a galaxy filled with images of light and sound (word whistles and hums) that travel through vast regions of space, according to their nature. When they find one another (if they do) perhaps a new constellation is formed, or a planet cratered so deeply it can hold seas of frozen water that may thaw over time and spawn life.

I really don’t know which comes first. I am an intuitive artist who has no ‘plan’ other than discovery of what arises when creating art. I am a seasoned writer (journalist, prose/poetry) quite at home with images made of words.  Having said that, a homeless word fragment can linger until I discover it wanting to nest in the pleats of a just made fabric sculptures. At other times, when combining dried rose buds and lichen on a netted backdrop, I find they speak visually. And, so,  a conversation between them and me unexpectedly arises.

In this collection, for example, when making Fan de la Mort, the art that accompanied the first poem I wrote for Shamhat, I found myself thinking about this assemblage piece as something beautiful to place on top of a casket. And then I thought about death; how it can be a beautiful portal towards freedom (release/renewal). This piece also represents the beauty of love contained within grief.

Shamhat: Waiting for me

Dying into love, you drape my casket.

Gold petal ringlets,

a bouquet of feathers,

jewels that dazzle

before their time,

and during, and once again after

because letting go happens in stages

in the space between

the end of a season

and the irrigated bed of my body.

Fan de la Mort

I love the title. How did you come up with it?

Man, there are times I wish I could bottle titles like this!

In early drafts of the ms. (before the art was in place) I let myself ‘have fun’ with this title. I wanted a wide lyrical sweep from then (Mesopotamia) to now and this one made me feel free enough to just soar. I had thought I would change the title because I had been told by others that titles should be pithy and short enough to remember.

But honestly, this was the title that drew together the past, the present, the eternal, and the earthly.

Why did you decide to write the book?

I discovered threads running through the poems that, individually, may not have made it on their own. They needed each other to map out a journey I HAD NO IDEA I WAS TAKING!

How did you structure the book?

The original format was art/poem/prose. In getting feedback from trusted fellow writers, I realized that for such a short, intense body of work, it needed to be simple. Having to switch gears (genres) on every page was confusing and really slowed down the natural momentum.

This was a case of doing what the collection required of me rather than trying to make the work  show off my verbal dexterity.

How long did the book take to write?

I think, all told, probably about a year because it was all done in stages. One art piece led to the creation of another, etc. Plus, I WAS BLIND. I did not know where I was going, where the work was taking me.  As try as I might, I simply could not force the movement. This is difficult for me because I like to ‘just get things done.’ And Moon Kissed, Earth Wrought, Vision Drunk was having none of it!

So, for months at a time, it was in deep pause. I know enough now about my own processes, that distillation (fermentation) can often produce the best results.

I want to add here that I was blessed. I had three patient, thoughtful people in my life who held lanterns for me. In some cases, they knew, despite my eagerness, that the work had not yet done its job.

Shout outs here to David Gonzalez, Clive Matson, and Alan Parry.

How’s the book similar to what you’ve written before?

Similar? Hmmm… Many of my books have mythic and/or folkloric threads running through them. RavenSong, a poetic libretto flipbook (Four Feathers Press) is a good example. 16 pages of art and poetry that chronicle a mythic ocean journey, guided by Pacific Northwest Raven. And, of course, Coyote in the Basket of My Ribs (Kelsay Books).

I also want to add here that this collection has now become a poetry performance piece.  A valuable intimate conversation with Phynne Bellecieux  (Poet, Editor, Storyteller) inspired me to explore  Moon Kissed, Earth Wrought, Vision Drunk  as a spoken word performance. And, I might add, it has been very well received. I think, in part, because people love to connect with their own spiritual nature.

One of my favourite poems in the book is ‘Morning Stirs’ and I wonder if you could tell me a bit about the inspiration for it?

Ah, yes. The concluding art and poem. The journey I embark upon here is ongoing. So how could I possibly stunt it with a tidy wrap-up? I had to find a way to acknowledge the gifts received from these incredible women who first appeared eons ago in the Gilgamesh Saga.

I had to find a way to show the nourishing transformation that was taking place; the unfolding of myself, if you will, on the shores of the Rivers of Remembrance (which is the literal translation of a Mesopotamia valley between the Tigress and Euphrates Rivers).

And, I had to admit that there was no way I was going to completely capture our interactions. So many insights and epiphanies are bigger than swatches of fabric or lyrical phrases can contain. It’s a challenge to remain in the mystery of what happens off the page, right?

We’ve spoken before about the importance of myth in your writing. When I was reading this collection, something Alicia Ostriker said came to me: ‘Myths are the sanctuaries of language. Where our meanings for “male” and “female” are stored; to rewrite them from a female point of view is to discover new possibilities for meaning.’ I wonder what you feel about this?

Honestly, as an anthropological linguist and folklorist, I know that every culture/society has its world views; its way of understanding and explaining how the world works according to  time-honored traditions AND the geographic elements of landscapes. 

I think it’s wonderful to explore expression, to re-sow in new ways that can dynamically shift whatever a harvest can be. I find that language is a powerful tool that can be used to corral possibilities or build bridges for them to cross over into new terrain. Ironically, language is flexible enough to be able to take in fresh air and adapt to current conditions and needs. This is what keeps it alive. So,  Yes, let the choice of voices grow and multiply.

How did you choose a publisher for the collection?

I had one false start because 1) the book really wasn’t ready and 2) the publisher didn’t want the expense of full color art and wasn’t set up for digital books.

So, trepidatiously, I sent it out again to another publisher. Within three days I was offered a contract with Bottlecap Press. This publisher welcomed Moon Kissed, Earth Wrought, Vision Drunk, and eagerly sent it to press as both print and digital.

 Such enthusiasm and appreciation is a poet/artist’s dream come true.

How have people responded to the book so far?

The response has been very good. People tell me the art touches them and the poetry allows them to travel with me.

In fact, Poet Paul Brookes of The Wombwell Rainbow told me very recently that he was “impressed by the fluidity” of my work.

Have you any readings or other events planned to promote the book?

Yes.  I am feature poet this month with Time to Arrive, an international zoom hosted by San Francisco Bay Area Poet Dane Ince. There will also be a book launch hosted by Marcelle Newbold in the near future. As well as several reviews and interviews scheduled, and related features on the horizon.

Perhaps the most exciting for now is an upcoming dual book launch with Clive Matson, Lifetime National Beat Poet Laureate who studied with Alan Ginsberg, Diane Di Prima & other original beat poets. He will launch his 300-page poem just published by New Generation Beat Publishing). I will perform Moon kissed (here, live performance replaces the visual art). We will be joined by The Vagabonds, a troupe of poets traveling the USA this summer. This July 20 event will be held at the iconic Art House and Cultural Center of Berkeley. More details on my website: linktr.ee/KPGFolkHeart

Buy the book here:

Print ($10+ shipping) available in USA and Canada only. Digital ($3.50) everywhere (including Mars, I think).

https://bottlecap.press/products/wrought