Seven Questions with William Derge

William Derge is a poet whose work is rooted in empathy, keen observation, and a lifelong love of language. His poem “Foraging” is featured in the inaugural issue of Scribeworth, showcasing his gift for quiet, vivid imagery and emotional depth. A former high school teacher, William brings a deep awareness of human complexity to his writing, often exploring themes of vulnerability, isolation, and connection. Influenced by the sounds of Keats and Hopkins and the insight of contemporary voices like Kay Ryan, his poetry bridges tradition and modernity with a voice that is both grounded and resonant. We took some time to connect with William to discuss his insights about the role of poetry, his process, and his influences.

1. What inspired you to start writing poetry, and how has your relationship with poetry evolved over time?

To quote Saul Bellow, "A writer is a reader moved to emulation." I was brought to poetry by way of a very good teacher when I was a senior in high school. In those days, we read all manner of poetry from Tennyson to Browning to e.e. cummings. Keats was my favorite, and I even memorized some of his odes. I suppose I tried to write like Keats, but of course I never got close. No matter. I was hooked. I really didn't write much poetry in college. It was only after I was drafted in the army and sent to South Korea that I started to take poetry seriously. What I continued to do, though, was to read. And read. And read.

2. How do you decide when a poem is "finished"? Is there a particular moment or feeling that signals it's ready to be shared?

That's both a simple and a tough question. The simple answer is that at some point you absolutely know. You feel that it's right. The tough part is it can sometimes take years and a hundred revisions before you reach that feeling. At other times, you experience it immediately upon completion of the poems. I can't really say what constitutes that feeling. I think it comes with experience. When you're just starting out, you're just happy that you've actually finished a poem. But is it any good? Well, that's where your reading comes in. How does it measure up to the poems you admire? And if not, why not?

3. How do you approach the writing process? Do you follow a specific routine, or do you write when inspiration strikes?

I've tried over the years to establish a writing routine, but I've always failed. I certainly don't recommend over-depending on the Muse, but it's the only method--or lack thereof--that works for me. If there's anything resembling a routine for me, it's the fact that whenever I write at Starbucks, I come back with some good stuff.

4. What themes or ideas do you find yourself exploring most often in your poetry, and why do you think these resonate with you?

I almost never begin a poem with a theme in mind. I'm usually driven by an image or cluster of images or words. Themes emerge only after the work is done. I seem to write a lot about people who are vulnerable, introspective, lost. I also write about working people. I was a high school teacher for many years, and I think I developed a real empathy for kids who were outsiders and outcasts. I'm not a great nature writer, but I have a bunch of poems about birds. And, of course, my cats.

5. Are there any poets, past or present, who have significantly influenced your work? If so, how have they shaped your voice as a poet?

When I first began writing, it was all Keats and Gerard Manley Hopkins. I was mostly drawn to the sounds. And that aspect of poetry remains strong with me.  Later on I began reading poets like Robert Lowell, Richard Wilbur, and Howard Nemerov. They brought an element of deep thought and humanity into my work. As far as contemporary poets are concerned, I love reading Kay Ryan and Christian Wiman for their compactness and wit, and that characteristic has certainly influenced my later work.

6. What role do you believe poetry plays in society today, and how do you hope your work contributes to that?

W.H. Auden famously said poetry makes nothing happen, but I think he was dead wrong. I really believe that, especially these days, poetry is our prime antidote to the deterioration of language we are witnessing today: propaganda, words for gain, out and out lies. You can analyze and explain away all these things, but only poetry offers a true alternative.

7. What advice would you give to aspiring poets looking to develop their craft and share their work with the world?

Despite my confession that I lack a writing routine, I believe writers should write as often and as much as they can and not worry at first if it's any good. One reason is that, in time, you begin to recognize the difference between what's good and what's junk. To me, the best advice you can give to any aspiring poet is: Get out of the house. Get out of the classroom. Hit the streets. Talk to people you don't know.

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William Derge’s poems have appeared in Negative Capability, The Bridge, Artful Dodge, Bellingham Review, and other publications. He is the winner of the 2010 Knightsbridge Prize He is a winner of the Rainmaker Award. He has received honorable mentions in contests sponsored by The Bridge, Sow’s Ear, and New Millennium. He currently resides with his wife in Frederick, Maryland. He is a frequent reader at poetry events in the area and his a founding member of Slant Light Poets. Many of his poems deal with the joys, trials, and sorrows of relationships.