Your poem “Gifts” holds space for things that some might consider mundane or everyday—a courtyard, a fire escape, a scent. What role does tracking the observations of these “everyday things” play in this poem? 

My poetry often arises from the everyday—usually an image observed on a walk through New York City or a phrase in conversation. In this case, the germ of the poem was the ivy-covered fire escape that I could see across the street from my living room window. I think the best poetry transforms the mundane into something more, and then back into its original shape, just slightly changed—“The Red Wheelbarrow,” for example. 

“Gifts” feels like a poem that slows down to observe and savor the world. The outside world is given deep attention, rather than only the feelings in the speaker’s mind. What is the importance of looking outward, beyond oneself, in your work? 

I like that you said "savor the world"—I think that's an important characteristic of this poem. I know my self will naturally inform my writing, so I turn my focus outward to create a more balanced perspective in my work.

Your work spotlights human relationships–both the connections and disconnections we share. How do you explore the idea of “sonder”?  

I had to look up the meaning of sonder; it’s a lovely concept. To me, realizing someone else’s complexity is the essence of a good relationship. I try to capture that complexity in my work—with all the misunderstandings and beautiful symmetries that it entails.

I find the use of “you” in this poem compelling. I interpret this “you” as a person who is a loving force in the speaker’s life. How can the love others have for us influence how we accept life’s gifts? 

The “you” in this poem is my girlfriend of six years. I’ve always admired her ability to be fully present—the best gift she’s given me is to change the way I experience the world.

You write both poetry and fiction. How do these two practices inform each other in your work?  

It's hard to say, but if I had to guess: My poetry has helped make my fiction more personal and more precise; my fiction has helped infuse emotional and narrative tension into my poetry.

I noticed you have written ekphrastic poetry. I am interested in the relationship between art and literature. How do different art mediums influence your writing practice?

I love ekphrastic writing—I like to spend time in museums for inspiration, and I’ve found that early in the writing process the right song can unlock a story or a poem. Sometimes I sketch (poorly) before or during writing, too. The goal is to distract or enthrall the conscious mind and let the subconscious go to work.

Read Wilson’s poem, “Gifts” in dulcet Literary magazine, vol. One, Issue No. 2, coming this february.