Marisca Pichette makes her Asimov’s debut with two poems in our [September/October issue, on sale now!] Where one poem deals with “transcendence and eternal connection,” the other “looks at apocalypse in miniature.”
Asimov’s Editor: What is the story behind these poems?
Marisca Pichette: “All the space you have left” is a poem about love and loss. While these themes could be tragic, I find a deep comfort in this piece. The narrator isn’t looking for acceptance or forgiveness. Rather, it’s a poem about transcendence and eternal connection.
“In a vial on the windowsill you’ll find it” looks at apocalypse in miniature. The small things, the everyday changes, the mundanity of grief. Part nostalgia, part letter to a love that never was, it’s a poem to hold and be held, to remember and wonder and—despite everything—hope.
AE: How did these poems germinate? Was there a spark of inspiration, or did it come to you slowly?
MP: “All the space you have left” appears here almost exactly as I initially drafted it. For this poem, the body came first as a story, and I titled it at the end. This isn’t always the case with my work. Many of my poems are shaped by the title first. This piece, though, has much to say about beginnings and endings.
“In a vial on the windowsill you’ll find it” took a long time to form. It was initially two stanzas shorter, and lacked a clear focus for a long time. I sensed what I was trying to do, but it took several rounds of re-reading and revision to finally arrive at the story that appears here.
AE: How did the titles for these poems come to you?
MP: “All the space you have left” can be read in two ways. It could be the narrator speaking to the departed, as in the body of the piece. Or—and I like this more—it can be read as a final goodbye from their ghost: Here is my body: changed, dwindled, and all that now remains of what we once had.
I don’t really remember how the title for “In a vial on the windowsill you’ll find it” came about. I think I wrote it at the beginning, followed by the poem. In this way, it acted like the vial of letters lost: a vessel of words to explore.
AE: What is your history with Asimov’s?
MP: This is my first appearance in Asimov’s!
AE: Who or what are your greatest influences and inspirations?
MP: From the time I began writing, I’ve been especially inspired by the natural landscape and its history. Many hours have been spent wandering the woods with a journal and a heart full of wonder. Some authors who continue to inspire me are: Anne McCaffrey, VE Schwab, Ocean Vuong, Aimee Nezhukumatathil, Erin Morgenstern, Theodora Goss, and many more.
AE: Are there any themes that you find yourself returning to throughout your writing? If yes, what and why?
MP: Themes of loss, isolation, wonder, and absurdity pervade my work, often interwoven with climate concerns and an animate natural landscape. In poetry in particular, I deal a lot with my own anger at injustice, straying frequently into body horror and the weird. I think poetry is a useful tool for addressing issues directly and succinctly, free from the veil of fiction.
From the time I began writing, I’ve been especially inspired by the natural landscape and its history. Many hours have been spent wandering the woods with a journal and a heart full of wonder.
AE: What is your process?
MP: My process with poetry is amorphous. I am fascinated with etymology and keep a list of words and phrases that intrigue me. When I go to write a poem, I consult this list and see what grabs me. Usually, I’m able to collect a few of my target words into a single piece. As I write, a narrative emerges from the mix.
AE: What are you reading right now?
MP: I am currently reading KT Bryski’s novella, Lovely Creatures, which was published by Psychopomp this spring.
AE: Do you have any advice for up-and-coming writers?
MP: Don’t give in. Seriously. Whatever your threshold for rejection, double or quadruple it. This business is finicky and everything is in constant flux. You can’t judge your work based on form rejections and long wait times. The best you can do for yourself is write what you want to write and put your whole will behind your work. Trust me—whether it takes a year or a decade—your writing will find its intended home.
AE: What other careers have you had, and how have they affected your writing?
MP: I’ve worked a lot in education—particularly with museums and independent schools—and these have continued to kindle my curiosity in a range of subjects. If you find a day job that fuels your creativity rather than draining it, seize that chance. Your writing might have to get squeezed into off-hours, but as long as you have energy and inspiration to continue, your work will find a way.
AE: How can our readers follow you and your writing? (IE: Social media handles, website URL . . .)
MP: Find links to my work, readings, interviews, and subscribe to my newsletter at: www.mariscapichette.com. I can also be found on Twitter/X (@MariscaPichette), Bluesky (@marisca.bsky.social), and Instagram (@marisca_write).
From Earth to the Stars 