When I Was A Girl Like Me:
An Interview With Poet Margaret Bazzell-Crocker
By Chase Dimock
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When Margaret Bazzell-Crocker told me she would be publishing her first collection of poetry in 20 years, I expected her to be revelation to anyone who picked up her book. As a good friend of hers, I knew readers would be equal parts charmed and provoked by her perspective. Her personality certainly radiates from the pages: funny, empathetic, authentic, unrepentantly unorthodox, and insightful.
What I didn’t expect was for the book to be a revelation to me. When you’ve known someone for a while, you tend to think you’ve got them figured out, even when your base assumption is that they are amazing and capable of anything. I learned a lot about Margaret: about her relationship with anger and disillusionment, how these feelings came from her upbringing and her dissatisfaction with the status of women in the world of her youth, and how the Margaret I met in her 40s is a product of decades of harnessing and channeling this into an energy that can create and nurture.
After finishing the book, I wondered if I had been daft and dense to have missed some of this in my friend. But, what I realized while interviewing Margaret is that it is through the language of poetry that so much of this experience can be expressed and heard. When I Was a Girl Like Me is the annotated guide to the life of Margaret Bazzell-Crocker. The following interview is just as much about wanting to better understand a friend as it is about wanting to share her with the world.
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Chase Dimock: Your book contains a short introduction in which you address your anger. You write, “People are afraid of anger and especially women are afraid to be angry” and that you are now “comfortable” with your anger because you can “aim it with laser precision.” Why did you decide to begin by addressing your history of dealing with anger and what role does this anger play in your poetry?
Margaret Bazzell-Crocker: I think I wrote first about anger because it’s the emotion I’ve wrestled with most, and I’ve been fascinated with the idea that it seems to be especially shocking when a woman is angry. I remember feeling the same way when I got old enough for my mother to make me start wearing shirts. Why did I have to go around in shirts? None of the boys or men in our neighborhood did! Our household wasn’t really great when I was growing up and anger seemed to be the go-to feeling for all of us, although we always expressed it in gender-specific ways. The girls were allowed to sulk and the boys were allowed to hit.
I think a big, powerful moment growing up for me was when I discovered I had the power to express my anger in more definite ways, and I’m sad to say that I wasn’t, at first, very responsible with this power. I hit, I threw things, I did things I was sorry for afterwards, and I wouldn’t go through that experience again if I could help it. However, I think the message I got when I was younger, and that women continue to get now, was that a girl or woman could feel things in a corner, but they’d better not sit at the table with it. I’m not completely comfortable sitting at the table today, but I’ll do it, by God. As far as how anger affects my poetry, I think it affects some of it, of course. I hope readers will see that this collection begins with anger, but then talks about all kinds of emotions and situations. The collection gets past my anger, but still acknowledges it as a great source of power. Good and bad.
Chase Dimock: Let’s talk about where this anger and your attempt to harness and manage it surface in your poems. A few months ago, we published the second poem in the book, “The Art of Acquiescence,” in As It Ought to Be Magazine. In it you write:
To be a woman
in this world
is to bend and curve and slip around its corners
like a snake in the river.
You explain that a woman must “contort” herself. How do you feel this compulsory contortion and acquiescence feeds into the anger you feel? How does this connect your personal experience with the women of the world who you broadly address in the first two lines?
Margaret Bazzell-Crocker: First of all, I like the words you use about the anger in my poetry, because I think they are correct: “harness,” and, “manage.” That is what I tried so hard to do in the past whenever I felt angry. I would add another that’s in “The Art of Acquiescence” poem itself: “meet.” I did try to harness my anger because it went far into a dangerous field when I found I had the power to wield it, and as I’ve said, I regret that. But, then I found I over-corrected, because I was trying to be accommodating to everyone but me. There is still a tendency now to please everyone around me and be resentful of it. The more I matured and was around different women, the more I found their anger and resentment, even for the people they loved sometimes, matched my own. The more I still found this tendency in many of us, to turn the art of acquiescence into a line, drawn in battle. And the more determined I was to erase, or at least redefine, this line in myself. That’s why I would add the word “meet.” In the poem, the snake meets all obstacles. I love that little snake!
I hope, with this collection of poetry, readers see, not that I am finally at Hallmark Channel peace with my anger, but that I am working to remove the battle from it, to negotiate a peace-accord, maybe with myself. I have come of age, I guess, in my willingness to see it as a part of me, but no longer a defining part of me. I would never advise anyone else to do the same. My poem is my journey, and no one else’s. I wrote it because I feel my journey with anger and with other emotions that stand in the way of growth, change, or even just a happy, still life may resonate with others, too.
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As It Ought To Be 
