In this interview, Abdullah from ‘The Hemlock Journal’ spoke with John, a poet and author, about his work, background, and perspectives on poetry and nature. John shared his journey from a late start in poetry to becoming a published author, expressing pride in his latest collection and specific poems like “A Rural County in Connecticut” and “Kintsugi.” They discussed John’s dedication to his family, his appreciation for nature, and his experiences traveling and drawing inspiration from various landscapes. The conversation also touched on John’s background in the arts and his current work in environmental conservation. The interview concluded with a brief discussion about books John wishes he had written, including Paradise Lost by John Milton and Sonnets by Shakespeare.

Summary

Journal Review and Submission Discussion

John and Abdullah discussed their respective locations, with John being in New England and Abdullah in Mumbai. They talked about John’s recent vacation to the Caribbean and Abdullah’s work-from-home setup. John expressed his appreciation for a review of his book by Archana, a Hemlock Journal reviewer, and mentioned submitting three poems to the Hemlock for their next issue. They discussed the importance of journals offering expedited review processes and the frustration of long response times from some publications.

Poet’s Journey and Literary Insights

John shared his journey as a poet, revealing that he has been writing for decades but only actively pursued publication in the past 10 years. He expressed pride in his three published books and highlighted specific poems, including “A Rural County in Connecticut“ and “Kintsugi,” which he considers among his best work. Abdullah, who has a background in literature and journalism, discussed his role in reviewing submissions for a literary journal and expressed enthusiasm for conducting the interview.

Poetry Discussion and Appreciation

John and Abdullah discussed John’s poetry publications, including a poem in Cool Beans Lit Journal, which has a low acceptance rate. Abdullah expressed admiration for two poems from John’s recent book, “How Shall We Return“ and “Edinburgh Nocturne,” and John mentioned the rhyme schemes in these poems. John also shared that he constantly refines his work and enjoys subtle rhyme structures.

Nature-Inspired Writing and Gratitude

John discussed his writing process, focusing on nature-inspired poetry and his recent increased productivity. He expressed a belief in finding beauty and miracles in everyday life, contrasting with the busyness of modern culture. John acknowledged the existence of global challenges but emphasized the importance of gratitude and appreciation for natural wonders.

Nature, Family, and Creative Journey

John shared his lifelong appreciation for nature, inspired by his surroundings in Connecticut and travels to places like southern Italy and Greece. He discussed embracing fatherhood and being a grandfather, dedicating his latest poetry collection to his children and grandchildren. John also reflected on his experiences working in the arts while pursuing education, including meeting notable figures in theater. The conversation concluded with John expressing interest in extending the meeting and answering a rapid-fire question about a book he wishes he had written, to which he replied Paradise Lost by John Milton.

Abdullah Lakdawala in Conversation with Mr. John Muro

[Abdullah Lakdawala]: Firstly, for our readers, I want you to give them a brief intro about you, because many already know you, they’ve read your stuff. But what is different about you? What is something that the world doesn’t know about you as of now?

[Mr. John Muro]: Well, I’m not so sure the world is truly interested, but, in response to your question, I would say that even though I have been writing most of my life, I really did not actively pursue publication until just a few years ago. One of my poems was accepted for inclusion in an anthology. I was fortunate enough to subsequently read the poem at a public event. And several people, including the editor of the anthology, were surprised that I hadn’t actively sought to publish my work. I’ve always loved writing. Poetry has always been a passion since high school, and English was my favourite subject. English Literature is what I studied in college and graduate school. And I was also blessed to have several supportive mentors and advocates in both high school and college. But I have few regrets, and I’ve actively been involved in publication for only the past five years or so, as noted earlier, and I’d like to think that’s turned out, hopefully, for the best. But I must be honest, too. I’m still growing as a writer and I admittedly still have much to do in that regard.

Also, I’d like to think I’m focused far more on writing and refining my craft these days, and seeking to share my work with others as best as I am able, so I guess people may not know that.

[Abdullah Lakdawala]: That’s really nice to hear. Thank you so much for that. So, out of all of your work, what’s something that you’re really proud of?

[Mr. John Muro]: That’s a good question. I’ve had three books published, and I’ve had several poems published since the release of my last book, A Bountiful Silence & Other Poems, in 2025. And I’d like to think that with each book, the depth and quality of my work have hopefully continued to improve. I’m proud of all three collections, but I think, like any discipline, the more you work at it, the better you become at your chosen craft. There are several poems in each collection, in each of the first three books, that I am proud of, but among the most recent ones, there’s a poem entitled A Rural County in Connecticut, which is featured in A Bountiful Silence & Other Poems. It’s probably one of my favourite poems, and it just seemed to flow from a quiet space in my heart to paper. And I was fortunate to have the poem published in a respected journal – Connecticut River Review – and I worked with my publisher to produce a promotional video featuring that poem. The poem was inspired by Connecticut’s landscape.

[Abdullah Lakdawala]: How do you keep yourself going and how do you feel at your age? There are so many authors who are younger than you and have done lots of work. So how do you feel? Is the world adding? How are you heading into this new tech-driven world? Because there’s also AI, which helps writers, you know, to get ideas. So, what’s your view on that?

[Mr. John Muro]: I guess what I would say is that, in some respects, age doesn’t matter. I have been as productive now as I have ever been, and I hope my work has matured, too, over time. And I think, candidly, I don’t try to stray too far afield of what inspires me, and that is very much poetry rooted in nature, a poetry that tends to be more lyrical, sensual, contemplative. What one critic called sensory lyricism. I’m not going to apologize for that. I also know that there’s a swath of the marketplace, as I said earlier, that prefers poems espousing, say, social justice or political reform, and while I have written some poems on those topics, my heart keeps coming back to the natural world. I’m trying humbly to understand and consider the many miracles that are all around us and that happen every day, and to find beauty in the ordinary, not just the extraordinary or spectacular.  I really do believe that. This is a glorious world in so many ways. Not everybody appreciates that simple fact. And part of what I try to do is to extract a degree of understanding about the world around us. And what is the larger message or connection here. But too often, especially in Western culture, we’re so busy that we do not take the time to stop, reflect on things and approach them with a spirit of gratitude, and appreciate all that we’ve been provided. That does not mean that I am inherently naive. There are plenty of challenges in the world today, that goes without saying, but it doesn’t undermine the fact that we’re all here for a very brief amount of time. And shame on us if we don’t stop and recognize and extend our gratitude to those things in life that help us become better people, inspire us, offer insight and beauty and make us feel, well, whole. That could be a sunset, it could be a bird singing early in the morning. The way light falls through leaves when I take a walk through the woods. A simple touch or gesture by someone we love. A memory. There are so many things, and that gets back to your earlier question, too, about how I’m constantly inspired. I cannot explain it. It’s like, you know, a faucet’s been turned on. As John Keats once wrote, “If poetry comes not as naturally as the leaves to a tree, it had better not come at all.” And over the last few months, I’ve been writing and refining poems quite frequently. Like I said, they’re never finished, and some are admittedly better than others. It seems I’m always revising my work and hopefully improving the poem along the way. Rejections, unfortunately, remain a part of my life, however, and not just acceptances.

[Abdullah Lakdawala]: So, have you had a lifelong appreciation for nature, or was it some event that inspired you to connect with nature more?

[Mr. John Muro]:  That’s another good question. I’ve always been fascinated by pastoral narratives such as At the Water’s Edge, Common Ground, H is for Hawk, What an Owl Knows, as well as programs such as Nature and documentaries. Think David Attenborough. My favourite type of art is typically landscapes. At an early age, our family relocated. I’ve always been in Connecticut, which is part of New England. It is a part of our country that has beautiful topography, and offers a little bit of everything, shoreline, forests, woods, and mountain ranges, depending on where in New England you are situated. And we moved to a fairly rural town of less than 3500 people. I was 11 or 12 years old, and so, almost overnight, I found myself in a rural environment. We had farms, and I worked on a farm for a summer, picking vegetables.  I just find nature provides the heart and mind with a sense of awe, beauty and replenishment, that’s what I’ve always been drawn to. My wife and I enjoy gardening, too.

[Abdullah Lakdawala]: Have you ever had a thought of going on a pilgrimage or a certain place where you think the experience could have helped you enhance your writings?

[Mr. John Muro]: Not so much a single place, though I certainly have a bucket list of places I hope to see at some point in my life. I have been fortunate to have travelled quite extensively, and travel has certainly influenced my work, including time spent in Italy, Greece, southern France, Scotland, Ireland and elsewhere – including my home region of New England and both coasts of America. Landscape, art, music and architecture seem to always find a way into my poems. Especially birds!

 [Abdullah Lakdawala]: So, how do you keep yourself going and how do you feel about the current direction the literary world is heading into? With reference to “Something More Than Winter (Weighs Upon Me)?”

[Mr. John Muro]: “Something More than Winter (Weighs Upon Me)” admittedly is a contemplative, free-verse poem with a melancholic tone. I’m quite fond of that poem and was pleased to see it published in the Delmarva Review. I also think of myself as well-settled in mid-life as opposed to a certain numerical figure. As for the state of the literary world – and poetry specifically – I do not profess to be an expert on the subject. I do think, however, that poetry is like pollen – it is now everywhere. One needs only look at the number of print and online journals that feature poetry today. There are hundreds and also the growth of writing seminars, retreats, performance-based events, publishing houses, etc. My pastoral leanings are not for everyone, I readily admit and may in some cases be viewed as, well, perhaps vintage, though I do not shy away from the fact that nature has always been and remains a primary source of inspiration for my work.

[Abdullah Lakdawala]:  Take me back in time, let’s say many years back in time, when you were working in Hartford. What was it like back then and did you keep your literary pursuits going?

[Mr. John Muro]: Early in my career (actually while still in college or graduate school), I worked at the Hartford Stage Company, the Wadsworth Atheneum and the Bushnell Memorial. All three are renowned cultural institutions. Consequently, I was able to remain engaged with my love of literature, theatre, art and music. But once I started my career, my writing continued but it was done privately and not shared publicly. You can say I’m a late bloomer but I have been writing and working continuously on my craft since a young age.

[Abdullah Lakdawala]:  A book which you would have wished you had written, and you said it was Milton.

[Mr. John Muro]: Yes, Paradise Lost. But also Homer’s Illiad and the Odyssey and Shakespeare’s collected sonnets and, why not? several of his plays. There are many others, of course, including Keats’ odes, Dylan Thomas’ Fern Hill and numerous poems by Heaney and Frost.

[Abdullah Lakdawala]: What part did John Keats, Wallace Stevens, & Debussy play in “A Bountiful Silence & Other Poems”, and how do you think it gave meaning with regard to their mentions & placements in your new collection?

[Mr. John Muro]: John Keats has been my favourite poet from a relatively early age. I have read all of his poems, his letters and even numerous biographies. As you may know, he died at an early age (25) in Rome from tuberculosis. But his startling imagery, sensuous language and his love of Shakespeare, Milton and Greek mythology all resonate deeply with me. Hence, the poem “Morning: Piazza di Spagna” which was included in A Bountiful Silence & Other Poems and is based upon his final days in the eternal city. 

Wallace Stevens is a Connecticut poet who worked in the insurance industry. His poetic style, in many ways, is not dissimilar to Keats’. Although he lived over a century later, he, too, wrote poems that were generally lush and lyrical and, in some respects, quite sensuous and sometimes quite dense, too. His use of language is quite inventive and, also like Keats, his poems are filled with philosophical questioning about life, the passage of time, the elusiveness of beauty and our own mortality.

Major poets or works I admire besides the ones I already mentioned, such as Keats and Frost and Thomas, would have to include works of Yeats and the French Symbolists.  Among the “contemporary” poets I most admire: Amy Clampitt, Brendan Galvin, Eamon Grennan, Mary Oliver, Wendell Berry, Ted Kooser, WS Merwin, and several others.

Debussy, on the other hand, was not a poet of words. He was, in my view, however, a poet of sound. I have a lifelong passion for music, and Debussy remains my favourite composer. I am intimately familiar with his music and his life. His compositions are known for their tonal color and sense of atmosphere and it should come as no surprise that he was influenced by the English Romantics, the Aesthetic Movement and, more significantly, by the French Symbolists, including Verlaine and Mallarme particularly. One of his most exceptional pieces, Prelude to the Afternoon of a Faun, was inspired by a Mallarme poem and even his signature piece, Clair de Lune, was inspired by a Verlaine poem, as well.

[Abdullah Lakdawala]:  Yes, so whom would you classify as your literary inspiration?

[Mr. John Muro]: My literary inspiration? I don’t know that I have a single one, but having been an English major, I was exposed to a lot of poetry over the years. And there are certain poets that I really, really like, and some that just don’t appeal to me. So, it’s a really broad spectrum, I mean, from a very early age, John Keats probably resonated most with me, so I would consider him to be a primary inspiration for my love of poetry. And then other poets who came along. Yeats is another poet whom I admire. But even there with Yeats, I prefer his earlier work, which tends to be more lyrical in a way. And as I said, I was exposed to the French Symbolist poets as well. Several poets in the 20th century, Robert Frost, Wallace Stevens, Dylan Thomas, WS Merwin and then there was another poet that you may or may not know. Her name was Amy Clampitt, and she was one of my favourite poets from the 20th century. A lot of people admire Sylvia Plath, of course. But Amy Clampitt’s work really, really struck me, particularly her exceptional book The Kingfisher. And she, by the way, was also an admirer of John Keats. He was also a big inspiration to her as well. So, anyway, I don’t know that there’s a single source of inspiration.

[Abdullah Lakdawala]: What do “Cedars” and “Bequeathed” reflect in terms of fatherhood?

[Mr. John Muro]: Cedars is a free verse poem dedicated to my father. He was a beacon of strength in my life, and a hardworking provider. I still think of him each day. He was physically diminished in his final years, which was quite difficult to accept, and the poem seeks to portray that fact, hence the line “the fatal fall from self.” The cedars in the poem are clearly metaphorical and they are meant to symbolize strength and resiliency in a challenging and unforgiving environment.

Bequeathed is a poem dedicated to my daughter, Marianne. It is actually a sonnet consisting of three, four-line stanzas and a closing couplet. The rhyme scheme of A-B-C-D is carried throughout the three stanzas. The object being bequeathed at some point in the future is my wedding ring, which does have a subtle, orange blossom design on the gold band.

[Abdullah Lakdawala]: “My Muse Is Slow Arriving,” by any means, are you referencing the slow arrival of death here, if yes, then why?

[Mr. John Muro]: “My Muse is Slow Arriving” is not so much about death. Rather, it is about “inspiration” and how, when and where it chooses to manifest myself. Unfortunately, inspiration, for me, typically comes in waves, and I must admit I have done as much writing so far this year than I have in quite some time. And I hope that’s a good thing.

[Abdullah Lakdawala]: What’s your favourite time to write during the day? Is it in the morning? Is it in the afternoon or in the evening?

[Mr. John Muro]: I write mostly in the morning, sometimes at night, but the morning hours seem to be ideal. And the other thing: I also use my iPhone as a notepad. So, if I think of something, say a word or an image or a phrase pops into my mind, then I write it down. So, I would say that even though I’m very, very focused in the morning hours, it’s how I plan my day. It’s not just writing, though. As all poets know, once a poem is written, there are several other challenges to be addressed, such as the need for continual revision, and then determining to whom do I send this particular poem, or what journals do I want to reach out to and so forth? And so, it’s very much an enterprise. You compartmentalize for writing, for editing, for submission, and portfolio management when you get to the stage of happily assembling a book.

 Is there anything you would like to shed light upon?”

[Mr. John Muro]: Well, it’s yet another contemplative poem. It was inspired by the architecture in Edinburgh. It is, in many respects, a medieval city with a strong dose of the Gothic. Many of the buildings are constructed with sandstone, which weathers to greys and browns, and that, too, likely affected my mood. So, one might say that my particular frame of mind was influenced by my surroundings and that became manifest in the poem. It is admittedly a somber poem, and I think it is only natural for each of us to forgive ourselves for mistakes we have made earlier in our lives and to try and walk back time and somehow come to terms with our own failures and mortality.

[Abdullah Lakdawala]: Okay, because when I read it for the first time, I felt that it talked more about regrets in life. Because, as you said, it was quite somber, so I just felt. But are there really any regrets that you were trying to convey through that poem?

[Mr. John Muro]: I think that we all make mistakes in life, right? Or we have regrets, or we are forced at some point to come to terms with our own shortcomings, missteps and our own mortality. And it just seemed that my mood was influenced by my surroundings, and that’s really where it came from. I don’t think I’m unique in that regard. I think I try to speak not just for myself, but I think for others, too. Complete with shortcomings, regrets and second thoughts. And also, as difficult as it may sometimes be, there’s a bit of coming to terms with the past, too. That’s what I’m saying.

[Abdullah Lakdawala]: So, how do you feel the reception has been for ‘A Bountiful Silence & Other Poems’ from the general public?

[Mr. John Muro]: Well, let me just answer that in two ways. One, the critical reviews, which include the Prairies Book Review, The International Review of Books, The Hemlock, Susan Cook, Writer Shed Press and others. I’ve been truly gratified by their commentary, as well as the celebratory posts on Amazon and Goodreads. And then there are a lot of individual bloggers who have also supported the book, who have approached me, or they came upon the book somehow, some way, and they wrote about it. So that means a lot, too. I’ve been pleased with the critical reviews. In terms of the general public, to be candid with you, Abdullah, when it comes to promoting the book or leveraging a myriad of social media platforms, I’m limited to an Instagram story or a Facebook post. Social media is not my forte. I’m a baby boomer, after all. You know that term, right?

[Abdullah Lakdawala]: Yes, yes, I’m absolutely aware of that.

[Mr. John Muro]: So, I’m not adept at how to fully leverage social media for this book. My social platforms tend to be mostly Instagram, but also some Facebook. I don’t use Facebook as often and I’m not on TikTok or many other platforms. I’ve received some lovely endorsements, too, from other poets and academics. So, I’ve been pleased with the critical responses. I also would say that more could be done to help promote the book to a broader audience. And it’s a question of time, it’s a question of experience, and it’s a question of better understanding social media, which as noted, I have my limitations. I don’t even have my own website. I’ve been advised to do that. At some point, I will. That’s on my to-do list.

[Abdullah Lakdawala]: But has there ever been an occasion where someone has come up to you or reached out to you saying, like, the work has really inspired them or it was loved by them?

[Mr. John Muro]: Yes, well, sometimes when I have a poem published, I will share the piece online. Once, I sent a copy of a published poem to a friend who enjoys and supports my work. He liked the poem so much that he sent it to his daughter, who happened to be an English teacher. She asked for the right to print and incorporate the poem into her curriculum at school. That’s an example of something that I was really touched by, and I’ve done a series of readings in public, including the Mark Twain House in Hartford. That meant a lot. And I’ve done several other public readings, as well.

[Abdullah Lakdawala]: How do people reach out to you and what do they still say about your previous works like “In the Lilac Hour” and “Pastoral Suite”?

[Mr. John Muro]: I continue to learn about the literary world, since I have spent so many years in the private sector. But my network continues to grow. I am a member of the Guilford Poetry Guild in Connecticut, a member of the Sancho Panza Literary Society, the West Coast Poets Community and other informal groups. As important, I have provided numerous public readings, including several on Zoom, over the past few years, as mentioned earlier. It can all be more than a bit intimidating!

[Abdullah Lakdawala]: How do you mingle up with your children and grandchildren considering there’s a generation gap between you all and the way you all see life?

[Mr. John Muro]: My children and grandchildren have been central to my life. I am truly blessed. My third book, A Bountiful Silence & Other Poems, was dedicated to my children and grandchildren, and my final poem in the preceding book, Pastoral Suite, was entitled “To My Grandchildren.” My wife and I are both of Italian heritage, so family is so very important to each of us. We have four children and 11 grandchildren, so it is safe to say we do not have much downtime. But we wouldn’t want it any other way. My wife would also jokingly tell you that, emotionally, I should be considered her fifth child! If I were not a poet, incidentally, I would most like to be an artist or a composer.

[Abdullah Lakdawala]: That’s really insightful of you. All of the things that you shared. And I’m pretty sure all of us at The Hemlock loved your work.

[Mr. John Muro]: Thank you kindly. I admire your journal and your team, too. And I try to support The Hemlock whenever I can. You’re becoming more active yourselves. You folks do a really fine job curating each issue and supporting your contributors. And Sky Island Journal is the same way and certainly Cool Beans Lit, Freshwater Journal, Third Wednesday, New Square, Wee Sparrow, Journal of Expressive Writing and several other publications are quite similar, where you almost end up having a personal relationship with the editors or the editorial staff, which is wonderful, right? It doesn’t mean they’re going to accept every submission, and they do not, but they’ve been so gracious. So, as with all rejections, it still stings, but these journals seem to do it the right way. And they clearly recognize that contributors don’t want to wait, say nine months to a year to receive a response. I’m actually stunned by that fact. Writers already have enough challenges to overcome and I think it’s most unfortunate. I also commend journals that offer an expedited response to submissions, as well. More should.

[Abdullah Lakdawala]: I agree with you. So, lastly, we all at The Hemlock are really, really happy that you agreed to this interview. And if you have any message for our readers that you want to give.

[Mr. John Muro]: Well, other than you’re one of my favourite literary journals and the book review you published of A Bountiful Silence & Other Poems was very well done and as insightful as any I have had the chance to read. Archana Ramakrishnan’s review was so very thoughtful. It was also thorough, discerning and incisive, and I remain extremely grateful for her validation and for her vocal support of my work. And I hope your readership continues to grow, too. You deserve no less.

[Abdullah Lakdawala]: Yes, thank you. Thank you. It’s a pleasure. Thank you for your support, and I hope that I can have another conversation with you real soon. But till then, all the best. Keep the work coming, okay. Thank you. Take care.

Critical Review of A Bountiful Silence & Other Poems

Review of A Bountiful Silence & Other Poems

“A Bountiful Silence & Other Poems is a study in precision, patience and perception…his verse, both painterly and musical, balances the sensory with the spiritual, demonstrating how attention itself can be an act of devotion…Muro’s craft is notable for its consistency of tone and precision of imagery…the sensory detail here is extraordinary…His art…chooses calm over clamor, detail over spectacle, sincerity over irony…What emerges is a body of work that invites reflection rather than reaction, a poetry that teaches us to pause, breathe, and listen to the earth’s slow, forgiving rhythm…Its beauty lies not in what is said, but in what hums softly beneath the saying, the quiet enduring heartbeat of his world.” The Hemlock Journal (Click Here to Read the full Book Review)

About the Interviewer