Poetic Medicine

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“Writing and reading poems is a way of seeing and naming where we have been, where we are and where we are going with our lives.” -John Fox

I saw this book, POETIC MEDICINE: THE HEALING ART OF POEM-MAKING, by John Fox, at a friend’s house. She hadn’t read it yet, but promised to forward her recommendation. I remember that day, that writing session, especially, because, as we were finishing, her front yard suddenly filled with all sorts of birds. I think it was a precursor of the weather that was sweeping in, but it had that feeling of an omen. When I spied Poetic Medicine on the shelf at Half-Price Books, I remembered those birds, and I bought it.

While visiting my mom over the last couple of days, I packed the book with me, and read in all the interstices. Some gems include the preface by Rachel Naomi Remen, and an abundance of poems from every where, including this one by Wendell Berry, which spoke directly to the emotions I’ve been dealing with these last few weeks. I started in September to work on a series of poems about my dad’s death, and wings seem to push their way into every poem. I’ve been trying to read between the lines of my drafts, and see what this is saying to me, what it’s saying that hasn’t already been said by so many others. And this book is helping. So, the poem:

To Know the Dark

To go in the dark with a light is to know the light.
To know the dark, go dark. Go without sight,
and find that the dark, too, blooms and sings,
and is traveled by dark feet and dark wings.

-Wendell Berry

 

Baby, It’s Cold Outside

fall winter 2012 013

I was awake at 5:30 this morning, eager to crack open my notebook and begin writing. But it’s 30 degrees here, and I am not good at being cold. I turned on the heater in my cabin, and then I carried my journal and my favorite pen inside. I turned on a lamp and I sat down in my comfy green chair.

Then, I stalled. Every word I wrote felt like an ice cube stuck with all the other ice cubes. I had to chisel each one free and it wasn’t rewarding. My fingers were blunt and stiff. Surfaces. Temperature. What I ate yesterday. What I might do later today, if I ever get out of this chair. I grabbed some poetry off the bookshelf next to my green chair and I read. Nothing grabbed me, but I copied out a short poem, and then I tried to write a poem using the same sort of gestures.

cabin2But what was the point?

Why write?

And then, I remembered to ask, What is this? What exactly is it that I’m feeling? Can I name it? Where did it come from? What is it trying to tell me? 

I remembered something I read yesterday in Tracey Cleantis’s book, The Next HappyFear can masquerade as lethargy. I wrote down that question, too: What am I afraid of? 

The pages began to warm up, and the words weren’t solid little cubes of ice anymore. They began to flow.

Gratitude

Photo post.

Source: Gratitude

In the Company of Writers

b85fd-stack2bof2bbooksI have had the privilege over the past few weeks of hanging out with some very cool writers. Joannie Stangeland for one, Katie Tynan (of It’s About Time) for another. Last week I was one of the featured readers for Rose Alley Press‘s 20th Anniversary reading series, and I want to take a moment to recommend this local press, owned and operated by David D. Horowitz, and its books (particularly as it is getting to be that gift-giving time of year).

The novelist Jane Hamilton tells a story about getting caught reading George Eliot’s Middlemarch in a school hallway while waiting for a child. The other mother who spied her said something that Jane translated to “How Quaint.” With an edge of outrage in her voice, she added, “as if I were tatting lace!”

I thought of that story because I read Middlemarch, the first time, while taking a class with Professor William Dunlop, whose poetry book, Caruso for the Children and Other Poems, is a Rose Alley Press book.

One reason to go to readings is to connect with like-minded people who read the same sort of books that I do. That you do. Don’t you?