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PoetryBones blog offers generative writing sessions to boost your writing practice in poetry, creative nonfiction, memoir, even personal development. See  ABOUT for more information on this writing practice.  CONTACT PoetryBones to inquire about joining a live writing session via Zoom; new cohort groups are forming.  ​ 

Writing about the Senses

9/10/2020

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Artist  Antonin Mercié     
Title   
Jeanne d'Arc          
Date  1845-1916.                 
The Art Institute of Chicago  (Elizabeth Morse Touch Gallery)
See the related poem below in the "For Discussion" segment of this post.

Greetings! Glad you could join us

Our pre-writing meditations this month are lead by Brenda McCaffrey, PhD, focusing on Alexander Technique, Somatics, and other mind-body awareness practices to help us awaken vision (literally and metaphorically) -- to find ways into the body to change the mind -- to be light and nimble in thought.  Join us throughout September to move your writing practice to a different level.

This week we focus on the senses.

First Mentor Poem

The Sense of Smell
HUGH STEINBERG
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Source: Poetry Foundation

WRITING PROMPT #1

Take me on a "smell journey" through the specific scents of a person, place, or thing.
Write for 10 min.  Ready? Go!

Second Mentor Poem

Gradations of Blue
MATTHEA HARVEY
​The scent of pig is faint tonight
as the lime trees hang their heads against gradations of blue,
 
looking at the lone suitcase in the middle of the farmyard
with a sense of solidarity. Also forgotten.
 
Its owner never once looked up at them and exclaimed
I was still soft-fingered when I planted you.
 
In the plane, her gaze rests on a flock of cloud-birds,
pinkish purple with elongated necks, rests
 
on the plane’s wing-tip colored pink by the sun.
Her head is heavy with this childhood cargo,
 
like the hawk that usually flies between or above their branches,
found skimming the ground with its catch of mouse or mole,   
 
or the barge that passes every day at four, its metal nose
just out of the water, while empty at eight, its sleek sides
 
flash signals to those on shore. Later, on the highway
a row of trucks lit like orange squares in the setting sun--
 
a colony of ants each with a piece of chrysanthemum
on their backs—begins to reassemble memories;
 
the petals become lining, the shape of the flower is lost,
so that years later, looking at an old photograph,
 
she will not remember the names of cousins and uncles
but the exact bend in the river behind them, the pattern of trees.

​Source: Poetry Foundation

Writing Prompt #2

Take me on a color journey through your day, through your life, through a specific setting, through a photograph.  Try to keep my eye moving through “the landscape.” Write for 10 minutes. Go now. Write!

For Discussion

Touch Gallery: Joan of Arc 
MARY SZYBIST
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Source: https://www.poetryfoundation.org/poems/56657/touch-gallery-joan-of-arc

In the Art Museum of Chicago, is the Elizabeth More Touch Gallery -- a collection of sculptures coated with a special wax that protects the integrity and longevity of the sculptures while allowing sight impaired, indeed all patrons, to experience art through touch.  A rotating collection of four works from differing eras all represent the human face.  "Visitors can discover the facial expression, accessories, and style of dress as well as discern an artwork’s form, scale, temperature, and texture in ways that sight cannot provide"  (AIC).  Mary Szybist's poem is about experiencing the "Jeanned'Arc" sculpture (not currently on display, which why her admirable  and ideal visage is in the title image spot above).

Joan of Arc is juxtaposed with October through the window and with the gardens across E. Monroe Street.  Szybist's tactile poem follows a speaker who greets the girl soldier respectfully, proclaiming she is allowed to touch her, and so shall begin.  The rest of the poem unfolds the tangible and intimate experience.  The direct descriptions of  "cold cheeks" and "hair grooved as fig skin" are coupled with the speaker's willful desire for a more personable exchange-- in the lack of ability to run her fingers through the girl's hair and the wish to feel a mind she can turn in her hands.

I'm hard pressed to find a poem about touch I like more than this one!  But, please, share a favorite if you have it in the comment section below.  Thank you!

PS--A possible writing prompt could be to write about something you would like explore through touch. 
Something you wish was in the Touch Gallery and sealed with a special wax, so you could harmlessly or carelessly explore it through touch.


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Body Writing

9/3/2020

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Yoga Inversion | Image by Brittany Ann Lewis
Our meditations this month will be lead by Brenda McCaffrey, PhD, focusing on Alexander Technique, Somatics, and other mind-body awareness practices to help us awaken vision (literally and metaphorically) -- to find ways into the body to change the mind -- to be light and nimble in thought.  Join us throughout September to move your writing practice to a different level.

First Mentor Poem

What the Body Knows
LANCE LARSEN
Picture

Poem Writing Prompt #1

Relax into feeling your body.  Make a list of all the things your body knows from its child moments to youth to mid life to now. All the private moments, all the public, all the others.  Write this poem for 10 min.
​

Second Mentor Poem

Today, God
STARR DAVIS
​(Hear Davis read her poem here.)
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Source: poets.org
​

Poem Writing Prompt #2

Make a list of defiant gestures, expressions, body movements.  Write a poem about your body or any body in defiance.  What are your defiant memories as a kid?  When have you used your body defiantly? Used it as a message?  What message did your body send?  What message do you wish it to send? When is your body a political message? Have you ever felt threatened in body and mind?
​

For Discussion

As If the Body
​
ANNE MARIE MACARI
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Source: The American Poetry Review

"As If the Body" is so exquisitely crafted -- gorgeous and primordial at the same time.  Something of spirit and agency is leaving the host's body. The word use of alleys, drain, city, and cistern lead readers to one interpretation of termination.  Then the use of blood gathering, and overflowing, the reference to stream and opening, implies another kind of loss that rushes or is flushed from the body.  But what is certain is that the "crouching thing" has claws and perhaps spirit, the likes of which we see "inside trees and rocks," and the wording implies a resistance to leaving the host body.  Finally, domesticated, perhaps civilized, the leaving, the "flushing," is referred to as a teacup that has spilled over despite the repeated tugs, aching and arching.  And its over. The journey of words -- the way Macari is able to make the visceral felt in the reader's body -- is so carefully crafted here, it hurts.
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    Christine curates the POETRY BONES blog and hosts the weekly live writing practice. Contact her with inquiries.

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copyright 2019 c.stiel all rights reserved. i earnestly try to attribute images, poems, and video to their creators.
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