Poetry Portal: Ekphrastic Writings in Response to the Image Archive

In the spirit of ekphrastic poetry, ARAS quarterly commissions one poem that explores the many sides of an archetypal image. "Ekphrasis" or "ecphrasis"from the Greek ek and phrasis, meaning 'out' and 'speak' respectively—referred in ancient times to a poetic description of a thing, person, or experience. In his Ars Poetica (13 BC) the Roman poet Horace wrote his dictum "ut pictura poesis" (as is painting, so is poetry). It is in celebration of the great union between these two forms of meaning-making that we host the Poetry Portal. The poems first appear in our newsletter ARAS Connections and then are given a permanent home here.


ASHES

If you are viewing this on a small screen or phone, you may wish to read the poem here in this pdf that preserves the formatting.

Nonsecular Non sequitur
By Akeema-Zane

 

in the cypher before time/ became, i traveled
beyond/ the Black sea settled/ before change
came/ before i knew i could feel/ myself outside
myself/ i smeared salt water/ peering out of my
pores/ on my tongue/ before i ran/ across the
bordering/ land mass of the Ganges/ begging for
mercies/ at its shores

 

Pedro de Alvarado/ rode adjacent/ toward
my back/ his back parodied/ the tail of the
iron horse/ his wrists accessorized/ in
presbyterian hospital tags/ a man, flesh/ of
unpasteurized goat’s milk,/ hair of corn silk/
stood above him projecting/ a DACA
infomercial/ from his jocote shaped face

 

exiting in Little Africa/ a Femme Wolof du
Cayor/ skin of used copper/ approaches me
just/ after barely beating the mouth/ of the
closing doors of steel/ her cascading linen
mouseaur/  styled to shame my own/
effort-less gold dubi pins/-an offering to the
Akan-/ black spandex headcovering,/ a
matted hair/ woolike underneath to mask
the sweat/ turning scalp to buildup/ unveiling
me with her eyes/ alone she asked/ frenetic
in her bass/ “hairbrading Miss?”

 

a woman, my shadow/ reflection seated
before me,/ sat composed, fighting/ the
melody of rebellion/ chords in her elbows,/
her wrists lay curled/ and fingers faced her
chin,/ she wore a black spandex/ dress,
whose seams she constantly stretched/
toward her knee/ she made adjustments as
I did my falling/ sweatpants, ether and
threaded/ in gold, she mouthed/ a tall tale to
me/ of men pulsing their breath/ into the
back of her throat/ one hand chastising her
neck/ palm to palm/ until her brain went
numb

 

“poetry is a coded language”/ my baba told me once/ the
sink covered in his locks/-they turned to ash-/by an electric
blade/Earth People did suffer too long/ their acres burning
wild/ fiyah bun out de bush for babash/ “White Oak rum is
all we drinking now;/ de coup, done/ and de hill people
have all fallen/ ill to St. Ann’s”/ i and i watched my
reflection/ through his in the mirror,/ my eyes watered/ as
old rusted pipe water washed/ away his sins/  never to be
born again.

 

Akeema-Zane is a multidisciplinary artist. Her artistic methodology is using intersectionality to configure  a practice that centers the literary, cinematic and performance traditions. The aforementioned has included being artist-in-residence, student and fellow at Groundation Grenada, Cave Canem, The Maysles Documentary Center. She has also displayed visual works in various exhibitions, performed in short films/music videos and plays, and most recently published liner notes to album Conjur Woman. Additionally she has collaborated with various musicians, and is featured on the album and short film BRWN . Her published work include There's a Monopoly on Change, On Being the Daughter Discovering the Home of her Descendants… , Interlude, and When Money Can't Buy You Home. She is of Afro-Caribbean descent and is a native New Yorker.

 


MIRROR

THE SOUND THAT THE LOOKING-GLASS MAKES

by Aimee Walleston

On Sunday, January 29, 1939, Virginia Woolf wrote a diary entry detailing her experience meeting an elderly Sigmund Freud at his home in London. At this, their first and only encounter (he would die this same year), Freud presented Woolf with a single narcissus flower. In the same year, Woolf wrote an autobiographical essay titled “A Sketch of the Past,” in which she describes a feeling state that has been with her since she was a child: “the looking-glass shame.” She writes that she cannot look in the mirror and take pleasure in her own appearance, though she knows she was born to a family admired for its feminine beauty. She describes how difficult it is for her to walk into a room wearing a new dress—how self-conscious this experience makes her feel. In this essay, Woolf also describes being sexually abused as a child, and her “tomboy phase” in the years following. She contemplates an unexplained psychic condition of losing time that she calls the “cotton-wool”—a figure of speech that I believe she has designated for the lingering dissociative states many people experience, particularly those who were abused as children. In a dissociative state, individuals spontaneously “tune out” the world. During abuse, children often involuntarily dissociate to keep their sanity intact, and this becomes a way of negotiating reality after the abuse has ended. I am struck by the names Woolf gave to these sensations, and by her effort to make sense of them. I think about Freud’s potentially symbolic gift of the narcissus, a flower that directly connotes both an obsession with gazing into mirrors and an overvaluation of one’s own reflection. To me, Freud’s narcissus represents a psychological polarity to the looking-glass shame. I wonder what Freud knew, without knowing, about Woolf.

In this poem, I have taken excerpts from Woolf’s essay and her diary entry and reformed them. I wanted to peer into Woolf’s looking-glass shame from a different angle—from my own perspective. I’ve also added in my own lines, to join Woolf as a sister might. 

 

Every day includes more non-being than being.

What would the looking-glass say, if it could speak? I’m so sorry. Not now.

Immense potential, I mean an old fire now flickering.

There is always too much of me to hate. There is never enough of me to hate.

Dr. Freud gave me a narcissus.

When I stand here I can barely look at you. I can’t think about you looking at me. I can’t look at myself.

I remember how I hoped that he would stop; how I stiffened and wriggled as his hand approached my private parts.

It opened its mouth. It was made all of petals. It did not stop.

I can’t remember the last time I could stop. A mirror that had a mind of its own and could not stop.

I feel that strong emotion must leave its trace; and it is only a question of discovering how we can get ourselves again attached to it, so that we shall be able to live our lives through from the start.

You want it all to make sense. You want to tie it up with ribbons and bows. You want it to have a beginning and an end, like a book. You want it to be all over.

At any rate, the looking-glass shame has lasted all my life, long after the tomboy phase was over.

A mirror that eats people. A mirror that eats itself. A mirror that grows up. A mirror that boys up. A screwed up shrunk very old man: with a monkeys light eyes, paralysed spasmodic movements, inarticulate: but alert.

You know. You can see it.

It doesn’t hide itself from you anymore. It wants you to see it. For now.

As a child then, my days, just as they do now, contained a large proportion of this cotton-wool, this non-being.

Where should we put the mirror? I am hardly aware of myself, but only of the sensation. Where does the mirror belong? A great part of the day is not lived consciously.

Who belongs to the mirror? Who belongs in the mirror?

I could feel ecstasies and raptures spontaneously and intensely and without any shame or the least sense of guilt, so long as they were disconnected with my own body.

Do you find my appearance pleasing? Do I please you? I remember resenting, disliking it—what is the word for so dumb and mixed a feeling?

You can do whatever you want to me. I’m not even here.

Just as I raised my fist to hit him I felt: why hurt another person? I dropped my hand instantly, and stood there, and let him beat me.

I can’t feel you anymore. I don’t care.

I remember the feeling. It was a feeling of hopeless sadness. It was as if I became aware of something terrible; and of my own powerlessness.

I don’t have to see it if I don’t want to. I don’t have to do anything.

I dreamt that I was looking in a glass when a horrible face—the face of an animal—suddenly showed over my shoulder.

Generation before the poison will be worked out. It isn’t even my face.

Bleed the mirror. Pull out all its petals.

 

AIMEE WALLESTON is a New York City-based essayist and editor who has contributed writing to Art in America, CR Fashion Book, T Magazine, Flash Art and The Brooklyn Rail, among many other publications. She teaches at Sotheby’s Institute of Art and the International Center of Photography.

 

 


TOWER

THE BLUE BUTTERFLY I FREQUENTLY SEND
by Rijard Bergeron

By scenery the room grew
larger than I expected.
This morning's body

disintegrating
in what I thought was a wing
but ended up being an accumulation.

Plumes of smoke
too many cups of coffee
and a terrifying attempt

to bring myself to terms
with a variety of my own thoughts.
How the day

eventually comes
into view and I failing, to hold
throes of passion and despair

in sight long enough
for things to change shape
and how it's not just words

I'm at war with.
The chilling visions of a few
unfortunate men

for as long as I can remember
have kept my sex forced
into an impasse high

with blinding sun
and framed
by the guise of a wall.

Most of my love rests
in faces outside
where I only feel able

in glimpses or short bursts
of animated emotion
to come out

and protrude. I from the scene
of potentials and structures
glint in coagulation.

           3.8.17

 

Rijard Bergeron is a poet. His work has been published in The Poetry Project Newsletter, This Image Journal, and elsewhere. Rijard also makes collage and has most recently published two pieces in collaboration with Sara Jane Stoner, for her book Experience in the Medium of Destruction (Portable Press @ Yo Yo Labs). He is very grateful for his friends and his friends who have been mentors. He invites you to email him at rijardbergeron@gmail.com or view the photographs he posts on his Instagram @rijardbergeron. He lives in Brooklyn.


Here are our past collections of poetry from the Portal and Ekphrazein events.

Subscribe to RSS - Poetry Portal: Ekphrastic Writings in Response to the Image Archive