Showing posts with label art. Show all posts
Showing posts with label art. Show all posts

Thursday, April 17, 2025

NaPoWriMo 2025 (April 17th): We Kept Our Secrets in a Soup Made of Stars

From NaPoWriMo 2025 (Day Seventeen)Welcome back, everyone, for the seventeenth day of Na/GloPoWriMo.

Today’s featured participant is Words with Ruth, where the soundtrack-inspired poem for Day Sixteen uses repetition, along with simple and conversational language, to convincingly recreate a moment in space and time.

Our resource today is Oxford’s Ashmolean Museum, where you can find a smug ceramic pelican, a samurai’s ceremonial suit of armor, and a photograph of the French impressionist painter Camille Pissarro dressed as a Venezuelan herdsman.

And now for our daily optional prompt. The surrealist painters Remedios Varo and Leonora Carrington moved to Mexico during the height of World War II, where they began a life-long friendship. Today, we’d like to challenge you to write a poem themed around friendship, with imagery or other ideas taken from a painting by Carrington, and a painting by Varo.

Happy writing!

NOTE: Things are a bit much right now, and I wish they weren’t. I wish I had it in me to write something fresh for this prompt. Because I love it. But I’m running on fumes. So instead, I’m offering up a poem that’s been quietly marinating in my compost pile of drafts. 

I know this is far too long, and I apologize for crowding the comments like a spilled drawer. But once I started recycling this old piece, I couldn’t stop. It felt like someone kicked open the floodgates and suddenly, emotions I didn’t even know I was holding came out like projectile boke.  

It’s not polished. It’s not blog-ready. But I didn’t want to give up today. Didn’t want to break my streak. 

We Kept Our Secrets in a Soup Made of Stars
for Leonora and Remedios

In the greenhouse of her memory, I found a fox sleeping in a teacup.
Its tail curled like a question mark no one had the courage to ask.
The glass panes were fogged with forgotten songs,
and vines grew from the cracks in her voice,
whispering spells in languages only we remembered.

We kept our secrets in a soup made of stars —
simmered in silence, stirred with the long-handled spoon
of nights when the war outside forgot our names.
Each constellation melted on our tongues like sugar.
We laughed like women who knew the moon by her first name.
We wept like alchemists who'd lost the recipe for joy.
But we never burned the soup.

She wore her past like a fox fur
and I never asked where it bit.
There are wounds you don’t name in daylight.
There are truths that grow wings in the dark.
I braided her hair with threads of eclipse,
while she stitched doorways in my spine —
just in case we ever needed to leave this world quietly.

Even now, when I pass a greenhouse,
I listen for the soft breath of teacup foxes,
and the rustle of stars boiling in old pots.

She Came Back Wearing the Wind

a sequel to “We Kept Our Secrets in a Soup Made of Stars”

The fox has left the teacup.
The greenhouse collapsed under the weight of forgetting.
Vines grew teeth.
Sunlight turned its back.
I looked for her in the wallpaper —
found only teeth and hydrangeas.
She always said flowers knew more than they let on.

At first, I thought grief was just a mispronunciation of time.
But then the clocks refused to tick.
And the soup spoiled.

I kept trying
Instructions for Breathing Under Water —
but forgot the part where lungs
become gills through memory alone.
If the stars taste like ash, drink anyway.
Memory ferments.
It burns going down, but it teaches.

Once, I built a bridge of clock parts and cats
just to cross into her dream.
You wore a hat made of postcards, I said.
You shrugged, handed me a compass that pointed to your laugh.
I brought soup in a thermos of thunder.
You sipped it,
said it needed more lightning.

Years passed like stubborn ghosts.
I stitched days together with threads of old laughter,
hid love letters in jars of honey,
waited.

And then one night —
she came back wearing the wind.
She knocked at the door like rain with purpose.
Her eyes were full of unspoken weather.

We didn’t speak.
We didn’t need to.
The air hummed with unfinished lullabies.
She handed me a single fox whisker and a spoon carved from moonbone.
I offered her hydrangeas.

In the kitchen, the kettle screamed like old joy.
We sat, back to back,
and wrote our next secrets
on the steam rising from the soup.

The Fox Was Never There
the truth tastes like rust and rosemary

The soup was cold in the bowl
long before I noticed.
The chair across from me —
empty, as it had always been.
The spoon never stirred itself.
The wind didn’t carry her in.
It just howled.

She came back wearing the wind?
No.
I wore the storm.
I carved her silhouette out of steam and sorrow,
painted her voice onto the kettle’s scream,
stitched her smile from the fog on the windows.
I built her
the way a child builds gods:
out of need.

The fox was never in the teacup.
Just a crack in the porcelain,
shaped almost like a tail.

I looked again at the wallpaper —
no hydrangeas.
Only mildew, peeling like skin.
And the teeth?
Mine.

The bridge of clock parts and cats?
It led nowhere.
Just a table leg missing a screw.
Just a postcard hat I folded myself
from the ones she never sent.

I read our old instructions
by candlelight, hoping the wax would remember:
Breathe slowly. Don’t resist the flood.
BIf your heart turns to stone, write on it.
But the ink blurred.
Even memory ferments into something sour.

I’ve been writing her back into existence for years.
Feeding her poems.
Bathing her in metaphor.
Singing lullabies to ghosts
in case she’s listening.

But tonight, I’ll say it:

She’s gone.

Not lost.
Not wandering.
Not whispering from the other room.

Gone.

And I am still here,
in this crumbling greenhouse,
boiling stars that will never speak her name.

The Other Side of the Teacup
or, Where I Went When the World Forgot Me

You kept calling me like thunder calls the sea.
But I was already past the shoreline.
I walked backwards into the mirror
and found a world that didn’t ache
with your name.

No —
I didn’t leave.
I unraveled.
One thread at a time.
Quiet as a fox on the run.

The day I disappeared,
I followed a crack in the floorboards
and it whispered a better story.
One without teeth in the wallpaper.
One without soup made of sorrow stars.

There, I became weather.
I was rain in someone else’s garden.
I was the hum in a cactus spine.
I was not missing —
I was everywhere you didn’t look.

Yes, I saw you.
Writing me back with fevered fingers.
Feeding poems to a ghost
in hopes she’d stay hungry.
But I was already full —
of silence,
of salt,
of the relief of vanishing.

I wore my past like fox fur too.
But I always knew where it bit.
You just didn’t want to ask.
You didn’t want my truth —
you wanted the version that cried in metaphor
and came home like thunder softened.

You wanted me cracked and mythical.
You wanted me loyal to your dream of me.

But I am not your revenant.

I am not your resurrection spell.
I am not soup,
or secret,
or something you get to finish.

I am still walking backwards into mirrors,
wearing wind like a crown,
tasting freedom like starlight
that no longer burns.

Let me go, love.
The fox left the teacup
because the teacup was always yours.

The Fox Refuses to Choose Sides
an oracle's lament in fur and bone

I never promised loyalty.
I was warm,
yes.
Curled.
Silent.
But silence isn’t agreement — it’s survival.

You both thought I was yours.
Your metaphor.
Your memory.
Your proof.

She called me myth.
You called me metaphor.
I am neither.
I am teeth and fur and instinct.

I left the teacup because
you made it a reliquary.
You kept feeding it with your sadness,
expecting resurrection.
Expecting me to stay curled like history.

But I am no shrine-keeper.
I am the thing that leaves.

I watched you both
sew each other into stories
so tightly,
you couldn’t breathe without the other’s ghost.

She walked into mirrors.
You built her a cathedral of clocks.
Both beautiful.
Both unlivable.

You want to know the truth?

There was love.
Not the kind you write poems about —
the kind that bruises when held too long.
The kind that doesn’t survive translation.

Now you look for meaning
in hydrangeas and wallpaper teeth,
while she becomes weather
on someone else's skin.

Let her go.
Let yourself go.

I am the fox.
I return only to ruins
to remind you:

Some things end.
Some stories are only beautiful

Sunday, April 13, 2025

NaPoWriMo 2025 (April 13th): We are the eggshells he loves walking all over

From NaPoWriMo 2025 (Day Thirtheen): Happy Sunday, all – I hope you have an enjoyable thirteenth day of Na/GloPoWriMo.

Our featured participant today is Chronicles of Miss Miseria, where the response to Day Twelve’s symphonic, Stevens-inspired prompt fires on all cylinders.

Our daily resource is the online collection of the Museu de Arte de São Paulo, founded in 1947 by Brazilian businessman Assis Chateaubriand. Here, you’ll find everything from old masters to mysterious photographs.

Finally, here’s our prompt for the day (optional, as always). Donald Justice’s poem, “There is a gold light in certain old paintings,” plays with both art and music, and uses an interesting and (as far as I know) self-invented form. His six-line stanzas use lines of twelve syllables, and while they don’t use rhyme, they repeat end words. Specifically, the second and fourth line of each stanza repeat an end-word or syllable; he fifth and sixth lines also repeat their end-word or syllable. Today, we challenge you to write a poem that uses Justice’s invented form.

Happy writing!

-

A note before I start: WOW. I got featured! I had so much fun writing it yesterday, and when I saw today's post, I realized I had been featured. I feel like I’ve achieved Nirvana, haha! This is actually a life-defining moment for me. I never even imagined getting featured, and yet here I am, receiving such beautiful comments from other participants. This keeps me going—not just in writing, but in life as well. Thank you, everyone!

Last night was particularly tough. After wrapping up a very exhausting work week, I sat down to write a diary entry for the blog but couldn't finish it. Then, this morning, a pleasant surprise awaited me, which made things a bit better. So, I decided to take the bits and pieces of the entry I had written last night and turn them into poetry by fitting them into Justice’s self-invented form. Does it have a name? Is it called the Loop? Or the Tandem?

Anyway, I was a bit jittery today, mood-wise, so I used this syllable counter because I kept losing track. It took me the entire day to shape that entry into a poem. Now, as midnight approaches, and with it, the burden of a new work week, I’m just posting whatever I could conjure up.

-

We are the eggshells he loves walking all over

We are the eggshells he loves walking all over,
Not with fear, but thrill, like it's all part of the game.
He steps in silence but leaves thunder in the hall,
He does it softly—still, it’s all part of the game.
We try to warn each other when he’s shifting moods,
Again, we brace, pretend it’s wind that rattles moods.

I learnt to read the air before I learnt to read.
His belt hung quiet, and the silence said obey.
I bit my tongue so hard I almost named it, mine.
The air grew thicker, and the silence said obey.
I watched Mom fold, then fold again, then look away—
When he begins to speak, where I go is away.

Mother folds her rage into napkins, perfectly,
While he notes on dinner like we’re hosting a play.
We learn to smile through clenched forks and paper roses,
We keep the table set, like we’re hosting a play.
We nod, and no one mentions how we never breathe,
You might crack beneath his gaze, if too deep you breathe.

He speaks and we all break in the silence we’ve kept,
Not a voice by us, just a specter of his name.
The house trembles as if it too cannot forget,
Not a word for us, but a shadow of his name.
The weight of this love presses down, and we try to hold,
Except we fold, while waiting for the weight to hold.

- Oizys.

Another note after we are done: From today's resource, I got to know about this artist, Maria Auxiliadora da Silva, and I found this painting of hers called Três mulheres (Three Women) and I was immediately interested by its raw intimacy. there’s something deeply emphatic about the way she portrays the women, almost as if their stories are being told in silence, through texture and color. It felt uncannily aligned with the emotion with which I was writing today. These three women, in the painting, rooted, expressive, enduring. It kept me reminded of the mother and daughters in my poem. There’s pain there, yes, but also a strange kind of dignity, a defiance that doesn’t shout but holds. I’ve been feeling scattered and cracked lately, like I’m trying to carry too much in too many directions. But looking at her painting kept me going while I wrote today's poem, and then rereading what I’d written, I felt seen. Maybe even held.

It’s strange how art finds you exactly when you need it. That's why, I love this year's NaPoWriMo theme. Her painting and Justice’s form, gave me tone and structure: together they formed a sound medium to hold the fragments. Not fixing everything, but making something from the brokenness. Just a poem, or a breath, or a painting of three women, holding their ground.

Friday, April 4, 2025

NaPoWriMo 2025 (April 4th): Under the Gaze of Blue // The Portrait Above the Sink

From NaPoWriMo 2025 (Day Four)Hello, all, and welcome back for the first Friday of Na/GloPoWriMo 2025.

Our featured participant today is Marilyn Letts, whose response to Day Three’s “why I am not a . . . ” prompt is full of wordplay, and wonderfully lyrical.

Today’s daily resource is the online exhibitions page of the International Folk Art Museum. I have a particular predilection for folk art, in which the strange and boisterous so often finds itself going hand-in-hand with practical objects of daily use. But the museum also showcases work of other sorts, like 100 Aspects of the Moon, a series of woodblock prints completed by the Japanese artist Taiso Yoshitoshi shortly before his death in 1892.

Last but not least, here’s today’s (optional) prompt. In her poem, “Living with a Painting,” Denise Levertov describes just that. And well, that’s a pretty universal experience, isn’t it? It’s the rare human structure – be it a bedroom, kitchen, dentist’s office, or classroom – that doesn’t have art on its walls, even if it’s only the photos on a calendar. Today, we’d like to challenge you to write your own poem about living with a piece of art.

[I wrote two poems.]

# Under the Gaze of Blue

Each morning,
I wake to the silent gaze
of the woman in the painting,
her eyes a deep, unfathomable blue,
like the sky just before dusk.

She does not speak,
yet her stillness fills the room,
whispers of untold stories
hanging in the quiet air.

I wonder what she knows—
does she ever tire of the frame that confines her?
Does she long for the brushstrokes of time,
the movement of a world beyond her borders?
Perhaps she is content,
anchored in this corner,
offering her gaze as a quiet companion
to the noise of my morning.

The light shifts,
and she changes with it—
now warm, now cool,
her face caught between shadows
and the stretch of the day.

I leave her each time I step out,
but when I return, she is always there,
waiting,
as if nothing has changed
except the passing of light,
the turning of hours,
and my own quiet passage through her world.

The Portrait Above the Sink

It’s a woman in a bonnet,
her eyes too soft to see the dishes,
but they do, somehow—
like ghosts in the mist of morning steam.
I don’t know who she is.
Maybe she’s the ghost
of all the lost mothers whose hands
never stopped scrubbing.
Maybe she’s the wind,
a hurricane that swept through her hair,
wild and uncut.
Maybe she’s me, in ten years,
looking at the faucet,
wondering how the water got so brown.

I live with her now,
her face a quiet hum behind my shoulder
while I dig for last night's spoon.
We’ve both seen the same kitchen
too many times—
her, locked in paint,
me, dragging my body
through the same repetitive motions
of pouring cereal,
scraping the pan,
scrubbing the counters
as though nothing changes,
but her eyes—
they always remind me
that something else might.

- Oizys.