Laboratori Di Medicina Narrativa: sabato 8 Maggio dalle 16 alle 17.30

Siamo stati molto lieti di avervi qui con noi!

Abbiamo analizzato insieme il quadro Paris par la fenรชtre di Marc Chagall (1913), seguito dalla poesia Non basta aprire la finestra di Fernando Pessoa (entrambi allegati al termine di questa pagina).ย 

In seguito, abbiamo usato il prompt โ€œDalla mia finestra. . .โ€.

Condivideremo ulteriori dettagli della sessione nei prossimi giorni; vi invitiamo a rivisitare questa pagina in modo da continuare la nostra conversazione qui!

Invitiamo i partecipanti del laboratorio a condividere i propri scritti nella parte โ€œblogโ€ dedicata alla fine della presente pagina (โ€œLeave a Replyโ€). Speriamo di creare, attraverso questo forum di condivisione, uno spazio in cui continuare la nostra conversazione! Stiamo raccogliendo impressioni e breve feedback sui nostri laboratori di medicina narrativa su Zoom!

Questo breve questionario (anonimo, e aperto a chiunque abbia frequentato almeno un laboratorio) รจ molto importante per noi, e ci permetterร  di elaborare sul valore dei nostri laboratori e sul ruolo dello spazio per riflettere e metabolizzare il momento presente. Vi preghiamo quindi di condividere le nostre riflessioni con noi!


Paris par la fenรชtre di Marc Chagall (1913)
Non basta aprire la finestra di Fernando Pessoa

Non basta aprire la finestra
per vedere la campagna e il fiume.
Non basta non essere ciechi
per vedere gli alberi e i fiori.
Bisogna anche non aver nessuna filosofia.
Con la filosofia non vi sono alberi:
vi sono solo idee.
Vi รจ soltanto ognuno di noi,
simile ad una spelonca.
Cโ€™รจ solo una finestra chiusa
e tutto il mondo fuori;
e un sogno di ciรฒ che potrebbe esser visto
se la finestra si aprisse,
che mai รจ quello che si vede
quando la finestra si apre.

Live Virtual Group Session: 12pm EDT May 7th 2021

Thank you to everyone who joined for this session!

Our text for this session was the poemย โ€œIn Search of an Umbrella in NYCโ€ byย Juan Felipe Herrera, posted below.

Our prompt for this session was to begin your writing with the phrase โ€œIn search of…โ€

More details on this session will be posted, so check back!

Participants are warmly encouraged to share what you wrote below (โ€œLeave a Replyโ€), to keep the conversation going here, bearing in mind that the blog of course is a public space where confidentiality is not assured.

Also, we would love to learn more about your experience of these sessions, so if youโ€™re able, please take the time to fill out a follow-up survey of one to two quick questions!

Please join us for our next sessionย Monday May 10th at 6pm EDT,ย with more times listed on ourย Live Virtual Group Sessionsย page.


In Search of an Umbrella in NYCโ€ byย Juan Felipe Herrera

You were having a stroke - i
did not grasp what was going on you
standing almost half ways up half
ways down the colors what were they
i was frozen both us us staring
woman with parasol behind me
are you drunk she said facing
you and the deli behind you      you
leaned shivered dropped your coat
parasol
white
reddish flowers
brain    sweat eyes your eyes moving
seeing me behind me what
black man brown man no man   no
colors you
pushed something away  i was
in a rush  en route to big time
poetry Biz  duded up ironed shirt
the rain was in my way i was not
breathing    you were losing   yourself i
was gaining something   you
stumbled out of your coat  unrolled
a strangerโ€™s language from your lips
pushed your      feet down to
the depths  of the tiny sidewalk even
though it was infinite  burning
ahead of me  to
the food truck at the corner yellow chips
corn violet green sugar drops
fiery torn packs flaring down   and
across the street under the cement i
was moving silent alone a crooked line
going nowhere a woman
touched your hand you were lying
on the dirty shoe ground swimming
up to her i      wanted you
            i was a man
running for cover from the waters
i could not                    lift your suffering
it was too late              the current pulled
i was floating away  (i noticed it)
              you
were rising


Live Virtual Group Session: 6pm EDT May 3rd 2021

Eighteen people from Canada, CA, Lithuania, ME, NJ, NY, PAย  (and via the poem: Nebraska) joined on Zoom to close read the poemย โ€œShaking the Grassโ€ byย Janice N. Harrington, posted below. Participants were quick to notice the alliteration, metaphors, repetition, and visual imagery as well as the duality, the tension and tones of rest and regret, loss and regeneration, a humble voice questioning oneโ€™s own vanity. Was the narrator looking back and considering whether they had left some mark on the world?

Intertextual references included: Ecclesiastes, Ezra Poundโ€™s โ€œAnd the Days Are Not Full Enoughโ€ and two paintings: Andrew Wyethโ€™s Christinaโ€™s World and Charles Allan Gilbert All is Vanity. There was curiosity in the poem and in us. We wondered: who is โ€œmy Belovedโ€ and what or who is disappearing along with โ€œthe hollow my body made.โ€ We were reminded of the impermanence of memory and, in the heartland of America, the disappearance ofย  the prairies and grasslands.ย ย ย 

After our discussion, participants had the option to respond to one of two prompts, either โ€œWrite about something that came back to you.โ€ OR “Write about lying in the grass.”

One response had us laying in blades of grass with โ€œwarm wind,โ€ vibrant colors of โ€œgreenโ€ and โ€œazureโ€ sky, with birds โ€œzigging and dartingโ€ overhead, the narrator conveying a longing for time to stand still in that moment. Another piece gave voice to Odysseus, remembering and then returning home after war, his journey stretched into a decade of wandering on top of the metaphor of โ€œlosing my keys.โ€ One piece, like the poem, located us geographically in memory near Grenoble, France, lying in a field cradled between two mountains where the writer was reminded that โ€œbeauty is beyond words.โ€ Another writer started their piece with the โ€œsweet, sweet, sweetโ€ of birdsong, as the narrator, while walking, comes upon a โ€œnascent fawn,โ€ itself lying in the grass โ€œthat shook ever so slightly,โ€ in echo of the poem while offering an unexpected perspective on โ€œlying in the grass.โ€ In looking at these responses the group noted how they all embodied themes and elements of the poem, including time, geography, impermanence, with wonderfully vivid detail, and still took us in many different and surprising, yet contemplative, directions.ย 

Participants are warmly encouraged to share what you wrote below (โ€œLeave a Replyโ€), to keep the conversation going here, bearing in mind that the blog of course is a public space where confidentiality is not assured.

Also, we would love to learn more about your experience of these sessions, so if youโ€™re able, please take the time to fill out a follow-up survey of one to two quick questions!

Please join us for our next session Friday May 7th at 12pm EDT, with more times listed on our Live Virtual Group Sessions page.


Shaking the Grass
 by Janice N. Harrington


Evening, and all my ghosts come back to me
like red banty hens to catalpa limbs
and chicken-wired hutches, clucking, clucking,
and falling, at last, into their head-under-wing sleep.

I think about the field of grass I lay in once,
between Omaha and Lincoln.  It was summer, I think.
The air smelled green, and wands of windy green, a-sway,
a-sway, swayed over me.  I lay on green sod
like a prairie snake letting the sun warm me.

What does a girl think about alone
in a field of grass, beneath a sky as bright
as an Easter dress, beneath a green wind?

Maybe I have not shaken the grass.
All is vanity.

Maybe I never rose from that green field.
All is vanity.

Maybe I did no more than swallow deep, deep breaths
and spill them out into story:  all is vanity.

Maybe I listened to the wind sighing and shivered,
spinning, awhirl amidst the bluestem
and green lashes:  O my beloved!  O my beloved!

I lay in a field of grass once, and then went on.
Even the hollow my body made is gone.



From Even the Hollow My Body Made Is Gone by Janice N Harrington. 
Copyright ยฉ 2007 by Janice N. Harrington.

Live Virtual Group Session: 12pm EDT April 30th 2021

Participants from NJ, NY, TX, KY, PA, ME, MI, and Turkey joined our session to discuss the poemย โ€œChilly in our Gownsโ€ byย Maryfrances Wagner, posted below.

Discussion of the text immediately went to the contrast between the first lines and the latter portion of the poem, which evoked not just an intimacy that is then mourned, but also seems to evoke a nostalgia for the past, for time, with the comparing of tomato yields and even the retro-Americana quality to the meal of a burger and a malt.

Time was also noted as weighted in the phrase โ€œno longer,โ€ which not only articulated change and temporality, but a possible shift in identity from doctor and ferryman to โ€œsinkingโ€ as something else under the overwhelm of scheduling. Of course mortality was noted as present in the allusion of the ferryman as well, and one participant noticed the coldness of the language, beyond just the chill from the gowns, where the narrator โ€œscuttlesโ€ from the room in an alien fashion, and the โ€œlaying on of handsโ€ is replaced by others โ€œdoing his touching.โ€ Mirroring the physical distance, the doctor is also distracted, mysteriously, by a quick โ€œbrownโ€ study that pulls his attention to the window in this new environment.

And yet, another participant noted that the tone of the narrator seems to be sympathetic to the doctor, attempting to see from his viewpoint of โ€œsinkingโ€ and being โ€œbehind,โ€ even if it does leave the narrator to navigate the โ€œmurky waters of fearโ€ more alone. Many participants noted that this points to the systemic issues in medicine, not just with overburdened doctors, but with teams of care fractured from each other and the patient for the sake of efficiency and profit: the โ€œnurse takes my blood pressureโ€ and โ€œthe technicians do his touchingโ€ and the โ€œreceptionist assures me the nurse will call.โ€ These observations illuminated not just what was powerful in the poem, but what is powerful about using poetry, literature, or art as a lens to inspect the complexity of healthcare experiences.

In the shadow of todayโ€™s text, we invited everyone to respond to the prompt: “Write about a laying on of hands.” They brought us to a familiar, uneasy place: โ€œI sit in fear, fear of the unknowns…How am I going to continue through this tunnel of uncertainty?โ€ย 

One writer/readerโ€™s use of alliterative repetition (โ€œpoke, press, prodโ€) caught our attention as relatable patients who โ€œfeel dullโ€ and may be โ€œleft alone to clean up the mess.โ€ We noticed how a lack of eye contact left the author unable to read the doctorโ€™s thoughts. Certainly there was looking happening, but was there seeing? Knowing? 

This theme of being-without-connecting carried through to the third writer who explored the dichotomy between that which is comforting yet pushing boundaries. We appreciated how each writerโ€™s exploration of the tension between agency and attention redefined for us what โ€œtouchโ€ means as the laying on of hands could be both active and passive.

Participants are warmly encouraged to share what you wrote below (โ€œLeave a Replyโ€), to keep the conversation going here, bearing in mind that the blog of course is a public space where confidentiality is not assured.

Also, we would love to learn more about your experience of these sessions, so if youโ€™re able, please take the time to fill out a follow-up survey of one to two quick questions!

Please join us for our next session Monday May 3rd at 6pm EDT, with more times listed on our Live Virtual Group Sessions page.


Chilly in our Gowns

My doctor used to clip articles from our town paper.
My fencing victory and engagement photo grinned
when he opened my chart. We compared tomato
yields, recommended books. He listened
to  my lungs, my heart, examined my throat,
but always the laying on of hands, the patted
shoulder before a shot, the outstretched
arm rescuing me from the hypoglycemic faint
to offer a hamburger and a malt. I could name
states heโ€™d toured with his daughters, night classes
he took on the Middle East. Now,
his nurse takes my blood pressure and asks
if I think  it will rain. She writes symptoms
on my chart. My doctor no longer sits,
one arm resting on his knee, to ask
if Iโ€™m still taking calcium, drinking water.
He looks out the window, a  quick brown study
he doesnโ€™t share. He is behind, his waiting room
sinking under sore throats, a broken toe,
a stitchable biking accident. He writes
prescriptions, orders tests, has technicians
do his touching. He rushes off to others,
waiting chilly in their gowns. I scuttle out one door 
as he closes another, his muffled voice
an instant replay. The receptionist assures me
the nurse will call, my doctor  no longer
my ferryman across fearโ€™s murky water.


Maryfrances Wagner
From Red Silk
The Mid-America Press 1999
https://www.pw.org/directory/writers/maryfrances_wagner

Live Virtual Group Session: 12pm EDT April 28th 2021

Thank you to everyone who joined for this session!

Our text for this session was the poem If I Should Come Upon Your House Lonely in the West Texas Desert” by Natalie Diaz, posted below.

Our prompt for this session was to begin your writing with the phrase โ€œyou will remind meโ€ฆโ€

More details on this session will be posted, so check back!

Participants are warmly encouraged to share what you wrote below (โ€œLeave a Replyโ€), to keep the conversation going here, bearing in mind that the blog of course is a public space where confidentiality is not assured.

Also, we would love to learn more about your experience of these sessions, so if youโ€™re able, please take the time to fill out a follow-up survey of one to two quick questions!

Please join us for our next sessionย Friday April 30th at 12pm EDT,ย with more times listed on ourย Live Virtual Group Sessionsย page.


If I Should Come Upon Your House Lonely in the West Texas Desert
By Natalie Diaz

I will swing my lasso of headlights
across your front porch,

let it drop like a rope of knotted light
at your feet.

While I put the car in park,
you will tie and tighten the loop

of light around your waist โ€”
and I will be there with the other end

wrapped three times
around my hips horned with loneliness.

Reel me in across the glow-throbbing sea
of greenthread, bluestem prickly poppy,

the white inflorescence of yucca bells,
up the dust-lit stairs into your arms.

If you say to me, This is not your new house
but I am your new home,

I will enter the door of your throat,
hang my last lariat in the hallway,

build my altar of best books on your bedside table,
turn the lamp on and off, on and off, on and off.

I will lie down in you.
Eat my meals at the red table of your heart.

Each steaming bowl will be, Just right.
I will eat it all up,

break all your chairs to pieces.
If I try running off into the deep-purpling scrub brush,

you will remind me,
There is nowhere to go if you are already here,

and pat your hand on your lap lighted
by the topazion lux of the moon through the window,

say, Here, Love, sit here โ€” when I do,
I will say, And here I still am.

Until then, Where are you? What is your address?
I am hurting. I am riding the night

on a full tank of gas and my headlights
are reaching out for something.

Live Virtual Group Session: 6pm EDT April 26th 2021

Thank you to everyone who joined for this session!

For this session we viewed the painting โ€œThe Song of the Larkโ€ by Jules Adolphe Breton, posted below.

Our prompt for this session was: Write about a moment when you stopped to listen.

More details on this session will be posted, so check back!

Participants are warmly encouraged to share what you wrote below (โ€œLeave a Replyโ€), to keep the conversation going here, bearing in mind that the blog of course is a public space where confidentiality is not assured.

Also, we would love to learn more about your experience of these sessions, so if youโ€™re able, please take the time to fill out a follow-up survey of one to two quick questions!

Please join us for our next sessionย Wednesday April 28th at 12pm EDT,ย with more times listed on ourย Live Virtual Group Sessionsย page.


The Song of the Lark

Date:
1884

Artist:
Jules Adolphe Breton
French, 1827-1906


ฮ–ฯ‰ฮฝฯ„ฮฑฮฝฮฎ ฯƒฯ…ฮฝฮตฮดฯฮฏฮฑ ฮฑฯ†ฮทฮณฮทฮผฮฑฯ„ฮนฮบฮฎฯ‚ ฮนฮฑฯ„ฯฮนฮบฮฎฯ‚: ฮšฯ…ฯฮนฮฑฮบฮฎ, 25 ฮ‘ฯ€ฯฮนฮปฮฏฮฟฯ…, 8:30 pm EEST

ฮฃฮฑฯ‚ ฮตฯ…ฯ‡ฮฑฯฮนฯƒฯ„ฮฟฯฮผฮต ฯ€ฮฟฯ… ฯƒฯ…ฮผฮผฮตฯ„ฮตฮฏฯ‡ฮฑฯ„ฮต ฯƒฮต ฮฑฯ…ฯ„ฮฎฮฝ ฯ„ฮท ฯƒฯ…ฮฝฮตฮดฯฮฏฮฑ.

ฮšฮตฮฏฮผฮตฮฝฮฟ: ฮฑฯ€ฯŒฯƒฯ€ฮฑฯƒฮผฮฑ ฮฑฯ€ฯŒ ฯ„ฮฟ ฮตฮนฮบฮฟฮฝฮฟฮณฯฮฑฯ†ฮทฮผฮญฮฝฮฟ ฮผฯ…ฮธฮนฯƒฯ„ฯŒฯฮทฮผฮฑ ฮคฮฟ ฮ ฯ„ฯŽฮผฮฑ ฯ„ฯ‰ฮฝ ฮคฮฌฯƒฮฟฯ… ฮ–ฮฑฯ†ฮตฮนฯฮนฮฌฮดฮท (ฮนฯƒฯ„ฮฟฯฮฏฮฑ), ฮ“ฮนฮฌฮฝฮฝฮท ฮ ฮฑฮปฮฑฮฒฮฟฯ (ฮนฯƒฯ„ฮฟฯฮฏฮฑ) ฮบฮฑฮน ฮ˜ฮฑฮฝฮฌฯƒฮท ฮ ฮญฯ„ฯฮฟฯ… (ฯƒฯ‡ฮญฮดฮนฮฟ) (2011)

ฮ˜ฮญฮผฮฑ: ยซฮœฯŒฮฝฮฟ ฮญฮฝฮฑ ฯ„ฮทฮปฮญฯ†ฯ‰ฮฝฮฟโ€”ฮผฮฑฮบฯฮนฮฌยป

ฮฃฯฮฝฯ„ฮฟฮผฮฑ ฮธฮฑ ฮผฮฟฮนฯฮฑฯƒฯ„ฮฟฯฮผฮต ฯ€ฮตฯฮนฯƒฯƒฯŒฯ„ฮตฯฮตฯ‚ ฯ€ฮปฮทฯฮฟฯ†ฮฟฯฮฏฮตฯ‚ ฯƒฯ‡ฮตฯ„ฮนฮบฮฌ ฮผฮต ฮฑฯ…ฯ„ฮฎฮฝ ฯ„ฮท ฯƒฯ…ฮฝฮตฮดฯฮฏฮฑ, ฮณฮน โ€˜ฮฑฯ…ฯ„ฯŒ ฮตฯ€ฮนฯƒฯ„ฯฮญฯˆฯ„ฮต ฮพฮฑฮฝฮฌ.

ฮฃฮฑฯ‚ ฯ€ฯฮฟฯƒฮบฮฑฮปฮฟฯฮผฮต ฮฝฮฑ ฮผฮฟฮนฯฮฑฯƒฯ„ฮตฮฏฯ„ฮต ฯ„ฮฑ ฮณฯฮฑฯ€ฯ„ฮฌ ฯƒฮฑฯ‚ ฮผฮฑฮถฮฏ ฮผฮฑฯ‚ ฯ€ฮฑฯฮฑฮบฮฌฯ„ฯ‰.

ฮšฮฑฮปฮฟฯฮผฮต ฯŒฮปฮตฯ‚ ฮบฮฑฮน ฯŒฮปฮฟฯ…ฯ‚ ฯ€ฮฟฯ… ฯƒฯ…ฮผฮผฮตฯ„ฮตฮฏฯ‡ฮฑฯ„ฮต ฮฝฮฑ ฮผฮฟฮนฯฮฑฯƒฯ„ฮตฮฏฯ„ฮต ฯŒฯƒฮฑ ฮณฯฮฌฯˆฮฑฯ„ฮต ฮบฮฑฯ„ฮฌ ฯ„ฮท ฮดฮนฮฌฯฮบฮตฮนฮฑ ฯ„ฮทฯ‚ ฯƒฯ…ฮฝฮตฮดฯฮฏฮฑฯ‚ ฮผฮฑฯ‚ ฯ€ฮฑฯฮฑฮบฮฌฯ„ฯ‰ (โ€œLeave a replyโ€) ฮบฮฑฮน ฮฝฮฑ ฮบฯฮฑฯ„ฮฎฯƒฮฟฯ…ฮผฮต ฮฑฯ…ฯ„ฮฎ ฯ„ฮทฮฝ ฯ„ฯŒฯƒฮฟ ฮตฮฝฮดฮนฮฑฯ†ฮญฯฮฟฯ…ฯƒฮฑ ฯƒฯ…ฮถฮฎฯ„ฮทฯƒฮฎ ฮผฮฑฯ‚ ฮถฯ‰ฮฝฯ„ฮฑฮฝฮฎ, ฯ…ฯ€ฮตฮฝฮธฯ…ฮผฮฏฮถฮฟฮฝฯ„ฮฌฯ‚ ฯƒฮฑฯ‚, ฮฒฮตฮฒฮฑฮฏฯ‰ฯ‚, ฯŒฯ„ฮน ฮฑฯ…ฯ„ฮฎ ฮตฮฏฮฝฮฑฮน ฮผฮนฮฑ ฮดฮทฮผฯŒฯƒฮนฮฑ ฯ€ฮปฮฑฯ„ฯ†ฯŒฯฮผฮฑ ฮบฮฑฮน ฮท ฯ€ฯฯŒฯƒฮฒฮฑฯƒฮท ฮฑฮฝฮฟฮนฯ‡ฯ„ฮฎ ฯƒฯ„ฮฟ ฮบฮฟฮนฮฝฯŒ.

ฮ˜ฮฑ ฮธฮญฮปฮฑฮผฮต ฮฝฮฑ ฮผฮฌฮธฮฟฯ…ฮผฮต ฯ€ฮตฯฮนฯƒฯƒฯŒฯ„ฮตฯฮฑ  ฮณฮนฮฑ ฯ„ฮทฮฝ ฮตฮผฯ€ฮตฮนฯฮฏฮฑ ฯƒฮฑฯ‚ ฮผฮต ฮฑฯ…ฯ„ฮญฯ‚ ฯ„ฮนฯ‚ ฯƒฯ…ฮฝฮตฮดฯฮฏฮตฯ‚. ฮ‘ฮฝ ฯ„ฮฟ ฮตฯ€ฮนฮธฯ…ฮผฮตฮฏฯ„ฮต, ฯ€ฮฑฯฮฑฮบฮฑฮปฮฟฯฮผฮต ฮฑฯ†ฮนฮตฯฯŽฯƒฯ„ฮต ฮปฮฏฮณฮฟ ฯ‡ฯฯŒฮฝฮฟ ฯƒฮต ฮผฮนฮฑ ฯƒฯฮฝฯ„ฮฟฮผฮท ฮญฯฮตฯ…ฮฝฮฑ ฮดฯฮฟ ฮตฯฯ‰ฯ„ฮฎฯƒฮตฯ‰ฮฝ!

ฮ‘ฮบฮฟฮปฮฟฯ…ฮธฮฎฯƒฯ„ฮต ฯ„ฮฟฮฝ ฯƒฯฮฝฮดฮตฯƒฮผฮฟ:ย https://tinyurl.com/nmedg-survey



Live Virtual Group Session: 6pm EDT April 19th 2021

Thank you to everyone who joined for this session!

Our text for this session was a revisitation of the poem “Monet Refuses the Operation” by Lisel Mueller, posted below.

Our prompt for this session was two part. The first was to begin your writing with: “Doctor, if only you could see…” The second was to continue with “Doctor, if only I could see…”

More details on this session will be posted, so check back!

Participants are warmly encouraged to share what you wrote below (โ€œLeave a Replyโ€), to keep the conversation going here, bearing in mind that the blog of course is a public space where confidentiality is not assured.

Also, we would love to learn more about your experience of these sessions, so if youโ€™re able, please take the time to fill out a follow-up survey of one to two quick questions!

Please join us for our next session Monday April 26th at 6pm EDT, with more times listed on our Live Virtual Group Sessions page.


Monet Refuses the Operation
BY LISEL MUELLER

Doctor, you say there are no haloes
around the streetlights in Paris
and what I see is an aberration
caused by old age, an affliction.
I tell you it has taken me all my life
to arrive at the vision of gas lamps as angels,
to soften and blur and finally banish
the edges you regret I donโ€™t see,
to learn that the line I called the horizon
does not exist and sky and water,
so long apart, are the same state of being.
Fifty-four years before I could see
Rouen cathedral is built
of parallel shafts of sun,
and now you want to restore
my youthful errors: fixed
notions of top and bottom,
the illusion of three-dimensional space,
wisteria separate
from the bridge it covers.
What can I say to convince you
the Houses of Parliament dissolve
night after night to become
the fluid dream of the Thames?
I will not return to a universe
of objects that donโ€™t know each other,
as if islands were not the lost children
of one great continent.  The world
is flux, and light becomes what it touches,
becomes water, lilies on water,
above and below water,
becomes lilac and mauve and yellow
and white and cerulean lamps,
small fists passing sunlight
so quickly to one another
that it would take long, streaming hair
inside my brush to catch it.
To paint the speed of light!
Our weighted shapes, these verticals,
burn to mix with air
and change our bones, skin, clothes
to gases.  Doctor,
if only you could see
how heaven pulls earth into its arms
and how infinitely the heart expands
to claim this world, blue vapor without end.

Lisel Mueller, "Monet Refuses the Operation" 
from Second Language. 
Copyright ยฉ 1996 by Lisel Mueller.

Encuentros virtuales en vivo: Sรกbado 17 de ABRIL, 13:00 EST (17:00 UTC)

Nos reunimos 17 personas, desde Chile, Grecia, Espaรฑa, Nueva York y Nueva Jersey. Leรญmos el poema En un parรฉntesis, escrito por Diego Medina Poveda y publicado en el libro Sonetos para el fin del mundo conocido (2021, Esdrรบjula Ediciones).

El poema despertรณ muchas emociones diferentes: hizo pensar en la muerte, en lo oculto, en la indeterminaciรณn del tiempo. El parรฉntesis es el tiempo que se para. Nos hizo pensar en este tiempo de pandemia, en el coronavirus, en la obligaciรณn de permanecer en casa. Se hablรณ del modo en que desaparecen las personas que se convierten en cifras de estadรญsticas, en la invisibilidad de las almas, convertidas en decimales, insignificantes. Hablamos del paso del tiempo, de la eternidad de las cosas pequeรฑas. Tambiรฉn se hablรณ del modo en que el poema utiliza palabras que nos recuerdan a los hospitales.

Se mencionaron los diferentes significados que el poema hubiera tenido antes de la pandemia, en comparaciรณn con el momento actual y en la multitud de contrastes que incluye, lo suave y lo duro, lo concreto y lo infinito. El uso de las palabras abstractas para hablar de lo concreto, la muerte encerrada en el marco del amor, la eternidad.

Para el ejercicio de escritura propusimos como tรญtulo: โ€œEscribe acerca de un parรฉntesisโ€. El parรฉntesis apareciรณ como escape, pero tambiรฉn como lugar de vida, como alivio. El parรฉntesis como vida pero que no permite escapar y tambiรฉn como lugar que se diluye.

Disfrutamos de un momento compartido, muy enriquecedor, un parรฉntesis en el flujo de nuestras vidas, en el que el tiempo se hizo corto y no todos los que lo desearon pudieron participar.

Se alienta a las/los participantes a compartir lo que escribieron a continuaciรณn (โ€œDeja una respuestaโ€), para mantener la conversaciรณn aquรญ, teniendo en cuenta que el blog, por supuesto, es un espacio pรบblico donde no se garantiza la confidencialidad.

Por favor, รบnase a nosotros para nuestra prรณxima sesiรณn en espaรฑol: Sรกbado, 15 de mayo a las 13:00 EDT (17:00 UTC) (inscrรญbete aqui), con mรกs veces listadas en inglรฉs en nuestra pรกgina deย sesiones grupales virtuales en vivo.

ยกEsperamos verte pronto!


Nuestros textos fueron En un parรฉntesis (A รngela P. Mรฉndez)

En una eternidad
de 27 metros cuadrados
transita nuestro amor por el espacio.

Se esboza con aliento en las ventanas 
un silencio de muerte, una asรฉptica 
melodรญa del tacto y de las pieles.
Y aunque hace frรญo
guardamos la esperanza en la nevera.

El tiempo pasa cada quince dรญas.
El eco se retuerce en los balcones.
La noche llega muda โ€”no se la oyeโ€”
sigilosa ensombrece nuestros ojos
con una herida exangรผe,
con una fรบnebre aritmรฉtica 
		del fracaso.

El cuerpo es una cifra
(afuera โ€”asรณmateโ€” no hay ni un alma), 
el alma solo existe
en una absurda sucesiรณn
		de decimales.

Orbita nuestro amor en un parรฉntesis (โ€ฆ)
Alguien ha escrito el signo de esta historia 
con puntos suspensivos.

Live Virtual Group Session: 12pm EDT April 14th 2021

Thank you to everyone who joined for this session!

Todayโ€™s narrative journey started with an excerpt from the NY Times โ€œOpinionโ€ essayย โ€œYou Can Hear the Whistle Blow a Hundred Milesโ€ย by Margaret Renkl, posted below. โ€œTell me something about this personโ€ opened up our discussion of the female narrator who seemed to be on a train at night, and possibly in a state of uncertainty. On the surface, โ€œI know you think Iโ€™m making this upโ€ and โ€œmisrememberingโ€ made us consider the narratorโ€™s reliability, and reflect on why/if that was problematic as reader/listeners. We returned to the text and recognized what was there (a book, a light, darkness, a harmonica) as well as what wasnโ€™t there (people gazing at phones, iPads, or laptops). This created for us a sense of nostalgic sight-and-soundtracks that evoked camp songs, train songs, and a respect for the narratorโ€™s imagination. We avoided the temptation to โ€œdiagnoseโ€ the narrator, although โ€œMy eyes suddenly too blurred to readโ€ made us wonder if it was a moment of fatigue, sadness, crying, longing or a combination.

Our prompt for this session was: โ€œDescribe an aching kind of sound.โ€

One reflection was a brief-yet-detailed cinematic journey that started with a door creaking on hinges โ€œas old as our relationshipโ€ and then shutting, as a figure lay in the bed under the sheets. We also heard a story that started with the excitement of impending birth and moved us through the fear and anxiety of labor as we heard the long, low, unearthly moan that signifies motherhood. Another reflection explored the aching sound of a childhood memory, being in bed and hearing a distant train whistle โ€” silence that is heavy, broken by sadness and longing; but also feeling like a warm blanket, a time now lost bringing both ache and comfort. Another writer shared a moment while โ€œchopping veggiesโ€ that quickly felt like being โ€œcut to piecesโ€ by the blaring sound of a song once โ€œoursโ€ no longer being shared. And one reflection brought us back to our present experience in โ€œlockdownโ€ when a plaintive melody once familiar, is now changed forever to a sound of grief for our losses.

A closing comment in the chat apropos to Narrative Medicine pointed out that each of us is like an individual instrument adding our voice or clear notes to the music, responding to the aching sounds/voices that we hear through our Narrative Work.

Participants are warmly encouraged to share what you wrote below (โ€œLeave a Replyโ€), to keep the conversation going here, bearing in mind that the blog of course is a public space where confidentiality is not assured.

Also, we would love to learn more about your experience of these sessions, so if youโ€™re able, please take the time to fill out a follow-up survey of one to two quick questions!

Please join us for our next sessionย Monday April 19th at 6pm EDT,ย with more times listed on ourย Live Virtual Group Sessionsย page.


When they turned off the cabin lights and my seatmate closed her eyes to sleep, I tucked my book under my arm and made my way to the club car. There the overhead lights were off, too, but a single light shone above the table at each booth. A few people were reading. One was playing a hand of solitaire. I donโ€™t remember if nobody was talking, or if the sound of the train moving down the tracks simply masked their quiet voices. โ€œIf you miss the train Iโ€™m on, you will know that I am gone.โ€

As I made my way to an open booth, darkness gathered outside the windows and in the corners of the car. Darkness swept across the floor and curled around the ceiling, and thatโ€™s when an old man at the far end of the car started to play a slow, sad song on the harmonica. It was the kind of music that fills a silence with longing and gives a voice to loneliness, and without needing any words at all. The aching kind of sound you would swear you could hear a hundred miles.

I know you think Iโ€™m making this up, or only misremembering myself as the tragic heroine of a movie where Willie Nelson plays a cameo role. But this part of the story I remember perfectly. Those thin, plaintive notes reached through the shadows and found me as I sat down alone, my eyes suddenly too blurred to read.

Margaret Renkl, You Can Hear the Whistle Blow a Hundred Miles, NYT April 2021