The Oxford Dictionary (www.oxforddictionaries.com, 2018) defines poetry as ‘literary work in which the expression of feelings and ideas is given intensity by the use of distinctive style and rhythm’ or ‘a quality of beauty and intensity of emotion regarded as characteristic of poems’.
Since poetry is a form of storytelling that places emphasis on emotion, and because I am also drawn to poetry on a personal level, it has been present in my research process from the start.
The activity of creating poetry is a powerful tool for extracting emotional narratives from objects and events because poetry gives shape to feelings. Reading an essay by Laurel Richardson (1992) – The Consequences of Poetic Representation: writing the other, rewriting the self – this week, caused me to reflect on this idea further. The thought of translating emotional connections into poems was already there but after reading about Richardson’s (1992) experience of turning her transcribed interviews into poems, these thoughts were once again pulled to the surface. If poetry is the language of emotion then surely it would also be an important tool for ‘emotional archaeology’.
Based on these thoughts, I started thinking about my black dress in form of a poem. How could I convey the feeling of the moment I associate the dress with, to someone else? Emotions are highly individual and our memories are never entirely objective, therefore a purely analytical recollection of an emotional connection would be nearly impossible and would probably fail to transport someone else into my personal memory. However, by giving us a language with which we can create moments of emotion and empathy, poetry presents possibilities for expressing feelings and thoughts that are otherwise difficult to express due to their complex nature.
Yesterday afternoon I met with Suzanne Posthumus, who manages the Poetry Café. We had a brief discussion about my research and what I have in mind for my next intervention. After sharing my ideas on how the theme of narrative clothes could be explored we concluded that an event where people can swap clothes in form of poetry – a type of poetry reading that turns your clothing into poems – would be an interesting way to invite people to discover the emotional connections they have with items in their wardrobe. Suzanne was intrigued by my project and kindly offered me use of the café space in the daytime. The Poetry Society can also help me market the event on their online platforms and in the café. Suzanne and I agreed that the poem I wrote along with a picture of the black dress would be perfect to use in marketing because it would clearly illustrate what the event is about.
Note. After writing this, I discovered a book called The Memory of Clothes (Gibson (ed.), 2015) – a collection of essays and stories that explore the evocative and autobiographical characteristics of the clothes we wear. Some of the texts approach this theme in a poetic way; a few are even written in the traditional structure of a poem. I have only read one so far, which is a self-reflective recollection of a stolen dress, that the author took when she could not have the person she loved, ‘the one’.
Richardson, L. (1992) ‘The Consequences of poetic representation: writing the other, rewriting the self’ in Ellis, C. Flaherty, M. G. (ed.) California: Sage Publications Inc., pp. 125-137