July 7, 2020
by Lynda McKinney Lambert
Copyright July 7, 2020. All rights reserved.
Recently, someone wrote to me with a question about how I read a poem using technologies for the blind.
I have a visual impairment and cannot read by looking at a page. Instead, after I write a poem, I can see it on a computer screen that has a black background with white text. It must be blown up – 8 times normal. I have a screen reader that reads the work to me, also.
When I want to do a presentation to a group in a public setting. I put my poems on a device that is a digital recorder. It is small, and fits into the palm of my hand. I have previously recorded my poems, one line at a time, onto the device. I use an earpiece, and with just the touch of a button, I can hear the poem. I speak what I hear – line by line – and this is how I do a presentation. It works for me.
Question: How do you eliminate the spaces between lines where the machine tells you what to say?
I am not sure what you are asking with this question.
This implies to me that you believe there is something undesirable about a space or moments, when I read a poem out loud.
Do you mean the use of space when reading a poem?
Or, in viewing an art work?
Is it the use of space when writing the poem or creating a work of art?
Does filling spaces mean a continuous stream of chatter?
Is it like watching TV programming or listening to the radio?
No, it is not a commercial concern for filling up space with something else. I view the space as a shape in time.
In writing and in art, space is an important thing to recognize and experience. It gives us room to think and discover, at the same time we are reading, viewing, feeling or listening.
Silent spaces are crucial to poetry – in writing a poem,, reading a poem aloud, and contemplating meaning. Begin to think of space as an actual place – it is a LANDSCAPE as tangible as a TREE , or RIVER.
In the poetry and art classrooms, space is essential. Long silences are important as students become a co-creator with the author or the artist who created the work they are viewing.
Understanding goes much deeper than speech.
I am very aware of space when I read – I want to be patient and take time for space to be experienced.
Space allows for breath – and it is breath that is the scaffolding on which the poem exists. I never read by thinking about “a line.” I am much more intent on breath and space when I read anything. It takes many years to begin to understand that in reading a poem, one must learn to fall into it – to lay in it, to travel deeply into it physically and conceptually.
The poem/art requires the entire body to get to an understanding of it.
My work is influenced by Japanese ideals of balance and meaning.
For instance, I have a large Zen Meditation Garden which I tend daily. Traditionally, this type of garden is the opposite of what most people think of as a garden.
No waterfall or fountain.
It is about the entire space.
It is a complete world inside of the perimeter of the short wall of hand- cut barn stones
Instead the garden is about symmetry, textures, and nature as a metaphor.
Every space is an important element and part of the whole concept of stillness and timelessness.
Empty space is very important in art and in poetry – yet, it is not really empty. It holds meaning.
Think of Japanese woodcut prints. Empty space holds as much – or even more – meaning as the imagery does.
Filling up every space is cluttering.
I think visual and auditory space is as important as words. Space gives time for contemplation and anticipation in a way that is powerful.
As I read aloud, I have no thoughts of eliminating space. It is the same if I am reading quietly in my office or before an audience. I am speaking my own words and thoughts.
Take a LOOK – Smashwords – E-book
READ a 20% SAMPLE for FREE.
Star Signs: New and Selected Poems
Click on the link of my name, above to SEE MY BOOK on SMASHWORDS –
Star Signs: New and Selected Poems
Lynda Lambert covers a wide terrain of subjects and topics in this new book, from lights to legends to seasons, treating us to images and metaphors about plants, people and weather. She opens this large collection with the title poem, Star Signs, which walks us through the alphabet as it digs through thoughts, emotions and observations, “Using star signs to map out new terrain.”
Throughout this book of poems, these gems of poetic creation shimmer like beads on her fabric art, like bold brush strokes of color on her paintings, and reflect light like the gemstones on her prize–winning piece of mixed–media fiber artwork. It seems this entire collection is like a multifaceted mural.
Her attentiveness to nature and strong reflections from memory have woven from a collage of remnants a beautiful tapestry for us. It offers a wonderful feast for the eyes and the mind.
—Wesley D. Sims, author of Taste of Change
*Here is a poem from this book:
Painting in Mid–October
Autumn’s morning light revealed changes
Undermined the scarlet–red palette
Taking center stage on the painting
Undulating rain cast gray–violet hues
Misty diffusion brought a new perspective
Not anticipated yesterday
Aroused the softened brushstrokes
Layered over the primed canvas.
Dying is a careful arrangement
A graceful staged performance
Yellow leaves are faithful dancers
Available ebook format at SMASHWORDS.
SMASHWORDS ASKED LYNDA to describe her WRITING PROCESS.
READ her RESPONSE to the QUESTION!
$2.99 on SMASHWORDS today!
I work back and forth between ADDING and SUBTRACT ING.
I BUILD and I DESTROY.
Writing poetry, for me, is a dance with materials – senses – images.
I order chaos and find balance.
Lynda McKinney Lambert – Smashwords, March 9, 2019.
$2.99 on SMASHWORS
Copyright 2020. Lynda McKinney Lambert. All rights reserved.
My MISSION STATEMENT
- I am the keeper of memories. I distil and share them through my art and writing.
- I reveal what is forgotten, lost, or unseen.
- I bring “Gifts to the King” through spare poems and thoughtful personal essays.