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Fear as friend or foe

Fear as ‘friend’ is a good subject of poetry, a handy motif, or an emotive
experience. Fear as ‘foe’ in poetry - writer’s block, fear of failure, and
fear of not being read or heard. Most writers of poetry, however love the
art, love language, the force of the word, pushing boundaries, finding
oneself - not just “look what has happened to me, but look what has happened
to you and I.” As Gertrude Stein said, “I write for myself and strangers.”
You write about the way someone once walked across your heart/and your
blood’s not red/but green/and you can’t feel the weight of your hand/they’re
cupped and thin/you’re yellow and smiling in blue mirrored thoughts/you’ll
wait for his call/ the cut of his hair/swirling in silence/you choose a red
dress/remember the kiss/the wet of his lips /a thump on the brick/that
terrible bell/the yellow of fear/the woman next door.
Gertrude Stein was an iconoclast and first of the post-modernists.  The
playful, subversive nature of her poetry like 'Tender Buttons' abandoned the
strictures of punctuation. She kept language in a constant state of flux.
Writers who choose to be the innovative artist, can take heart by Gertrude
Stein’s example as a woman who wrote poetry without fear of failure. So, it
must follow that fearlessness empowers and in having no fear one can
progress in art, move forward without censorship, restriction, subjugation
of voice, and confinement of old traditions. To go in fear of rejection also
empowers. The rejection slip is the marathon you have to run. The training
ground for the pen. Its movement improves/disproves the standards set by
others. The hard workers will get the banquet; the lazy will get the crumbs.
No hierarchical powers like editors or publishers will dampen passion,
commitment, love for the art and the joy and energy that comes with writing.
Australian author, Robert Dessaix (Night Letters) once said at a Bussleton
Writers Festival, ‘With writing, if you’re enjoying yourself that is all
that matters and success will follow.’

Helen Hagemann © 2001



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