Internationale Poetry-Biennale  -  Filmfestival  -  Salon  -  Netzwerk

Sonntag, 15. November, 18.30 Uhr

 


Geneviève Hicks
(Seattle)

⇒ Focus Jack Kerouac School Of Disembodied Poetics (JKS)

Geneviève Hicks, auch bekannt als GV, ist eine US-amerikanische Lyrikerin, Buchkünstlerin und langjährige Physiotherapeutin. Aufgewachsen in Nord-, Ost- und Westafrika, Berlin sowie den USA, ist ihr Schaffen in Ritualen, Verkörperung (Embodiment), schwarzer Abstammung, kontemplativer Praxis und der Natur verwurzelt.

Sie bewegt sich an der Schnittstelle von Lyrik und Buchkunst. Sie praktiziert in der Plum-Village-Tradition von Thích Nhất Hạnh und ist zertifiziert in Yoga sowie in Mindful Awareness in Body-oriented Therapy (MABT).

Sie besitzt einen MFA-Abschluss in Creative Writing & Poetics der University of Washington Bothell, war „Imagining America PAGE Fellow“, verfasste und sprachgeführte Meditationen für das Seattle Art Museum ein und leitete Workshops, die sich mit Lyrik, kontemplativer Praxis und körperorientierter Achtsamkeit befassen.

Geneviève Hicks, also known as GV, is an American poet, book artist, and longtime physical therapist. Having grown up in North, East, and West Africa, Berlin, and the United States, she draws on ritual, embodiment, Black ancestry, contemplative practice, and nature in her work.

She works at the intersection of poetry and book arts. She practices in the Plum Village tradition of Thích Nhất Hạnh and is certified in yoga and in Mindful Awareness in Body-oriented Therapy (MABT).

She holds an MFA in Creative Writing & Poetics from the University of Washington Bothell and was an “Imagining America PAGE Fellow.” She wrote and recorded guided meditations for the Seattle Art Museum and has led workshops on poetry, contemplative practice, and body-oriented mindfulness.

[was a dream]

Me:
In Seattle
Koi:  
In Encinitas                                       
Me:
talking to koi

        my friend’s back yard pond

[was a thorn]

 

Sitting under the roof like leaves
thorn-shaded by devil’s club

even as your hand is held
a river of doubt flows up your biceps
 
like piss ants
armed and invasive

crank open the lopsided breast plate
last week’s equation used as a weapon

her majesty double-lung crushed after drowning
hairs, nails and other un-identifiables tangled

a vine plant, dropped leaves, heavy
like metal, double-bent and bronzed

She, fresh and blinded by lust, rewraps jangling hips
here, where sunshine held itself at bay.

[S]he blows for me

You are a public sweat:

Salty, sharp and silent
In the dark nostrils of time
Maimed yet scenting divine. 

Dear Lover, This Life To Be Unfaithful

 

They who dry-mopped the hairy floor, cancer is available at every scale.
Moment to moment, the battle can be lost: white cells bowing out, replaced by dust mites. Baptism of time available, wrung and hung to dry.

Other angels displaced. The fallen ones, who kicked the hospital bed, hot
with refusal to narrate yesterday’s vigor yet present to hand-dance a body.

The voice said, “Dear Lover, I am afraid of being hit, not of being an experiment.” I wondered—why was the bed talking, not the oracle.

I wondered if I would have to hire a yard guy, or suddenly flip my bed, its contents ricocheting off narrow walls. No bucket, the rope inside the well is a tourniquet.

A toothpick breathes down the limb. No flowers allowed, wash all vegetables in filtered water only. All meat, like soil, eventually diminishes.

Dear jealous lover, this exact life will be unfaithful. No need for tweezing hairs from walls thick with knuckles. Mechanical sounds peel back the graft from the host. The countdown started pre-birth. Call and response:

Are you ready to go? Oh thank you, is it my turn?
Grateful for the knock before the entrance.
 
Rapid response, at lunch, galloped—but not too quickly—kicked with offbeat timing.  Wrestled loudly, free of the frame.

What of the bed?

 

 

Written in conversation with Tongo Eisen-Martin's "The Possibility of Being One Person," from Blood on the Fog (City Lights Books, 2021).