Review: Sculpting the Heart’s Poetry (1)
Setting the tone is the first poem entitled Women in which all nuances of women are introduced from the kisses and tears, to rivalry, Caffeine, Nicotine and Prozac to an understanding that women have too many dimensions to simply set down on paper.
Poet White explains in Bird of God how she goes about constructing her rhythmical pieces.
Interspersed among the poetic odes in the work Sculpting the Heart’s Poetry are pen and ink drawings, photography and artwork created by the Masters. I found one photograph in particular to be particularly compelling, entitled A Family’s Hands we see a grouping of hands including one of a baby and continuing on to the veined and conceivably arthritic hand of perhaps the oldest member of the family.
What daughter, I ponder might not find something with which to agree or to enjoy while reading the words of the four stanzas entitled Turning Into Mom.
In the second Chapter of the book is found a collection of writer White’s conversations with the Masters. From Zeus, Hermes, Dionysus and the First New Year Baby to Saint Raphael, and Madonna and Jesus and angels; poet White talks of love and flowers, and feeling loved, the thousand artist’s eyes. She tells of Artists who write and paint and create.
White tells of Raphael who comes to heal, and of angels who bless with celestial knowledge and of Jesus and the melodic music of Mozart and how angels fly and, Hermes, the keeper of the in between, is chosen to report, record, and transport the dead.
Picasso is discussed in Chapter 3. That Poet White harbors a good bit of interest, caring and perhaps love for this artiste is very evident as the reader undertakes the works included in this series.
Picasso was born in Spain, moved to France and enjoyed a reputation as a renowned theater designer, draftsman, and sculptor, and, he was likely the greatest printmaker of his era and beyond.
White tells how Picasso’s paintings fill her head, she relates that the artist’s favorite model was Olga, and tells us something of that woman from her 22 inch waist to her dancing to unheard melodies, and while she looks a little odd in her cubic form, HE, no doubt, thought her perfectly constructed.
And one of my favorite paint artists, Van Gogh, is addressed in Chapter 4 which is introduced with a Chagall collage presented in muted magenta and lavender and is created by versifier White herself.
‘There is beauty and bravery and achievement in Van Gogh’s Starry Night.’ I must agree.
Aphrodite and Venus and Marilyn Monroe, and Botticelli all become part of what we females are, we are women.
Chapter 5 leads the reader to Drama, Drama, Drama and tears like polliwogs; I think that is one of my favorite lines in the section, and maybe even the work as a whole. Tears like polliwogs, what visual portrayals fill the senses. That and poet White’s assertion that if it looks and sounds like a poem, it causes a smile. There is hope for all of us then, isn’t there? Money, Grammar and Endless love and barking Yorkies and graying hair and lips that taste of chocolate, White weaves visions with words.
Only a bard would recognize so easily that moth’s live, work and die much as do humans. She watches a spider spinning a web, and plays what if with white on white.
White pigeons hide from white cats and white birds search for white worms, and, she asks the question could we learn if white chalk wrote on a white chalkboard. We CAN live without a good many things we think we just have to have, but, can we actually live without red, orange, yellow, green, blue, black and brown?
I have cats, I particularly enjoyed the Ballet of Cats, and ‘by day they sit and stare in unison. They achieve lift off, twitch tails, and maybe even hiss ad stew. They are cats by day and tigers by night.’
And Chapter 6 is filled with The Circle of Life. Works include evocative narrative of An Alcoholic, the delicate lilt Blossoms Praying, and mischievous. Her First Dirty Word summing up a youngster’s growing up, a Cowboy’s Moonlight Ride, Hermit Poets and Ribbons, Bows and Lace present a slice of life across generations, times, places and gender.
Who should live and Who should die is a thought provoking discussion especially for those of us who have had, or may have soldier fathers, brothers, husbands, or today moms and sisters.
Growing Love, and The glass Dancer complete the work.
Rhymester White has crafted an eclectic, balanced work trailing across a myriad of themes. The work is wordsmith in content, word smith in beauty. That White has come through sorrow, enjoyed beauty and finds worthwhile in much is evidenced in her odes, stanzas and poems.
Lyricist Joyce White has strengthened herself using spiritual standards directing the core values set down in use of art therapy for sculpting the heart and thus the emotional wellbeing of the self. White employs these values creatively as a way to promote healing and growth and self awareness.
Renewal of verve, optimism, self discovery, moving on following tragedy or even a happy life changing event are all recurrent themes running through her work. White’s Sculpting the Heart’s Poetry thrusts wellness and good heartedness to the forefront. Sharing pain, hurt and happiness is therapeutic, liberating and cathartic White fosters integrity and wellbeing through the curative acts of creativity.
God focused dreams, work and doing embracing a belief of duality, harmonizing radiance and dark through verse and conversing with our spiritual leader fills our essence with the healing, joy and motivation to move forward with renewed vigor and self awareness in the face of the upsets we all face in life.
Filled with a poignant, ethereal quality the written works offered by White are counter balanced nicely with various depictions of art work including sculpture, pictures of various medium and photographs, all in all she has taken an eclectic set of materials and woven them into an affirmation of women in whole and the individual woman who may be reading.
Happy to recommend Joyce White’s Sculpting the Heart’s Poetry while conversing with the Masters.