Wednesday Writing Prompts to Return on March 21; Meanwhile, Introducing Deborah Alma, Emergency Poet; “Ramingo’s Porch” and Poetry Radio

The Spirit of the House, Still Life with Cat by German Expressionist Painter, August Macke (1887-1914)

The Spirit of the House

from the painting by August Macke 1910

A smug cat, a cosy cat, a passing cat,
a blue striped jug, with the light catching

the glaze, its dazzle closes the eyes
of the cat -it is a jug of cream.

A scented geranium, red and jaunty
in a terracotta pot.

Three small oranges and a blue dish
to hold the finger rubs of friends around its rim

always, always when they come, they reach out
to stroke the leaves, to rub the dish,

to add to the stroked smug of the cat,
to peel an orange.

There they are my friends, their backs
to the wall as they bend and bow

to half heard music, from the times we danced
to the times we laughed.

A smug cat, a cosy cat, a passing cat.

© 2018, Deborah Alma (The Emergency Poet), All rights reserved


An Interview

Originally published in the December 2016 issue of The BeZine


Mendes Biondo and Deborah Alma

If I have a headache, I generally take a pill. But are we really sure that only medicines are able to heal our illnesses? Deborah Alma, poet and poemedic, said no. Poetry can give us a great hand to face our problems, in particular those that are hidden in our deepness. We had a brief chat about Deborah’s wonderful work and this is what came out.

Mendes: The theme of this issue of The BeZine is the healing power of art. Before asking you about The Emergency Poet, I would like to know your personal experience with art self-healing.

Deborah: That’s an interesting question and quite a difficult one to answer briefly. I think my own experience is like most people’s: extremely varied, very common and often very unconscious.

The moments that stand out for me I suppose were in the compulsion I felt to write myself through and out of an abusive and damaging relationship, watching my own grandmother’s solace in reading poetry after the death of her husband and as she was dying. I remember also being overwhelmed by an exhibition in London of the works of Frieda Kahlo and how bravely she painted her pain. I have worked for a few years with people with dementia and at the end of their lives using poetry.

For me, there is no doubt that art is where we can best connect with each other in ways that are intimate, empathetic and authentic.

MENDES: Now it’s the time of the Poemedic as you like to call yourself. A white coat, a stethoscope and a poetry book are the main objects you need when you ask your patients to open themselves up and then you suggest to them the right poem. What happens when patient and poem match each other?

Deborah: Ah this has been the most amazing thing for me! I had no idea when I started prescribing poetry just how much this process can work. People love to have a poem hand-picked for them after some careful listening. They see the gift and make it their own. It seems to bring a lot of joy and sometimes relief and comfort.

Mendes: Why people are frightened about reading poems and how can people involved in culture help readers to start loving poetry?

Deborah: I think that something happens, at least in the UK in secondary school where often pupils are asked to examine texts as though they were a forensic scientist, pulling out the meaning and the poet’s intention, leaving the student with a sense that somehow poems are difficult, like a puzzle to be decoded rather than being asked to respond emotionally and intuitively. They also seem to stop writing creatively themselves and being a writer yourself is the easiest way into loving poetry.

I think that there is a certain amount of snobbery in the poetry world, that asserts that poetry is not for everyone, that likes to encourage this perception of difficulty. Certainly some poetry is ‘difficult’ and the reader is rewarded and flattered by understanding it, its clever tricks, its craft, its vocabulary; but instead of saying it is just for us few, I believe we can help others in. This comes from reading widely, from a developing confidence in approaching a poem and through being invited in. This is what I aim to do with Emergency Poet, invite them in.

Mendes: You worked also with people with dementia. How can it help, in this case, reading poetry?

Deborah: I have worked using poetry with people with dementia and also with people in care homes and in hospice care for the last five years. As a poet I do know something about what it is to be intimate and honest and authentic. The thread joining poetry and these areas of work for me is this intimacy and honesty. Poetry I believe, more than any other art, with the exception perhaps of music (and they have much in common), speaks as though directly from one human being to another. It is about connection and empathy.

Most of the people that I’ve worked with who have some degree of dementia, are from the generation that learnt poetry by heart at school. As a poet working with a small group of people in a care home or day care centre I have often had the experience described so beautifully in Gillian Clarke’s poem Miracle on St David’s Day that describes the poet reading Wordsworth’s much-loved poem Daffodils in a care setting somewhere, where the words of the poem long ago learnt by heart ignite something deep inside the mind of a long mute man:

“He is suddenly standing, silently,
huge and mild, but I feel afraid. Like slow
movement of spring water or the first bird
of the year in the breaking darkness,
the labourer’s voice recites The Daffodils.”

It is a gift and a privilege to be the one who brings this to a group of people. I worked with a group of people with sight-loss last year and as I started to read Masefield’s ‘I must go down to the sea again, to the lonely sea and sky…’ and to have at least twenty voices take it up with me, one woman reciting it word perfect all the way to the end was a joy to all present and it brings a tear to my eye even now as I write this and remember it.

Mendes: Best and the worst experience you have had with the Emergency Poet?

I think the best experiences I have had with Emergency Poet, and I have had so many, was when taking the ambulance to Bristol Southmead Hospital for a few days and parking near the other ambulances and prescribing poetry to patients, stressed staff and visitors . There was something very uplifting for people , (one woman still attached to her drip and in slippers) answering questions that were gentle, uplifting and being given the gift of a poem. It worked really well there. I’m starting to work in hospices prescribing poetry, which is wonderful and intense and extremely rewarding.

Bad experiences are usually to do with bad weather, wind, rain and cold. The hardest thing for me is to prescribe poetry to people who have never really read at all, not even as children.

Mendes: We always need a box of aspirin in our pockets. Who is, for you, the poetical aspirin? Can you suggest any “everyday” poems?

Deborah: I have a few poems that I use very often; the poem I am prescribing a lot these days ( it has been a difficult year), is the beautiful poem Try to Praise the Mutilated World by Adam Zagajewski

Mendes: The ambulance is riding down the street. What and when is the next stop?

Deborah: It’s quiet over the winter because of the weather, but the next stop is to set up an inside surgery and run a workshop on compassion at a conference in London for Psychology and Psychological Therapies which will be fascinating for me. I will have fun having psycotherapists on my couch.

To know more about Deborah Alma and her work, you can visit her website The Emergency Poet, The world’s first and only mobile poetic first aid service.

© 2016, text, Mendes Biondo and Deborah Alma; All rights reserved – Published here with permission The photographic origins of the Maché painting are unclear.  It may be in the public domain. At any rate, it does not belong to me./J.D.


Ramingo’s Porch

To be aired on February 27th.

The second issue of The Ramingo’s Porch is out. This publication is cofounded and coedited by Mendes Biondo. Poems from both the first and second issues are to be read on February 27 on Ellen Sander’s Poetry Woodshed Radio (Belfast Community Radio) by the poets or other readers on their behalf. (Mine is read by actor Richard Lingua. He is based in Northern California where he works in multiple fields including theatre, the arts, and technology.)  Mendes’ partners are Catfish McDaris and Marc Pietrzykowski. Submission guidelines for Ramingo’s Porch are HERE. This is a print magazine available through Amazon. The URL for Poetry Woodshed Radio is in the illustration.



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