One Direction - Little Things

One Direction - Little Things

'Little Things' -- Taken from the brand new album 'Take Me Home' released 12th November in the UK / 13th November US & Canada. Pre-order TAKE ME HOME Now: iTunes: smarturl.it Amazon: amzn.to Official Store: myplay.me Music video by One Direction performing Little Things. (C) 2012 Simco Limited under exclusive license to Sony Music Entertainment UK Limited

One Direction - Little Things

One Direction - Little Things

One Direction - Little Things

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Mono No Aware: The Essence of Japan

Mono no aware: the Japanese beauty aesthetic

Mono No Aware: The Essence of Japan

One Direction - Little Things

Video Clips. Duration : 3.63 Mins.

One Direction - Little Things

'Little Things' -- Taken from the brand new album 'Take Me Home' released 12th November in the UK / 13th November US & Canada. Pre-order TAKE ME HOME Now: iTunes: smarturl.it Amazon: amzn.to Official Store: myplay.me Music video by One Direction performing Little Things. (C) 2012 Simco Limited under exclusive license to Sony Music Entertainment UK Limited

One Direction - Little Things

One Direction - Little Things

One Direction - Little Things

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Midlife accident In Women

Life is a cycle of seasons, and the transitions between seasons can be worrisome. Often there may be minor disruptions in life style, which are soon resolved. But when they persist, there is a crisis. Midlife is one such period which has been recognized as a period of potential crisis.
Midlife sets in somewhere between the end of the 30s and the late 40s. It is clear from the premenopausal years that occur later. Up till the 1900s, only about 10% of women reached middle age. Their roles were well defined within the dinky sphere of home and family, as wife, mother, domestic drudge. Midlife crisis was unheard of.

Midlife accident In Women

One Direction - Little Things

Tube. Duration : 3.63 Mins.

One Direction - Little Things

'Little Things' -- Taken from the brand new album 'Take Me Home' released 12th November in the UK / 13th November US & Canada. Pre-order TAKE ME HOME Now: iTunes: smarturl.it Amazon: amzn.to Official Store: myplay.me Music video by One Direction performing Little Things. (C) 2012 Simco Limited under exclusive license to Sony Music Entertainment UK Limited

One Direction - Little Things

One Direction - Little Things

One Direction - Little Things

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However, the 20th century has seen an expected lengthening of the life span, with women living well into their 7th or 8th decade. So, around 40 years or thereabouts, when the business of child bearing is over, and children begin to pronounce their independence, there looms before women a stretch of life that appears to be like a vacuum. Husbands may also be passing straight through their own midlife crisis, and are like irritable hedgehogs. Or in a reversal of roles, they become overly dependent on their wives. Women begin to feel trapped.

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Midlife accident In Women

A woman may feel that life is passing her by. "Who am I?" she wonders. "Does my life count for anything?" An inexplicable loneliness overcomes her as though she has no real self identity. Known of her moderately fading charm and energy, she sinks into depression. This feeling of worthlessness is compounded if there is marital dissatisfaction. The 20th century saw revolutionary changes taking place in every aspect of life. Education, employment exterior the home, collapse of the joint house system, migration to the impersonal atmosphere of cities, changing sex roles, women's liberation movements, youth culture, and rapid advances in Science and technology - these have created a kind of insecurity in the former woman. As she tries to keep pace with changing times, stress becomes her portion.

Midlife accident In Women

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It is against this background that Midlife crisis assumes significance. Whether single, married or widowed, almost 2/3rds of women pass straight through this phase. A career oriented spinster high up in the administration hierarchy suddenly decided that she cannot live alone anymore. She conjures up pictures of being incarcerated in some Home for the Aged, and the prospect alarms her. So she frantically advertises in the newspapers for a favorable spouse, and may imprudently elect an undesirable mate, or enter into a live-in relationship. A sober middle aged widow may settle to give herself a new image. She may visit a beautician to have her hair styled, her eyebrows plucked, and her wrinkles ironed out with Botox. She may even begin to use heavy make-up and dress like a teenager. She may flirt outrageously with eligible men, or have an affair with man younger than her son. Habitancy notice, gossip and snigger, but the woman throws propriety to the winds, and is brazen about her behavior.

A spinster with unfulfilled maternal desires may settle to have a baby out of wedlock or offer to 'rent her womb.' Some psychologists say that Midlife crisis is just a favorable excuse for irresponsible behavior. But it can be argued that if this was the case, why wait till middle age to indulge one's self? Middle Age is merely a transitory phase, and is not something to be feared but welcomed. crisis ordinarily occurs when there is a lack of preparation. E. M. Blaicklock says "Middle Age is the time when life's fruits begin to ripen."

It must be ready for. It is a time to take stock of one's self, and recognize one's life style. One needs to identify factors that can contribute to a crisis and address them individually. Is there fear of losing one's youth, sex appeal and beauty? Do a few strands of grey, or sagging breasts or weight gain generate panic? One psychiatrist says, "Feeling good and finding good is associated to a balance between mind and body." And Longfellow assures us that "Age is no less an opportunity than youth itself, though in another dress."
Exercise, a balanced diet, relaxation, and a general interest in the world around, will put the radiance back into middle aged faces.

Has the marriage association become boring? Then one needs to put more exertion into changing it. A dinky more loving, communication and caring can go a long way in setting things right. The husband may also be passing straight through midlife crisis and may be disinterested or unable to riposte to her feelings. A woman must therefore pronounce her needs directly and specifically, making him understand that she is passing straight through a difficult phase and wants his understanding and love. A good husband will not only be emotionally supportive of his wife, but also give her the space she needs to found her sense of self worth. If a woman is suddenly widowed in middle age, her depression may increase. Or she might rush into an affair which is not a sensible thing to do while under stress.

For a woman who has spent the best years of her life being an exemplary mother, who has found identity and fulfillment in her children, the realization that they don't need her anymore, and a wide generation gap is developing between them, makes her feel marginalized and useless. Midlife is also a time when one becomes vulnerable healthwise. Diseases like obesity, hypertension, diabetes, the need for diet restriction, medication, exercise, make her Known of her mortality. She begins to brood over her situation and gets bogged down in self pity. Dwindling money resources and stringencies brought on by retirement, also pose a threat to her peace of mind.
All these stress factors have a snowballing effect, which can undermine a woman's self belief and bring about altered behavior like, depression, irritability, irrational behavior, assertiveness or abnormal sexual interest. In fact, this phase is like passing straight through a 'second emotional adolescence.'

Anticipating and preparing for middle age can make the transition smoother. Life doesn't end at that stage. Floyd and Thatcher say, "Middle Age is a time for discovery, not stagnation. It is a time ripe for fresh beginnings - a threshold to a rich stimulating future. If approached with good humour and flexibility, and an openness to change, the middle years and beyond can be the best half of life." Life has many distinct seasons. At each season a woman needs to reassess her values from distinct perspectives. Whether single, married or widowed, she needs to bloom in her own identity, and not be a rubber stamp of her husband or a door mat for her children; nor should she let herself be exploited even by her own family. She too must be a decision maker and pronounce herself when necessary.

Hobbies and new interests make life interesting. "Unlock your creativity," exhorts Ann Morrow Lindbergh. Music, reading, travel, painting are mood elevators.

Good friends are assets in difficult times. They act as confidantes or as sounding boards when one needs to get something off one's chest. They lend preserve in times of stress and depression. Groups like "Emotions Anonymous" help its members to open up and talk about their problems. They learn from each other's experiences and help each other mutually, to redefine their ideas and values. They become happy and confident. Synthetic props like drugs and alcohol are not the answer, neither is an extra marital affair a solution. It may only lead to guilt feelings that are hard to shake off.

Husbands and children must realize that their supportive love can work magic in overcoming midlife crisis. But unless a woman verbalizes her needs and fears, they cannot know.
Finding time for introspection, refusing to condemn one's self for imaginary short comings, and an awareness of the temporary nature of such a crisis, is half way to overcoming it. Habitancy tend to put God last when faced with a crisis. Paul's words in Philippians 3:13 are encouraging. "I am still not all I should be, but I am bringing all my energies to bear out one thing; forgetting the past, and finding to what lies ahead." Prayer surmounts many a crisis.

Midlife is the pre- autumn season of one's life. Autumn is sure to follow, and will light up one's personality with the golden hues of maturity and peace. Life will begin again with a new vision for what is left of the future.

Midlife accident In Women

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Meaning assuredly "a sensitivity to things," mono no aware is a thought describing the essence of Japanese culture, invented by the Japanese literary and linguistic scholar scholar Motoori Norinaga in the eighteenth century, and remains the central artistic imperative in Japan to this day. The phrase is derived from the word *aware*, which in Heian Japan meant sensitivity or sadness, and the word mono, meaning things, and describes beauty as an awareness of the transience of all things, and a diplomatic sadness at their passing. It can also be translated as the "ah-ness" of things, of life, and love.

Bloom Energy

Mono No Aware: The Essence of Japan

Mono no aware gave name to an aesthetic that already existed in Japanese art, music and poetry, the source of which can be traced directly to the introduction of Zen Buddhism in the twelfth century, a spiritual philosophy and practise which profoundly influenced all aspects of Japanese culture, but especially art and religion. The fleeting nature of beauty described by mono no aware derives from the three states of existence in Buddhist philosophy: unsatisfactoriness, impersonality, and most importantly in this context, impermanence.

Mono No Aware: The Essence of Japan

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According to mono no aware, a falling or wilting autumn flower is more gorgeous than one in full bloom; a fading sound more gorgeous than one clearly heard; the moon partially clouded more arresting than full. The sakura or cherry bloom tree is the epitome of this thought of beauty; the flowers of the most renowned variety, somei yoshino, nearly pure white tinged with a subtle pale pink, bloom and then fall within a particular week. The field of a thousand poems and a national icon, the cherry bloom tree embodies beauty as a transient experience.

Mono no aware states that beauty is a subjective rather than objective experience, a state of being ultimately internal rather than external. Based largely upon classical Greek ideals, beauty in the West is sought in the greatest perfection of an external object: a renowned painting, excellent model or intricate musical composition; a beauty that could be said to be only skin deep. The Japanese ideal sees beauty instead as an palpate of the heart and soul, a feeling for and appreciation of objects or artwork--most ordinarily nature or the depiction of--in a pristine, untouched state.

An appreciation of beauty as a state which does not last and cannot be grasped is not the same as nihilism, and can great be understood in relation to Zen Buddhism's philosophy of earthly transcendence: a spiritual longing for that which is infinite and eternal--the source of all worldly beauty. As the monk Sotoba wrote in *Zenrin Kushū* (Poetry of the Zenrin Temple), Zen does not regard nothingness as a state of absence, but rather the affirmation of an unseen that exists behind empty space: "Everything exists in emptiness: flowers, the moon in the sky, gorgeous scenery."

With its roots in Zen Buddhism, *mono no aware* is bears some relation to the non-dualism of Indian philosophy, as connected in the following story about Swami Vivekananda by Sri Chinmoy:

*"Beauty," says [Vivekananda], "is not external, but already in the mind." Here we are reminded of what his spiritual daughter Nivedita wrote about her Master. "It was dark when we approached Sicily, and against the sunset sky, Etna was in limited eruption. As we entered the straits of Messina, the moon rose, and I walked up and down the deck beside the Swami, while he dwelt on the fact that beauty is not external, but already in the mind. On one side frowned the dark crags of the Italian coast, on the other, the island was touched with silver light. 'Messina must thank me,' he said; 'it is I who give her all her beauty.'" Truly, in the absence of appreciation, beauty is not beauty at all. And beauty is worthy of its name only when it has been appreciated.*

The founder of *mono no aware*, Motoori Norinaga (1730-1801), was the pre-eminent scholar of the Kokugakushu movement, a nationalist movement which sought to take off all exterior influences from Japanese culture. Kokugakushu was enormously influential in art, poetry, music and philosophy, and responsible for the revival while the Tokugawa duration of the Shinto religion. Contradictorily, the sway of Buddhist ideas and practises upon art and even Shintoism itself was so great that, although Buddhism is technically an exterior influence, it was by this point unable to be extricated.

Meaning assuredly "a sensitivity to things," mono no aware is a thought describing the essence of Japanese culture, invented by the Japanese literary and linguistic scholar scholar Motoori Norinaga in the eighteenth century, and remains the central artistic imperative in Japan to this day. The phrase is derived from the word aware, which in Heian Japan meant sensitivity or sadness, and the word mono, meaning things, and describes beauty as an awareness of the transience of all things, and a diplomatic sadness at their passing. It can also be translated as the "ah-ness" of things, of life, and love.

Mono no aware gave name to an aesthetic that already existed in Japanese art, music and poetry, the source of which can be traced directly to the introduction of Zen Buddhism in the twelfth century, a spiritual philosophy and practise which profoundly influenced all aspects of Japanese culture, but especially art and religion. The fleeting nature of beauty described by mono no aware derives from the three states of existence in Buddhist philosophy: unsatisfactoriness, impersonality, and most importantly in this context, impermanence.

According to mono no aware, a falling or wilting autumn flower is more gorgeous than one in full bloom; a fading sound more gorgeous than one clearly heard; the moon partially clouded more arresting than full. The sakura or cherry bloom tree is the epitome of this thought of beauty; the flowers of the most renowned variety, somei yoshino, nearly pure white tinged with a subtle pale pink, bloom and then fall within a particular week. The field of a thousand poems and a national icon, the cherry bloom tree embodies beauty as a transient experience.

Mono no aware states that beauty is a subjective rather than objective experience, a state of being ultimately internal rather than external. Based largely upon classical Greek ideals, beauty in the West is sought in the greatest perfection of an external object: a renowned painting, excellent model or intricate musical composition; a beauty that could be said to be only skin deep. The Japanese ideal sees beauty instead as an palpate of the heart and soul, a feeling for and appreciation of objects or artwork--most ordinarily nature or the depiction of--in a pristine, untouched state.

An appreciation of beauty as a state which does not last and cannot be grasped is not the same as nihilism, and can great be understood in relation to Zen Buddhism's philosophy of earthly transcendence: a spiritual longing for that which is infinite and eternal--the source of all worldly beauty. As the monk Sotoba wrote in Zenrin Kushū (Poetry of the Zenrin Temple), Zen does not regard nothingness as a state of absence, but rather the affirmation of an unseen that exists behind empty space: "Everything exists in emptiness: flowers, the moon in the sky, gorgeous scenery."

With its roots in Zen Buddhism, mono no aware is bears some relation to the non-dualism of Indian philosophy, as connected in the following story about Swami Vivekananda by Sri Chinmoy:

"Beauty," says [Vivekananda], "is not external, but already in the mind." Here we are reminded of what his spiritual daughter Nivedita wrote about her Master. "It was dark when we approached Sicily, and against the sunset sky, Etna was in limited eruption. As we entered the straits of Messina, the moon rose, and I walked up and down the deck beside the Swami, while he dwelt on the fact that beauty is not external, but already in the mind. On one side frowned the dark crags of the Italian coast, on the other, the island was touched with silver light. 'Messina must thank me,' he said; 'it is I who give her all her beauty.'" Truly, in the absence of appreciation, beauty is not beauty at all. And beauty is worthy of its name only when it has been appreciated.

The founder of mono no aware, Motoori Norinaga (1730-1801), was the pre-eminent scholar of the Kokugakushu movement, a nationalist movement which sought to take off all exterior influences from Japanese culture. Kokugakushu was enormously influential in art, poetry, music and philosophy, and responsible for the revival while the Tokugawa duration of the Shinto religion. Contradictorily, the sway of Buddhist ideas and practises upon art and even Shintoism itself was so great that, although Buddhism is technically an exterior influence, it was by this point unable to be extricated.

Mono No Aware: The Essence of Japan

Bloom Energy

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Also the attention of this gas varies by seasons due to some factors. So the demand about how carbon dioxide is formed is just easy to answer. The attention of the carbon dioxide will fall during the spring since this is the time when plants are in full bloom and these plants Ant. Eject the carbon dioxide. The attention of the carbon dioxide starts to shoot up once again during fall and winter as this are the times when most plants go dormant, die and these plants decay. But the attention of this gas in the earth's atmosphere is imaginable to rise in the next few years. Because of human activities, the attention of this gas has risen in the last 150 years.

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How Carbon Dioxide is Formed

How carbon dioxide is formed and multiply? This combination increases and the formation of new carbon dioxide can be traced as well to a whole of reasons but it is through human activities that this gas has formed to record levels. Based on some facts, colse to 22 percent of the current atmospheric carbon dioxide can be directly traced to the actions of humans. This gas is formed and produced by animals, plants, fungi and other organisms during their respiration process, and parts of these are absorbed by the plants colse to for photosynthesis to happen. This gas is also formed as a by-product of the combustion process of the fossil fuels in cars.

How Carbon Dioxide is Formed

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Volcanism is other source of this gas on earth. From such natural activity, how carbon dioxide is formed? The emissions that can be traced to volcanic performance are determined as minor in terms of global scale. other event that helped in the formation of the gas is the land-use change. For example, the whole deforestation that is happening right now contributes a needful percentage of the gas. It has been estimated that these changes in land use has led to the emission of at least 1.7 Pg C every year in the tropics. Stationary sources of energy can be partly blamed as well for the formation of carbon dioxide. The production of electricity particularly the coal-burning sector contributes in the generation of the gas. Other sources that are stationary include the commercial sector, the emissions advent from oil extraction, the refinement and the transportation of oil and also the domestic and the commercial fossil fuel use. Aside from stationary sources that can form these gases, mobile sources are great contributors as well. The transport-related production of this gas has been growing for quite some time. These mobile sources include road transport, air and marine transport. Industries as well those are non-energy associated helps in the formation and the creation of this gas. Examples of industries are the lime and the cement factories. And finally biomass burning is a contributor as well.

How Carbon Dioxide is Formed

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From the starting of time, poetry has been a means for citizen to express their deepest emotions and generate curative in ritual and ceremony. In Greek mythology, we know that Asclepius, the God of Healing, was the son of Apollo, god of poetry. Hermes served as messenger in the middle of the two worlds to report in the middle of the gods and humanity. He carried the caduceus, "the winged rod with two serpents intertwined, which has come to be a symbol of the curative profession" (Poplawski, 75). Poems have also been viewed as carriers of messages from the unconscious to the conscious mind. Wherever citizen accumulate to mark a moment, they speak from heart to heart, with poetry.

The Therapeutic advantage of Poetry

In the counseling office, perhaps you have read a poem to a client that seemed to capture an issue she/he was struggling with, gift not only understanding, but hope. After the tragedy of 9/11, the airwaves and internet rang with poems of solace. When war in Iraq was imminent, a website advanced where citizen could send poems expressing their feelings: Poets Against the War. Within days, thousands of poems were posted.

Mary Oliver, in her poem, "Wild Geese," says, "Tell me about despair, yours, and I will tell you mine." (Oliver, 110) Joy Harjo, in "Fire" says. "look at me/I am not a detach woman/I am the continuance/ of blue sky/I am the throat of the mountains." (Harjo, 25) The fourteenth century Persian poet Lala speaks about poetry:

I didn't trust it for a moment
but I drank it anyway,
the wine of my own poetry.

It gave me the daring to take hold
of the darkness and tear it down
and cut it into exiguous pieces. (Barks, 11)

These are lines to carry in our hearts, because they open us to beauty, a sense of self, healing, truth, and human connection, and all this in just a few words!

At conception, we are born to the rhythm of the heart, growing in the fluid darkness until one day we stretch our way into light. With our first cry, we make our first poem, a sound that reverberates in our mother's heart, and when she cries in response, we hear our first poem. And so it continues, the voices of those who care for us transport all of the emotions we will come to know as our own, words, that if written down, would be poetry. It's that simple. Poetry is giving sound and rhythm to silence, to darkness, giving it a shape, turning it to light. When we read a poem that speaks to our experience, there is a shift, a click within. Someone has understood our darkness by naming their own. We feel less alone. Therapeutically, the "I" of us gathers energy and insight. Our world expands.

The following poem illustrates the thought of writing a poem to give darkness and suffering a voice. It was written by a participant in Phyllis' poetry therapy group, part of an oppressive day medicine agenda for women addicted to alcohol and drugs. This poem states the truth of the author's sense in a haunting and gorgeous way, giving the reader the occasion to report to what it feels like to be "broken."

Today I didn't care
whether or not they stared
didn't have time to put on airs.

Yesterday was a separate story
wanted to look like a morning glory
fresh and absorbing couldn't tell
I was up all night.

Sometimes I can hide behind
my colored lines other times
I feel like a stained glass
window that's just been shattered
pretty pieces everywhere. (Klein, 16)

Rather than diminish the excellence of the poet's art, the poetry therapist enhances it. Poet Gregory Orr, in his book Poetry and Survival says "...the elaborative and intense patterns of poetry can...make citizen feel safe...the mammoth disordering power of trauma needs or demands an equally grand ordering to consist of it, and poetry offers such order" (Orr, 92). Poetry structures chaos.

Dr. James W. Pennebaker, one of the most widely published researchers on the benefits of writing, says in his book, occasion Up: The curative Power of Expressing Emotions, that writing about emotional topics improves the immune ideas by reducing "stress, anxiety and depression, improves grades in college (and) aids citizen in securing new jobs." (Pennebaker, 40). "Disclosing secrets beneficially reduces blood pressure, heart rate, and skin conductance." (Pennebaker, 52). Gregory Orr says that when we share secrets "we take a small step from survival to healing; a step analogous to the one a poet makes when he or she shares poems with an additional one reader or an audience." (Orr, 88)

In a therapeutic environment, the trained facilitator addresses the curative elements of poetry: form and shape, metaphor, metamessage, the words chosen, and the sounds of the words together (alliteration and assonance). These elements, in connection with each other, carry the weight of many feelings and messages at once, creating a link from the incommunicable internal world to external reality, from the unconscious to the conscious.

Because a poem has a border, a frame, or structure, as opposed to prose, the form itself is a safety net. Strong emotions will not run off the page. A poetry therapist might ask his/her clients to draw a box in the center of the paper and write the words inside. Metamessage implies the capability to carry some messages in one line that "strike at deeper levels of awareness than overt messages" (Murphy, 69). Straight through the capacity to transport multi-messages, clients are able to sense merging as well as individuation/separation. The poem allows for a trial disjunction and then a return to the therapist for merging and "refueling" Straight through the therapist's insight of the poem. If the therapist says he/she appreciates a particular metaphor and how the words flow, the client feels loved and heard. In reading a poem aloud, the client may come to be caught up in his/her own rhythms and feel caressed.

An foremost examine students of poetry therapy ask is how to find the right poem to bring to a group or individual. The best poems to start with are those that are understandable, with clear language, and a strong theme, as well as emotions that reflect some hope. an additional one considerable element is that the poem must resonate with the mood and/or situation of the group or individual. This is called the isoprinciple, a term also used in music therapy for the same purpose. Dr. Jack Leedy says that "the poem becomes symbolically an understanding- someone/something with whom he/she can share his/her despair" (Leedy, 82)

A woman in Perie's cancer/poetry keep group recently published a book of her poems and writings titled, I Can Do This: Living with Cancer-Tracing a Year of Hope. This title contains the considerable word hope, for that is what we need in our lives to keep us and heal. In her poem. "The Uninvited Guest," Beverley Hyman-Fead writes:

I feel fortunate my tumors came to me
in the fall of my life...
I'm grateful for this uninvited wake-up call, ...
Would I have appreciated the gorgeous
images the moon makes in the still of the night?
No, I have my tumors to thank for that. (54)

She was able to write this poem in response to a Rumi poem called "The Guest House." This poem, written so long ago, reframes the meaning of suffering saying:

This being human is a guest house,
Every morning a new arrival.

A joy, A depression, a meanness....

Welcome and entertain them all!
Even if they're a crowd of sorrows...

Be grateful for whoever comes,
because each has been sent
as a guide from beyond. (Barks, 1995, 109)

Perie chose this poem to bring to the cancer keep group because it might engage the attention of the group members, perhaps to think about how their illness was a "guide," and what they had learned about themselves in the struggle. an additional one foremost response might be: "This makes me so angry! How could I ever want to invite in the darkness?" whatever the emotional reaction, the poem is a catalyst for helping the reader to access and express feelings in a supportive, safe environment. Reading a poem a second time helps the client feel even more deeply the content and emotion. Also, lines spoken artlessly will often form the first lines of poems.

After a poem is read, the therapist might then ask participants for lines in the poem that speak to them, or to which lines they are most drawn. This might be followed by questions for conference of an emotional nature. Considering the Rumi poem, the therapist might propose they discuss: What am I to sense in this life? What am I not absorbing in? How can my place of work or home be a Guest House? How is the Guest House like your heart? Comments center colse to what the poem emotionally means to the reader, not what the poem means intellectually. Straight through group discussion, time to write and read what was written in the group, both members and facilitator can learn to think differently, perhaps applying newly formed concepts to existing behaviors and attitudes.

For instance, if one has felt like he/she was victimized by illness, Straight through conference and writing of this or an additional one pertinent poem, she/he might be enabled to begin reasoning about how to move toward acceptance. Even writing about rage toward illness is an foremost step. There is a starting of some resolution within the poem. Rumi says to be grateful, and in her poem, Beverley, who is far along in her emotional curative process, is able to thank her illness, which gives her hope.

Another kind of curative that poems can furnish is descriptive by poems written in response to the other. Here are excerpts from poems that Perie and Phyllis wrote:

Maybe angels are

mistakes
corrected,
old times resurrected, misguided love
back on policy to lift the inner flute...
The moon is ripe with hope

but don't look there, angels hover
at elbow bend, in the middle of your toes
rows of them, wings of leaves or breeze...
Notice when they arrive
how their wings vary,
some traditional-fully feathered...
others blossomed like heather...

There are those with only goosebumps
not always on the back,
and some no wings at all,
just scratched knees trying to get off the ground.
- Perie Longo

Phyllis responded:

Maybe angels
were with me the day
my sister and husband were run down
on the road in New York, guided my
thoughts to what it would feel like to get hit
as I crossed the road in San Francisco.

Surely angels, familiar with misfortune
and crisis rooms,
watched as my sister and her husband,
almost as big as a small
bear, stepped off the curb, his size what saved them.

Accident angels hovered, caressed, willed them
to survive. Saw the ambulance come.

Did friendship angels, familiar with compassion and coincidence,
know I wouldn't be told for a week?
Did they bring me to the sangha* and the teacher who spoke
about bearing unbearable pain?

Perhaps they remember what it was like to walk,
have shoulders without wings.
Do they know when humans will enter the next life,
and when the unopened tulips
on my table will bloom, die, resurrect?

*sangha-a Buddhist congregation

Gregory Orr talks about "The Two Survivals"-survival of the poet, in that the poet struggles to engage with the disorder to write a poem, and in the act of writing, "bring order to disorder." The other survival is that of the reader, who connects with poems that "enter deeply into" him or her, foremost to "sympathetic identification of reader with writer." (Orr, 83-84) This kind of connection can be heightened with direct dialogue because the reader and writer cross back and forth from one role to the other, deepening the possibility for empathy and sympathetic identification.

To explicate this concept, we return to the two poems we wrote about angels. Perie wrote her poem when her daughter was going Straight through a very difficult period. For Perie, the whole poem is for her daughter whose nickname was "angel-pie." The last three lines of the poem, and some no wings at all /just scratched knees/trying to get off the ground, is a message to encourage and empower her daughter, and more broadly for whatever who is feeling discouraged, traumatized, or troubled. When Phyllis received Perie's poem, she took the theme of angels and wrote her own house story about terrible pain and hope. The poems transcend the theme of angels because there is an even deeper content here-the theme of lowly citizen becoming heroes, and the rebirth and reconciliation that can come from tragedy. Also, as is often the case with poetry, there is an unconscious connection as both authors write about family.

In speaking about poetry, it is also foremost to recognize that it can be an intimidating form of expression, carrying with it a need for perfection or a feeling like "I could never write a poem-my writing isn't good enough." In poetry therapy with groups or individuals, poems are never edited. Editing belongs in a poetry-for-craft setting. The objective of poetry therapy is to use the poem as an entry point for the writer, and it is a helpful way to work with transcendence of the inner editor, that resides in us all. To address a way to think about writing poetry, we turn to the words of our colleague, Robert Carroll, Md, who writes,

Read it aloud
pass it Straight through your ears
enjoy the
ride and
know
the discrepancy in the middle of poetry and prose
is that poetry is broken
into lines-
that is all.
(Carroll, 1)

Anyone can write poetry! It is our natural right and human instinct. All we have to do is allow the words to move and inspire us. The National connection for Poetry Therapy (Napt): Promoting increase and curative Straight through language, symbol, and story (http://www.poetrytherapy.org), has much beneficial facts on its website including more examples of how to use poetry therapy with clients. We, in the Association, are like-minded psychiatrists, psychologists, college professors, collective workers, marriage and house therapists, and educators-all of us are also poets, journal writers, and storytellers who have experienced curative Straight through the written and spoken word, and want to share it with other clinicians as a skill they might like to develop. Poetry for self-expression and curative is used with mothers, children, and adolescents; battered women, the elderly, the depressed, the suicidal; those living with final illness, the bereaved, those with Hiv, the mentally ill, and now hurricane victims and soldiers returning from Iraq who suffer post traumatic stress. We also change poems with each other, over the country, that have been efficient in helping others heal. This change continues the curative rhythm and heart of poetry therapy.

As Jelaluddin Rumi says:

Out Beyond ideas of wrongdoing and right doing there is a field. I'll meet you there. (Barks, 1995, 36 )

Let's find each other along the way.

References

Barks, C. (tr.) (1992). Naked Song. Maypop Books.
Barks, C. (tr.) with John Moyne. (1995). The considerable Rumi. Ny: Castle Books.
Barks, C. (tr.) and Green, M. (1997). The Illuminated Rumi. Ny: Broadway Books.
Carroll, Robert, Md, (2005) "Finding Words to say it: The curative Power of Poetry" eCam 2005:2(2)161-172.
Harjo, Joy, (2002), How we Became Human, Ny: W.W. Norton and Company.
Hyman- Fead, B. (2004) I can do this/ Living with cancer: tracing a year of hope. Santa Barbara Cancer Center: Wellness agenda Publishing.
Klein, Phyllis, ed. (2001). Our Words-The Women of Lee Woodward center Speak Out, Sf: Phyllis Klein and Women and Children's Family.
Leedy, J.J. (Ed.). (1985) Poetry as healer: Mending the troubled mind. Ny: Vanguard. Orr, G. (2002) Poetry as survival. Athens, Ga: The University of Georgia Press.
Murphy, J. M. (1979). The therapeutic use of poetry in Current Psychiatric Therapies, vol. 18. Jules Masserman, ed. Ny: Grune & Stratton, Inc., pp. 65-72.
Oliver, M. (1993). Wild geese. New and excellent poems. Boston: Beacon Press.
Pennebaker, J. (1990) occasion Up: The curative power of expressing emotions. Ny: Guilford Press.
Poplawski, T. (1994) Schizophrenia and the Soul in The Quest, August, 74-79.

"This description appeared in the July/August 2006 issue of The Therapist, the publication of the California connection of Marriage and house Therapists (Camft), headquartered in San Diego, California. This description is copyrighted and been reprinted with the permission of Camft. For more facts with regard to Camft, please log on to http://www.camft.org."