Don’t gesticulate with your hands or make faces when speaking, the teachers at my British boarding school told me. It’s vulgar. I’m sure that this enjoinder at such an impressionable age imbued my poems with reticence and austerity.
But poetry has a body language. The poet’s way of breathing supplies oxygen to the body and to the poem. The poet’s way of walking and talking is inherent in the poem. I knew a poet who walked like the prow of a ship cutting through waves, the bone in its teeth, as sailors say, and that how her poems walked and talked.
The body language of a poem is also shaped by the script used in its writing. If it was first written by hand the poet’s hand, the stops and starts, the way I’s are dotted and t’s crossed, lives in the poem. If the poem was first typed, the…
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