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https://www.9thstreetbooks.com/how-to-get-a-library-card-online/

Canadian author Robert J. Sawyer FACTORING HUMANITY

Quote from reading Factoring Humanity: "Maybe the reason we sleep so much is that that's when we interact most closely with the overmind. Maybe dreams occur while our daily individual experiences are being uploaded to the overmind. It can kill you, you know--not dreaming. You can get all the rest in the world, but if you take chemicals that prevent you from dreaming, you'll die; that contact 'is' essential." Plays with Roger Penrose's theories of consciousness and Michael Persinger's experimental neuropsychology. He also refers to Philip Lieberman, who questioned Noam Chomsky's theories, and who wrote EVE SPOKE. As with another of my favorite authors, Richard Powers, Sawyer has explored multiple disciplines and done the research to find the juxtaposition point between and wrapped it all in compelling narrative for his readers' delight.

Canadian Authors Engel and Monro

Reading Marian Engel's THE GLASSY SEA after just finishing Alice Monro's TOO MUCH HAPPINESS. A quote I love from Engel: Time wins me away from the diamond of the soul. Said in reference to her character's spiritual experience while becoming a nun. Reading these two Canadian authors back to back paints a portrait of what it meant to be a young girl growing up in Canada between the Wars against a landscape of not just the harsh winters, but also the sweet, seductive brevity of summer. More Quotes from The Glassy Sea: "Life, I decided, is a sentence between brackets: these brackets must be seen to contain what is, not what might have been." and "If there's no absolute truth, you might as well go for what you want."

Book Matching

https://www.bookmatcher.app/how-it-works

Book Retreats

https://www.businesstraveller.com/lifestyle/how-to-fix-burnout-skip-the-spa-try-a-book-butler/

Leonora Carrington autobiography DOWN BELOW

https://onlinereadfreenovel.com/leonora-carrington/315580-down_below_read.html

medhum.org

Medhum.org

https://medhum.org/topics/#topic-tags

Will need to correct the broken link to NYU's database.

Does not seem to be as useful, or as compelling, as the original.

Reading Fiction and the Unconscious

by Simon O. Lesser

Published in 1957

LC 57-9091

Contents:

I. The Nature of the Inquiry

(Introducing psychoanalytical grounding for why fiction matters: didactic and mimetic intentions of the author.)

"By and large psychoanalytic interest in literature has run backward, from the work of art to its creator, whereas ours will flow forward, from the work of art to the reader."

II. The Reader of Fiction

Freud: the meager satisfaction that we extract from reality leaves us starving

(Fiction enables us to satisfy needs frustrated by reality.)

III. The Materials of Fiction

IV. The Appeals to the Parts of the Psyche

V. The Functions of Form

VI. The Language of Fiction

VII. Movement and Other Resources of Form

VIII. The Process of Response

IX. Conscious and Unconscious Perception

X. Participation and the Pathways to Satisfaction

XI. Tragedy, Comedy and the Esthetic Experience

Reading Recovery

https://www.academia.edu/78372467/Reading_for_Recovery_R4R_Bibliotherapy_for_addictions?email_work_card=reading-history 

 The Center of Alcohol Studies (CAS) Library at Rutgers University developed "Reading for Recovery" (R4R), an open-access online resource designed to bridge the gap between individuals struggling with substance abuse and expert-vetted literature. Funded by an ALA Carnegie-Whitney grant, the project utilizes bibliotherapy—the use of books to address therapeutic needs—by combining clinical self-help materials with broader literary works. 

 The initiative aims to empower librarians and addiction counselors with a searchable tool to support recovery, which is viewed as a continuous process rather than a discrete event. The R4R collection includes titles that are professionally reviewed and available in public or academic libraries, disseminated via a LibGuide and social networks like Goodreads and LibraryThing. 

 Sample from Appendix

The abbreviated version of the short story F. Scott Fitzgerald, “Sleeping and Waking” with questions, as used at the conference bibliotherapy workshop F. Scott Fitzgerald, “Sleeping and Waking” 

When some years ago I read a piece by Ernest Hemingway called Now I Lay Me, I thought there was nothing further to be said about insomnia. I see now that that was because I had never had much; it appears that every man’s insomnia is as different from his neighbor’s as are their daytime hopes and aspirations. […] 

With a man I knew the trouble commenced with a mouse; in my case I like to trace it to a single mosquito. […] 

It is astonishing how much worse one mosquito can be than a swarm. A swarm can be prepared against, but one mosquito takes on a personality – a hatefulness, a sinister quality of the struggle to the death. 

This personality appeared all by himself in September on the twentieth floor of a New York hotel, as out of place as an armadillo. He was the result of New Jersey’s decreased appropriation for swamp drainage, which had sent him and other younger sons into neighboring states for food. 

The night was warm – but after the first encounter, the vague slappings of the air, the futile searches, the punishment of my own ears a split second too late, I followed the ancient formula and drew the sheet over my head. And so there continued the old story, the bitings through the sheet, the sniping of exposed sections of hand holding the sheet in place, the pulling up of the blanket with ensuing suffocation – followed by the psychological change of attitude, increasing wakefulness, wild impotent anger – finally a second hunt. 

This inaugurated the maniacal phase – the crawl under the bed with the standing lamp for torch, the tour of the room with final detection of the insect’s retreat on the ceiling and attack with knotted towels, the wounding of oneself – my God! – After that there was a short convalescence that my opponent seemed aware of, for he perched insolently beside my head – but I missed again. 

At last, after another half hour that whipped the nerves into a frantic state of alertness came the Pyrrhic victory, and the small mangled spot of blood, my blood, on the headboard of the bed. As I said, I think of that night, two years ago, as the beginning of my sleeplessness – because it gave me the sense of how sleep can be spoiled by one infinitesimal incalculable element. It made me, in the now archaic phraseology, “sleep-conscious.” 

I worried whether or not it was going to be allowed me. I was drinking, intermittently but generously, and on the nights when I took no liquor the problem of whether or not sleep was specified began to haunt me long before bedtime. 

A typical night (and I wish I could say such nights were all in the past) comes after a particularly sedentary work-and-cigarette day. It ends, say, without any relaxing interval, at the time for going to bed. All is prepared, the books, the glass of water, the extra pajamas lest I awake in rivulets of sweat, the luminol pills in the little round tube, the note book and pencil in case of a night thought worth recording. (Few have been – they generally seem thin in the morning, which does not diminish their force and urgency at night.) 

I turn in, perhaps with a night-cap – I am doing some comparatively scholarly reading for a coincident work so I choose a lighter volume on the subject and read till drowsy on a last cigarette. At the yawning point I snap the book on a marker, the cigarette at the hearth, the button on the lamp. I turn first on the left side, for that, so I’ve heard, slows the heart, and then – coma. 

So far so good. From midnight until two- thirty peace in the room. Then suddenly I am awake, harassed by one of the ills or functions of the body, a too vivid dream, a change in the weather for warm or cold. The adjustment is made quickly, with the vain hope that the continuity of sleep can be preserved, but no – so with a sigh I flip on the light, take a minute pill of luminol and reopen my book. 

The real night, the darkest hour, has begun. I am too tired to read unless I get myself a drink and hence feel bad next day – so I get up and walk. […] 

Back again now to the rear porch, and conditioned by intense fatigue of mind and perverse alertness of the nervous system – like a broken-stringed bow upon a throbbing fiddle – I see the real horror develop over the roof-tops, and in the strident horns of night- owl taxis and the shrill monody of revelers’ arrival over the way. 

Horror and waste – – Waste and horror – what I might have been and done that is lost, spent, gone, dissipated, unrecapturable. I could have acted thus, refrained from this, been bold where I was timid, cautious where I was rash. I need not have hurt her like that. Nor said this to him. Nor broken myself trying to break what was unbreakable 

The horror has come now like a storm – what if this night prefigured the night after death – what if all thereafter was an eternal quivering on the edge of an abyss, with everything base and vicious in oneself urging one forward and the baseness and viciousness of the world just ahead. No choice, no road, no hope – only the endless repetition of the sordid and the semi-tragic. Or to stand forever, perhaps, on the threshold of life unable to pass it and return to it. 

I am a ghost now as the clock strikes four. On the side of the bed I put my head in my hands. Then silence, silence – and suddenly – or so it seems in retrospect – suddenly I am asleep. 

Sleep – real sleep, the dear, the cherished one, the lullaby. So deep and warm the bed and the pillow enfolding me, letting me sink into peace, nothingness – my dreams now, after the catharsis of the dark hours, are of young and lovely people doing young, lovely things, the girls I knew once, with big brown eyes, real yellow hair. […] 

Irresistible, iridescent – here is Aurora – here is another day. 

DISCUSSION QUESTIONS 

1. Reread the first paragraph. What might be different about each person’s insomnia? What might be similar enough that the narrator can make generalizations, or hope that readers might recognize their own insomnia in his (as he seems to have with Hemingway’s Now I Lay Me)? 

2. Why does the mosquito disrupt the narrator’s ability to sleep? Why has the effect of that night lasted? 

3. What might it mean for the narrator to regret having “broken myself trying to break what was unbreakable”? 

4. What kind of relationship does the narrator seem to have to sleep? What kind of promise does it have for him? What does he crave about it? 

5. Drinking comes up here in an interesting context. Where is it? What does he use it for? 

6. Why might this story be relevant to the process of addiction and recovery? Is insomnia similar to addiction, or potentially connected?

Poetry

https://poemanalysis.com/poetic-form/

https://wordwool.com/types-of-poems/

Dream Database

https://sleepanddreamdatabase.org/

Walrus

 https://thewalrus.ca/bibliotherapy/

Bibliotherapy is a therapeutic practice that uses literature to help individuals cope with life challenges and mental distress. It is divided into clinical bibliotherapy, conducted by certified therapists, and nonclinical bibliotherapy, often facilitated by librarians. Proponents and cognitive science research suggest that fiction allows readers to objectively process their emotions by identifying with characters, potentially increasing empathy and reducing stress. While the practice has a long history dating back to eighteenth-century asylums and is more widespread in the UK, it remains a niche field in Canada, where there is no formal licensing organization. Practitioners like Hoi Cheu use tailored reading lists to create a "cocooned space" for clients, such as Anne Boulton, to explore personal issues more gently than in traditional therapy.

Caitlin R. Kiernan LiveJournal

https://greygirlbeast.livejournal.com

Kiernan

Neuroscience of Reading

 

https://files.blogs.baruch.cuny.edu/wp-content/blogs.dir/5209/files/2017/01/Armstrong-How-Literature-Plays-with-the-Brain.pdf

Neuroscience and Arts

https://www.brainfacts.org/neuroscience-in-society/the-arts-and-the-brain

Feminist Fiction Recommended Titles (in process)

Woman on the Edge of Time Small Changes City of Darkness, City of Light Sex Wars Native Tongue Female Man Golden Notebook Memoirs of a Survivor Briefing for a Descent Into Hell Handmaid's Tale Edible Woman Surfacing I Know Why the Caged Bird Sings Temple of My Familiar Mists of Avalon Joy Luck Club Woman Warrior Red Tent Orlando Room of One's Own Kindred Parable of the Sower Wide Sargasso Sea Gate to Women's Country Middlemarch Fear of Flying Clan of the Cave Bear Fingersmith Tipping the Velvet Foxfire Girl, Interrupted Delta of Venus Diviners Stone Angel Fire-Dwellers Devil's Arithmetic Diamond Age As We Are Now Bellwether Red Azalea Fight Night

Alan Watts Out of Your Mind

You are continuous with the universe.

This moment is eternity.

 

https://www.youtube.com/watch?v=fcPWU59Luoc

Poetic Forms

https://wordwool.com/types-of-poems/

books that changed my life: in progress

Reading the Book that Changed My Life: 71 remarkable writers celebrate the books that matter most to them,

Has inspired this beginning of a list:

1. At 9, not the first adult novel I had read, but the first from the adult section in the public library, for which I was reprimanded when I was hungry and clueless enough to ask the librarian where I would find more books by Margaret Mitchell.

2. Siddhartha by Herman Hesse

At 18, opened up the world in a way that travel up, until this point, had only imagined. I have read all of Hesse since then and yet they all remain part and parcel of that one thin paperback novel.

3. At 13 Wuthering Heights by Emily Bronte indirectly addressed the idea that one's passion may not be one's destiny. Choice comes into play even when every hormone in the body screams otherwise. Letting the tall, dark and handsome, broody one get away is often the only way to keep what's you for yourself. Controlled passion became a theme throughout my teen years to which I adhered somewhat successfully to greater and lesser degrees, and now largely defines my sexuality.

4. Virginia Woolf's ORLANDO redefined social expectations in my 20's when I realized that the hardcore feminists, who had insisted I must be a lesbian to be a feminist, were self-serving  in their proclamation. Loving the male and female parts of myself equally, for different reasons, was part of loving myself, regardless of the social pressures from either side of the divide to affix a label.

5. In my 30's it was Joseph Gold's READ FOR YOUR LIFE that gave my reading purpose. I learned with great disappointment that Reader Response Theory had gone out of fashion by the time I was studying literature at university, but without calling it that, Gold's book was a master's class in the process of reading as a form of self-analysis to which I continue to adhere.

6. Though introduced to scifi in my 30's by DUNE and Delaney, it wasn't until my 40's that I really acknowledged genre fiction as literary. ISLAND by Huxley was the clincher and so many others many others now besides. Margaret Atwood's SURFACING had made an earlier impression but HANDMAID'S TALE was next level.

5. By my 50's, I was a librarian and THE DIAMOND AGE by Neal Stephenson gave me glimpse into a new world of information rich living. Suzette Hagen Elgin https://en.m.wikipedia.org/wiki/Native_Tongue_(Elgin_novel)

6. My 60's turned the tables and writing became part of my reading experience to a much greater degree. Journals and memoirs became sources of information pointing me back to my 20's when I first encountered Doris Lessing and Ana's Nin, my 30's with Marge Piercy. Re-Discovering Octavia E. Butler, having read her vampire series earlier but re-visiting her Cassandra-like vision of 2024 in the Parable series.

Positivity Meter

Perhaps a useful tool for determining if your self-prescribed bibliotherapy is working :) http://www.positivityratio.com/single.php https://greatergood.berkeley.edu/article/item/are_you_getting_enough_positivity_in_your_diet Now one interesting fact about all living things is that scientists estimate that, on average, we replace one percent of our cells each day. That’s another one percent tomorrow, about 30 percent by next month, and by next season, 100 percent of our cells from today—that’s one way of looking at it. So maybe it’s no coincidence that it takes three months or so to learn a new habit or to make a lifestyle change; maybe we need to be teaching our new cells because we can’t teach an old cell new tricks. We’ve concluded that a ratio of at least three-to-one—three positive emotions for every negative emotion—serves as a tipping point, which will help determine whether you languish in life, barely holding on, or flourish, living a life ripe with possibility, remarkably resilient to hard times. Ratios of about two-to-one are what most of us experience on a daily basis; people who suffer from depression and other emotional disorders are down near one-to-one or lower. If you make your motto, “Be positive,” that will actually backfire. It leads to a toxic insincerity that’s shown to be corrosive to our own bodies, to our own cardiovascular system. It’s toxic for our relationships with other people.

Stone of Patience mythology

https://archive.blogs.harvard.edu/tatar/2018/09/29/silence-stones-of-patience-and-storytelling/

GAGE 1st Wave Feminist

https://www.gutenberg.org/files/45580/45580-h/45580-h.htm https://susanbanthonyhouse.org/blog/wp-content/uploads/2017/07/Matilda-Joslyn-Gage-WNLC-1890.pdf

Poem by Jackie Kay "Rubble"

consciousness poems from poemanalysis.com

https://poemanalysis.com/poems-about/mind/

Bartleby as poetry resource

https://www.bartleby.com/lit-hub/index-to-subjects/

1st Terry Pratchet

EQUAL RITES

"If a thing's worth doing, it's worth doing badly."

Words to live by for any would-be artist.

And,

"...a little knowledge is a dangerous thing, but it is not one half so bad as a lot of ignorance."

To remember when confronted by one's own or another's dogma.

Or the lack of agency inherent in a situation beyond your control.

"Sometimes you just have to go the way things take you."

Wisdom for wonderlings:

"The important thing about magic is how you don't use it."

"Coruscate" does seem to describe Pratchet's light touch with fiction.

https://tvtropes.org/pmwiki/pmwiki.php/Main/FictionalColour?origin=serp_auto

"Conversation" with ChatGPT on Writer's Block

https://chatgpt.com/share/41ac8582-77d0-4b81-b783-753c639f9eee Limbic System and Writer's Block April 28, 2024 This conversation may reflect the link creator’s personalized data, which isn’t shared and can meaningfully change how the model responds. You said: How does the mid or mammalian brain contribute to writers block? ChatGPT said: ChatGPT Writer's block can be caused by a complex interplay of psychological and neurological factors. While it is not directly related to a single part of the brain, the "mid" or "mammalian" brain—commonly referred to as the limbic system—plays a significant role in emotions and memory, which can contribute to the experience of writer's block. Here's how: Emotional Responses: The limbic system is responsible for processing emotions, including anxiety and stress. When a writer experiences high levels of anxiety or fear (such as fear of failure or fear of criticism), it can activate the limbic system, leading to increased stress hormones like cortisol. This emotional response can lead to avoidance behaviors, such as avoiding writing altogether, and can impair creative thinking. Memory and Associations: The limbic system includes the hippocampus, which is crucial for memory formation and retrieval. If a writer has had negative experiences related to writing—such as harsh feedback, failure, or rejection—these memories might be triggered by the act of writing, leading to emotional distress and contributing to writer's block. Fight-or-Flight Response: The limbic system is involved in the body's fight-or-flight response. If the brain perceives writing as a threat due to the stress it may cause, this system can trigger a state of heightened alertness, diverting energy and focus away from creative tasks like writing. To manage writer's block stemming from these limbic system responses, writers can consider strategies to mitigate stress and emotional tension. This might include mindfulness techniques, relaxation exercises, establishing a calming writing environment, or reframing negative thoughts about writing. Building positive associations with writing by setting small, achievable goals and rewarding oneself can also help rewire the brain's emotional responses to writing tasks. You said: Neurologically, how and why do these strategies work? ChatGPT said: ChatGPT Strategies to manage writer's block work neurologically by targeting different pathways and systems in the brain to reduce stress, improve focus, and rewire negative associations with writing. Here's how and why these strategies work: 1. Mindfulness and Relaxation Techniques Mechanism: Mindfulness practices, such as meditation or deep breathing exercises, activate the parasympathetic nervous system, which counters the stress response triggered by the limbic system. Benefits: By calming the mind and reducing cortisol levels, mindfulness can decrease anxiety and improve concentration. This leads to a more relaxed state, reducing the emotional barriers that contribute to writer's block. 2. Creating a Calming Environment Mechanism: The brain is sensitive to environmental cues, which can either trigger stress responses or create a sense of safety and comfort. Benefits: A quiet, organized, and pleasant environment can signal to the brain that it's a safe space, reducing the fight-or-flight response. This can lower stress levels, helping writers feel more at ease and more likely to engage in creative thinking. 3. Reframing Negative Thoughts Mechanism: The brain has a tendency to ruminate on negative experiences, which can create neural pathways that reinforce fear and avoidance. Cognitive reappraisal or reframing can help break these patterns. Benefits: By consciously reinterpreting negative thoughts and replacing them with positive or constructive ones, writers can weaken the associations between writing and stress. This can lead to the formation of new neural pathways, reducing the emotional impact of negative memories and promoting a more positive mindset. 4. Setting Achievable Goals and Rewards Mechanism: Dopamine, a neurotransmitter associated with motivation and reward, plays a key role in reinforcing behaviors. By setting small goals and rewarding oneself upon achieving them, the brain's reward system is activated. Benefits: As writers complete small tasks and receive positive reinforcement, their brain releases dopamine, creating a sense of accomplishment and motivation. This can encourage continued engagement with writing and reduce the impact of writer's block. 5. Building Positive Associations Mechanism: The brain's associative learning system connects experiences with emotions. Creating positive experiences around writing can rewire the brain's connections. Benefits: Engaging in enjoyable activities before or after writing, or associating writing with things that bring joy (like a favorite song or a comfortable space), can help create positive associations. This can lead to a decrease in anxiety and an increase in willingness to write. These strategies work by engaging different neurological systems to lower stress, boost motivation, and create new, positive associations with the writing process. By addressing both the emotional and cognitive aspects of writer's block, writers can gradually overcome these barriers and improve their ability to write consistently. You said: What if the block stems from the content itself? If the writer cannot say what they want to say because of subconscious material? ChatGPT said: ChatGPT When writer's block stems from subconscious material or content that a writer finds difficult to express, it suggests a deeper emotional or psychological barrier. This type of block can occur when a writer is attempting to explore themes or subjects that are emotionally charged, traumatic, or conflict with their internal beliefs and values. Here are ways to address this specific type of writer's block, along with the underlying neurological reasons: 1. Journaling and Free Writing Mechanism: Free writing allows for expression without judgment, bypassing conscious restrictions and enabling subconscious thoughts to surface. Benefits: By writing without a specific structure or goal, writers can access deeper emotions and memories. This can help uncover the underlying sources of resistance, providing a non-judgmental space to explore complex feelings. 2. Therapeutic Approaches Mechanism: Working with a therapist or counselor can help uncover subconscious blocks by exploring personal history, trauma, or unresolved emotions. Benefits: A therapist can guide the writer through difficult emotions, providing tools to process and integrate them. This process can alleviate the subconscious resistance to certain topics, allowing the writer to access their material more freely. 3. Symbolism and Metaphor Mechanism: Using symbolism and metaphor can act as a buffer between raw emotions and their expression, allowing for a more indirect exploration of difficult subjects. Benefits: By using figurative language, writers can express complex or sensitive ideas without confronting them head-on. This can help break down resistance to certain themes and facilitate a gradual approach to the deeper content. 4. Reframing and Perspective Shifts Mechanism: Changing the point of view or the narrative framework can help disarm emotional blocks by providing a different lens through which to view the material. Benefits: Shifting perspective (e.g., writing from a different character's point of view) can allow the writer to explore difficult topics in a less threatening way. This can provide emotional distance, making it easier to address subconscious material. 5. Visualization and Mindfulness Mechanism: Visualization exercises can help writers connect with their subconscious and explore difficult emotions in a controlled way. Benefits: By visualizing a safe space or a supportive guide, writers can create an internal environment conducive to exploring challenging topics. This can help reduce anxiety and build confidence in confronting subconscious material. Neurologically, these approaches work by engaging different parts of the brain to process complex emotions, reduce stress, and create safe pathways to explore sensitive topics. By providing a framework to approach subconscious material, these strategies can help writers break through their block and find a way to express what they need to say. You said: Describe how writing through the block, and/or addressing the block can provide a catharsis for both writer and reader. ChatGPT said: ChatGPT Writing through a block, especially when it arises from confronting emotionally intense or sensitive material, can be a deeply cathartic process for both the writer and the reader. This catharsis emerges from the act of facing, processing, and expressing difficult emotions or experiences through writing, and can have profound psychological benefits. Here's how and why it happens: 1. Processing Emotions Mechanism: Writing provides a structured way to process emotions. When a writer engages with their block and explores the underlying reasons for it, they begin to confront and articulate their thoughts and feelings. Benefits: By processing emotions through writing, the writer can gain a clearer understanding of their inner world. This can lead to a sense of relief or release, reducing the emotional weight that contributed to the block in the first place. 2. Expressing Repressed Thoughts Mechanism: Blocks often arise when a writer is dealing with thoughts or memories that are difficult to express. Writing through the block can bring these repressed elements to the surface, allowing the writer to give them form and voice. Benefits: Expressing repressed thoughts can be liberating. It can help the writer release pent-up tension and move past emotional barriers. This process can also help them identify and work through any unresolved issues or trauma. 3. Creating a Sense of Closure Mechanism: By writing through the block, the writer is able to create a narrative that has structure and coherence, which can contribute to a sense of closure or resolution. Benefits: This closure can be emotionally satisfying, providing a way to move forward from the emotions or experiences that caused the block. It can also enable the writer to turn a personal struggle into something meaningful and complete. 4. Empathy and Connection Mechanism: Writing through difficult subjects not only helps the writer but can also create a connection with the reader. When readers identify with a writer's experience, it can evoke empathy and a sense of shared humanity. Benefits: For the reader, experiencing the writer's catharsis through their words can lead to their own emotional release. It can validate their own feelings and experiences, fostering a sense of connection and understanding. 5. Transforming Pain into Art Mechanism: Turning personal struggles into art can transform pain into something beautiful or meaningful. This act of creation can provide both the writer and reader with a sense of purpose and transcendence. Benefits: For the writer, this transformation can be a powerful way to reframe painful experiences. For the reader, it can be a source of inspiration and healing, showing that beauty can arise from even the most challenging circumstances. By addressing and writing through a block, the writer creates an opportunity for catharsis that can resonate with both themselves and their audience. This shared experience can be a healing journey, fostering deeper emotional connections and providing a sense of release and resolution. You said: There are many versions of what constitutes our basic emotions. If we used a double axis with fear/anger on one end and joy/love on the other, how might a writer use this structural tool to process and resolve painful memories? ChatGPT said: ChatGPT Using a double-axis model with fear/anger on one end and joy/love on the other can provide a useful framework for a writer to process and resolve painful memories. This structure can help visualize emotional states and transitions, allowing for a more organized approach to storytelling and emotional exploration. Here's how a writer might use this model: 1. Mapping Emotions Along the Axes Mechanism: By plotting emotions along a double-axis, a writer can visually represent the emotional spectrum and the relationships between different emotions. Benefits: This helps the writer see where their painful memories fall on the spectrum and identify patterns of emotional movement. For example, anger may shift toward fear or love, indicating different narrative arcs or emotional resolutions. 2. Identifying Contrasting Emotions Mechanism: The double-axis model encourages the writer to consider how contrasting emotions interact. If a painful memory is associated with fear, the writer can explore how love or joy might counterbalance it. Benefits: This structure can guide the writer in creating a journey of emotional growth and transformation. For example, moving from fear to love or from anger to joy can represent a significant emotional shift and a path toward healing. 3. Creating Character Arcs Mechanism: By using the double-axis model, a writer can design character arcs that demonstrate emotional growth. Characters can start from a point of fear or anger and gradually move toward joy or love. Benefits: This approach allows for a clear progression in the story, providing a sense of direction and resolution. As characters move along the axes, they can face challenges that help them overcome their initial emotional state. 4. Developing Conflict and Resolution Mechanism: The double-axis model can help a writer structure conflict and resolution within a story. Conflict might arise from characters experiencing fear or anger, while resolution comes from finding joy or love. Benefits: This model can serve as a guide for building tension and resolving it in a satisfying way. Writers can explore how different events or relationships contribute to shifts in emotional states, creating a cohesive narrative arc. 5. Exploring Emotional Nuance Mechanism: By visualizing emotions on a double-axis, a writer can explore the complexity and nuance of emotions. This allows for a more layered and realistic portrayal of emotional experiences. Benefits: Writers can show that emotions aren't static; they can fluctuate and coexist. For example, a character might experience anger and love simultaneously, adding depth to their portrayal. This model encourages exploring these nuances to create multidimensional characters. 6. Using the Model for Catharsis Mechanism: The double-axis model can guide a writer toward catharsis by illustrating the path from pain to healing. Moving from fear/anger to joy/love symbolizes a journey toward emotional resolution and growth. Benefits: This journey can be cathartic for both the writer and the reader. As characters confront and resolve painful emotions, they embody the process of overcoming and healing, which can be profoundly satisfying. In summary, using a double-axis model with fear/anger on one end and joy/love on the other can be a valuable structural tool for a writer to process painful memories. This framework offers a visual representation of emotional states, helps organize character arcs and conflicts, and facilitates the journey toward emotional resolution and catharsis. You said: Please list and map secondary emotions that would adhere to this primary axis model. ChatGPT said: ChatGPT Secondary emotions are more complex than primary emotions and often arise from a blend of basic feelings. In the context of the double-axis model with fear/anger on one end and joy/love on the other, secondary emotions can be mapped along the spectrum to better understand their relationships and transitions. Mapping Primary and Secondary Emotions on a Double Axis Axis 1: Fear/Anger Axis 2: Joy/Love 1. Emotions Near Fear Primary Emotion: Fear Secondary Emotions: Anxiety: A pervasive sense of apprehension and worry, usually linked to fear. Panic: An intense burst of fear or dread, often accompanied by physical symptoms. Dread: A deep, prolonged fear about something that is expected or foreseen. 2. Emotions Near Anger Primary Emotion: Anger Secondary Emotions: Frustration: The feeling of being blocked or thwarted, often leading to anger. Rage: An intense form of anger, usually with a loss of control. Resentment: A lingering feeling of anger or bitterness due to perceived unfairness. 3. Emotions Near Joy Primary Emotion: Joy Secondary Emotions: Happiness: A general feeling of contentment and well-being. Excitement: An intense, enthusiastic response to positive stimuli. Euphoria: An extreme state of happiness or bliss, often heightened. 4. Emotions Near Love Primary Emotion: Love Secondary Emotions: Affection: A gentle form of love or fondness for someone or something. Compassion: A deeper sense of caring for others' suffering, often linked to love. Gratitude: A feeling of thankfulness, often resulting from acts of kindness or love. 5. Emotions at Intermediate Points Between Fear and Anger Disgust: A complex emotion that can arise from fear, anger, or both. Contempt: A mix of anger and disgust, with an underlying feeling of superiority. Between Anger and Joy Satisfaction: A positive feeling following the resolution of anger or frustration. Relief: A sense of relaxation after an intense emotional state (anger or fear). Between Joy and Love Contentment: A stable state of happiness and satisfaction, often influenced by love. Peace: A sense of inner tranquility and harmony, typically associated with both joy and love. Between Love and Fear Guilt: A complex emotion arising from a conflict between love and fear. Shame: A blend of fear and a loss of love, leading to a diminished sense of self-worth. Conclusion This mapping of secondary emotions on the double-axis model allows for a nuanced understanding of how emotions interconnect and transition. By locating secondary emotions on this spectrum, a writer can better explore the complexity of characters and narrative arcs, illustrating the fluidity and multidimensionality of emotional experiences.

The Lady Writer Newsletter

https://www.theoi.com/Flora1.html

Her newsletter makes me believe she really is in it for the fun.

Quote:

"No other modern language known to me has the exact equivalent of the English 'fun'. The Dutch 'aardigkeit' perhaps comes nearest to it (derived from "aard" which means the same as 'Art' and 'Wesen' in German, and thus evidence, perhaps, that the matter cannot be reduced further). We may note in passing that 'fun' in its current usage is of rather recent origin. French, oddly enough, has no cor­responding term at all; German half makes up for it by 'Spass' and 'Witz' together. Nevertheless it is precisely this fun-element that characterizes the essence of play. Here we have to do with an absolutely primary category of life, familiar to everybody at a glance right down to the animal level.

This is from Dutch historian, Johan Huizinga's book, Homo Ludens, in which he argues that play is a process through which culture is created and continues to develop.

I don't know if he's correct about the word, 'fun', but I definitely think he makes some interesting points about the creative power of play."

The synchronicity of this popping up in my inbox while reading PLAYGROUND was just too good not to note : )

PLAYGROUND by Richard Powers

About emotional responses while reading. Time is controlled in a way reality rarely allows. The feelings can fall and rise, fly and sink, as in a warp. Fear, anger, sadness and joy can occupy the same moment and the experience mined for varied nuance, combinations savored and explored. Or, the onrush of insight afforded by the elevated point of view of observer can allow the tears to well, willingly or resentfully, toward release. How we release is our secret measuring tool of the reaped rewards of reading. 

Notes:

https://en.m.wikipedia.org/wiki/Psychohistory?origin=serp_auto

MYTH Flowers Meaning

Fertile fodder for poetic metaphor:

https://www.theoi.com/Flora1.html

Rasa

https://globalphilosophyresources.com/2017/08/10/rasa-indian-aesthetic-theory/

Octavia E Butler

Resource for collage

https://library.nyam.org/colorourcollections/

Labyrinthian Journey

https://douglasaburton.com/category/heroines-labyrinth/ https://www.youtube.com/watch?v=wGYRFSmNZ3w

The Hero/Heroine/Seeker/Fool's Journey

https://niemanstoryboard.org/stories/rewriting-the-heros-journey-to-fit-a-feminine-narrative/ https://douglasaburton.com/heroine-centric-story-structure/ https://heroinejourneys.com/category/seeker-journey/ https://www.eadeverell.com/the-fools-journey/

HAIDUN

http://www.baymoon.com/~ariadne/form/haibun.htm The haibun is prose (or a prose poem) interleaved with one or more haiku: The prose is not an explanation of the haiku. The haiku is not a linear continuation of the prose. Make each word count in the prose text, as in a prose poem. Compact micro-haibun limit the prose text, such as to 20-to-180 words. Most commonly only one haiku is included, placed after the prose, and serving as a climax or epiphany to what came before. Many haibun include more than one haiku and longer text than the above range, as long as the resulting work is strong enough. The juxtaposition of prose and haiku is important. The prose should add to the depth with which we experience the haiku. The haiku should add meaning to the prose. You could think about getting some "air" (as the skate-boarders and snow-boarders say) between the prose and the haiku. Robert D. Wilson, editor of the e-magazine Simply Haiku, includes these features for a haibun: "a linked form. The link is between narrative, prose sections and one or more haiku." wide range of styles and content. minimal repetition of words and phrases; "what is written is tightly constructed". strong haiku that can stand alone as poetry. "Haiku ... relate to previous prose sections yet not be an extension of the prose. The oblique but relevant association between haiku and prose is the defining moment of the haibun. ... The haiku link offers readers a springboard to multiple, and often unexpected, meanings."The haibun is prose (or a prose poem) interleaved with one or more haiku: The prose is not an explanation of the haiku. The haiku is not a linear continuation of the prose. Make each word count in the prose text, as in a prose poem. Compact micro-haibun limit the prose text, such as to 20-to-180 words. Most commonly only one haiku is included, placed after the prose, and serving as a climax or epiphany to what came before. Many haibun include more than one haiku and longer text than the above range, as long as the resulting work is strong enough. The juxtaposition of prose and haiku is important. The prose should add to the depth with which we experience the haiku. The haiku should add meaning to the prose. You could think about getting some "air" (as the skate-boarders and snow-boarders say) between the prose and the haiku. Robert D. Wilson, editor of the e-magazine Simply Haiku, includes these features for a haibun: "a linked form. The link is between narrative, prose sections and one or more haiku." wide range of styles and content. minimal repetition of words and phrases; "what is written is tightly constructed". strong haiku that can stand alone as poetry. "Haiku ... relate to previous prose sections yet not be an extension of the prose. The oblique but relevant association between haiku and prose is the defining moment of the haibun. ... The haiku link offers readers a springboard to multiple, and often unexpected, meanings."

Sarah Hall's BURNTCOAT

p39 There is art, the item, or the concept. And there is the story of art, which is not its interpretation, its meaning. p110 It's all art, even thought, everything is.

Interactive Journaling from The Free Library

https://www.thefreelibrary.com/Interactive+journaling+as+a+clinical+tool.-a0355938647

AI web page on bibliotherapy?

Bibliotherapy: A Four-Stage Process

In bibliotherapy, participants are lead through a four-stage process of identification, catharsis, insight, and universalization with a character or theme in a story.  I’ve also heard it described as a four-stage process of recognition, examination, juxtaposition, and self-application. With some analyzation, you can probably see the similarities behind these two schools of thought regarding the process.  For example, identifying (or recognizing) yourself in a character describes a similar internal event.

1. Identification/Recognition

Have you ever been reading ardently for a while when suddenly an event in the plot or a character’s remark “strikes a chord,” causing you to pause and reflect on your own life?  (I personally spend half of my time reading staring off into space.) At the moment you pause, you become aware of something about yourself or about life that has always been there but never been articulated thoroughly. During such a moment you are making a text-to-self connection (and you are entering the first stage of bibliotherapy).

2. Catharsis/Examination

The word “catharsis” is Greek for “cleansing.”  In this step, we arouse and release what has been suppressed after identifying it.  For example, we often read, watch movies, and tell our own stories because we feel better afterward (even under paradoxical conditions, such as when there is an ending we don’t agree with).  Even if the story itself doesn’t spark an emotional release, sometimes dialogue with others can serve this purpose. Our spontaneous responses (and the spontaneous responses of others around us) can reveal a lot. We often use storylines to release strong reactions to previously ambiguous issues.

3. Insight/Juxtaposition

Without guidance, a lot of us naturally stop the bibliotherapeutic process after identification and emotional release.  (Well, the movie is over. Back to the dishes…)

Entering the stage of juxtaposition takes mental effort because it involves putting two concepts (or two storylines - your life and the life of a character) side by side in order to compare and contrast them.  If taking on this task, it’s important to conduct it in an environment that encourages creative thinking (aka - not with pessimists). If role-models for behavior are possible in the characters, this should be discussed with an openminded person (or group of people) in a situation designed to stimulate original thinking, original connections, and playful attitudes. Creative writing activities can be assigned to solidify new understandings.

4. Universalization/Self-Application

If you find yourself able to integrate insights from the first three steps into your life (while truly sensing the human condition at work in your own story and in your own problems), you have successfully used the power of abstract thought to make bibliotherapy effective. If you take it further to face challenges with awe, cultivate an accurate sense of self-importance, and garner a new level of critical examination towards yourself and the outer world, the story choice and your participation in the reflection are a gift that will keep on giving.

Keep in mind, this can take months or years. Continual reflection and identity formation may develop as your mind wanders back to the story time and time again. Ultimately, you can use the process repeatedly to dive into yourself (while healthily distancing yourself from your life at the same time).

Final Clarifications

The four-stage process mentioned above is what makes bibliotherapy distinct from regular guided reading groups and book clubs. Educational professionals who have studied the process implement bibliotherapy in small group settings.  

Pamela Colman Smith

https://archive.org/details/green-sheaf/mode/1up

Bokononism

https://inthesetimes.com/article/i-love-you-madame-librarian

Joanna Biggs A LIFE OF ONE'S OWN

Nine Women Writers Begin Again

Biggs has truly used reading as a way to heal. In the ideal bibliotherapeutic scenario, she has read, processed and re-envisioned herself in light of her reading experience.

Some quotes. (Reading digitally allows for snapshots of pages  ut page numbers are more or less irrelevant given the size of typeface as well as the device can change pagination.)

Revisiting a book this way is a shortcut, some might sight a cheat, but I see it as another lifehack in this brave new digital frontier. Yea, we may eventually be faced with fallout, but in the meantime, let's enjoy all the ways it enhances our experience.

Authors explored:

Mary Wollstonecraft Godwin

George Elliot

Zora Neale Hurston

Virginia Woolf

Simone de Beauvoir

Sylvia Plath

Toni Morrison

Elena Ferrante

and the author makes nine : )

BookTherapy

$50 online certificate?

https://www.booktherapy.io/en-us/collections/online-bibliotherapy-courses/products/bibliotherapy-literature-and-mental-health?goal=0_ed359f248a-8dad64535a-357157300&mc_cid=8dad64535a&mc_eid=2dd2dc4883

Pure Gold

In his classic bibliotherapy treatise, THE STORY SPECIES, Joseph Gold says in his Appendix II: Literature is the most important tool in the kit for constructing identy and building the whole story that connects the "I" to the "not-I" across space and time...but writing does something that cannot be achieved in any other way. Literature is a major source of building materials...(re)construction is how writing functions in the healing process (because) the brain cannot process the reading of material we have written in the same way as it processes the writing of the material in the first place: Outside-in is not the same to brains as Inside-out. Language, as an organizing principle, produces the controlling activity experienced in story formation by the writer. Writing creates a brain association that was not there before. We feel better when we move emotion to our language center, where we can name and control it. Writing is being seen and heard, and even though we are the one who has written, we must decode and interpret the writing. When we write about how we feel, we are both learning and clarifying how we feel. Writing is an exercise in self-efficacy and self-knowledge. Health and balance require us to move away from overwhelming emotions toward organized objective reality. Feelings converted into language, establish order and control. Through the medium of lanuguage, chaos and confusion is tamed and can be used as an informative, manageable reference tool. How does writing therapy work? 1. Emotion moves between different areas of the brain--subjective versus objective--as it becomes language. 2. Objectivity creates a sense of "otherness" and provides distance necessary for critical analysis of experience. 3. Recording emotions frees us from carrying the sometimes overwhelming load of their chaotic influence, through the writing process, thus acknowledging and releasing them as history.

plots

https://www.vulture.com/2016/08/encyclopedia-of-every-literary-plot-ever.html

Bibliotherapy? OK...sure, why not.

https://www.capegazette.com/article/bibliotherapy-sessions-start-march-9/254097 Utilizing a self-help book is not what I normally think of when I think about bibliotherapy, but sure, could be. This group is charging $175 for four sessions where they will be reading: Thich Nhat Hahn’s “Peace is Every Step: The Path to Mindfulness in Everyday Life.” It's being offerred by a Delaware wellness organization whose intentions are good. Using self-help books as bibliotherapy, as opposed to using literature, has been proved once again to be more digestible by the mainstream. Or maybe, people are as likely to want to read a work of literature for their health as they are to want to eat their vegetables.

Free eBooks

https://www.techworm.net/2022/11/5-best-z-library-alternatives-in-2022-to-download-ebooks.html

Reading Wallace Stevens: The Palm at the End of the Mind

I. Look in the terrible mirror of the sky. Oh, bend against the invisible and lean To symbols of descending night; and search The glare of revelations going by! Dreaming feet Mythy mind Music is feeling, not sound In witching chords. Whispered refrains Like willows swept by rain. Death is the mother of beauty; from her, Alone, comes fulfilment to our dreams And our desires. She searched The touch of springs, And found Concealed imaginings. She sighed, For so much melody. Upon the bank, she stood In the cool Of spent emotions. She felt, among the leaves, The dew Of old devotions. Death is the mother of beauty, mystical. Beauty is momentary in the mind-- The fitful tracing of a portal; In the flesh, immortal. The body dies; the body's beauty lives. So evenings die, in their green going, A wave, interminable flowing. The sun ... sets ... pacing Death, ... knowing Grieves. Opening roses The mind supposes Floating colors; Closes. Noon a turning-- a Burning a Yearning For endless summer. Changing autumn mellows Moons glance When night comes Coloring The cry of peacocks. It was evening all afternoon. It was snowing. And it was going to snow. I do not know which to prefer, The beauty of inflections Or the beauty of innuendoes. I was of three minds: Three blackbirds In a tree. I know a blackbird Is involved In what I know.

Alan Bennett

Brilliant...

https://books.feedvu.com/fullbook/writing-home-pdf-alan-bennett.html?page=2

Gabrielle Zevin's Tomorrow...

https://www.amazon.com/Tomorrow-novel-Gabrielle-Zevin/dp/0593321200/ref=asc_df_0593321200?tag=bngsmtphsnus-20&linkCode=df0&hvadid=80058314545423&hvnetw=s&hvqmt=e&hvbmt=be&hvdev=m&hvlocint=&hvlocphy=&hvtargid=pla-4583657839528169&psc=1

So many things I enjoyed while reading...

learned about William Morris design known as "the Strawberry Thief."

and some cool quotes to give you a taste 🍓...

"Love is both a constant and a variant at the same time."

"Dead was OK."

"You can watch if you want. I'm going to play until the end of this life."

"There is no purity in art."

And discovered:

Tsuguharu Foujita, artist

and

Terry Riley, composer

https://youtu.be/aX96z7AuICs

Left to My Own Literary Devices

https://prestigeprose.com/literary-devices/

Seven Rays in Literature Music Art

Archetypes

https://www.archetypes.com/quiz/ https://www.psychologistworld.com/tests/jung-archetype-quiz https://conorneill.com/2018/04/21/understanding-personality-the-12-jungian-archetypes/

M r g

Minimalistquotes.com

minimalistquotes.com

excellent resource

Older Women Themed Reading List

https://bookriot.com/novels-about-older-women/

most last lines

https://www.flavorwire.com/167171/famous-last-words-our-20-favorite-final-lines-in-literature

more last lines

https://www.flavorwire.com/167171/famous-last-words-our-20-favorite-final-lines-in-literature

last lines

https://www.flavorwire.com/167171/famous-last-words-our-20-favorite-final-lines-in-literature

Find eBook Resources mostly with annual fee

https://www.aworldadventurebybook.com/blog/libraries-with-non-resident-borrowing-privileges

BookTherapy Reading List

https://www.booktherapy.io/pages/a-z-of-book-prescriptions

Bibliotherapy in the News

https://thewalrus.ca/bibliotherapy/

Roethke's Waking Personal Edit

I wake to sleep, and take my waking slow.

I learn by going where I have to go.

This shaking keeps me steady. I should know.

We think by feeling what there is to know?

I hear my being dance from ear to ear.

What falls away is always. And is near.

To you and me; so take the lively air,

I feel my fate in what I cannot fear.

The lowly worm climbs up a winding stair;

I feel I think I learn I go I fall I hear

My sleep and fear the more the end can care

THE SENTENCE

Louise Erdrich's novel is an ideal bilbliotherapeutic experience on so many levels. As a post pandemic,  post Rump reader (though honestly, it's hard to know how post), I am moved by the depictions of emotional shock and confusion. Having felt those same things so recently personally, while reading, I felt catharsis bubbling up like peroxide from an infected wound.

The year we had our faces shoved into unspeakable fascist reality captured on cell phones and could not look away... The year I  Can`t Breathe was heart- stoppingly impressed in our minds and our consciousness was forever changed. 

However, Erdrich doesn't stop at social awareness for these two overwhelming issues alone, rather they are presented as an aside almost, as backdrop to issues that are all part of the sociological mess embroiled in the summer Minneapolis burdened with its rascist/colonial history.

So much to say about the rightness of this book for helping us process the fear, anger, despair but instead I just encourage all to read it for yourselves instead of my rambling review as diatribe.

As a (retired) librarian and obsessive/compulsive reader : ), I soaked up book and author referals sprinkled throughout gleefully and feel they need sharing as widely and indiscriminately as possible. 

Reading can help us work through our tumultuous histories, both cultural and personal. We are all connected on the space time continuum. We rise and fall as one magnificently complex living organism sharing our breath as one inhalation/exhalation until our spirit is free.

back in the day...

https://nymlibrary.blogspot.com/

2021 Recommended BT Titles

https://www.booktherapy.io/blogs/news/40-books-from-2021-you-need-to-read-in-2022?goal=0_ed359f248a-de0b3b7227-357157300&mc_cid=de0b3b7227&mc_eid=2dd2dc4883

The Narrative or Lack thereof in Trauma

https://literariness.org/2018/12/19/trauma-studies/

Current Glasgow Study on Bibliotherapy

https://www.academia.edu/204128/To_Every_Reader_Her_Book_Creating_Bibliotherapy_for_Women?email_work_card=reading-history

BEWILDERMENT by Richard Powers

William Butler Yeats

Henry David Thoreau

Poetry Therapy Abstract

https://www.sciencedirect.com/science/article/abs/pii/0090909277900060?via%3Dihub

Left to our own devices...

http://www.woodheadpublishing.com/literary-devices

Rabbits by Terry Miles

 Recommended by Cory Doctorow, loved discovering a new author and one also born in Sakatchewan. Add to that, the setting for the novel is right here in the neighborhood, main character born in Olympia with action in and around Seattle.

Gaming history melds into conspiracy theory with a sprinkling of quantum philosophy for good measure, RABBITS is flush with questing portals. "Look it up" is one of my librarian favorites and prompts side search jaunts into Wikipedia and Duckduckgo while reading. Not only did it fill in informational holes I didn't even know were there but extended my novel reading time. And this was one I was in no hurry to finish while not being able to put it down. 

On that note, let us review:

Seattle Troll

spaghetti aglio e olio

Baader Meinhoff Phenomenon aka Frequency Illusion

K-Hole

Ronald E. Meyers

Poetry and Psychotherapy

https://stenenpress.com/thoughts-on-poetry/

"The very poetry and party of the universe are reflecting back in tiny versions across the tiny minds strewn on earth."

"The untranslated that must be addressed in the psyche needs relation to a human, in real time, to be actually translated."

"In other words, we are all the “reader” and the potential “writer.” We mutually create one another’s projected shit. “It requires two minds to think a person’s most disturbing thoughts,” Wilfred Bion said. We make it real. We mutually transmute it. We continue its life and add to it. We make one another eternal."

Poetry Will Process Emotions

https://www.firstpost.com/art-and-culture/as-poetry-charts-a-pop-culture-comeback-a-look-at-how-rhyme-rhythm-and-verse-help-us-express-emotion-9702931.html

"Words contagiously move us. As neuroscientist Christian Keysers explains in The Empathic Brain..."

 

"Of particular interest is the role of mirror neurons. These brain cells fire when an action is observed or performed, and they tell us a lot about how we understand the actions of others. They suggest understanding comes from mirroring or imitation that takes place in the brain but is acted out or felt in the body."

 

Writers Dream

https://getpocket.com/explore/item/no-one-cares-about-your-dreams-unless-you-re-a-famous-writer?utm_source=pocket-newtab

 Katherine Mansfield dreams of Oscar Wilde

 Vladimir Nabokov dreams of seeking butterflies with a spoon

 Ernest Hemingway dreams of war. . . and also sex

Cinquain

https://examples.yourdictionary.com/cinquain-examples.html 

 

Originally, Adelaide Crapsey created the form for the American cinquain with five lines. Each line is stressed in a specific way. Additionally, as the form progressed, a syllable structure was added.

Stresses Per Line

Explore the composition of each line by looking at the specific stressed and unstressed syllables.

• The first line has one stress, which was usually an iambic meter with the first syllable unstressed and the second stressed.
• Line two has two stresses.
• Line three has three stresses.
• Line four has four stresses.
• Line five has one stress.

Syllables Per Line

Following the invention of this form, writers made changes to the form and included a certain number of syllables per line.

• Line one has two syllables.
• Line two has four syllables.
• Line three has six syllables.
• Line four has eight syllables.
• Line five has two syllables.

 

Philosophical Resource

 Informationphilosopher.com

"Perhaps the most amazing thing about information philosophy is its discovery that abstract and immaterial information can exert an influence over concrete matter, explaining how mind can move body, how our thoughts can control our actions, deeply related to the way the quantum wave function (randomly) controls the probabilities of locating quantum particles"

Great Resource from the Poetry Coalition

https://poets.org/academy-american-poets/poetry-coalition

Looking for an agent?

https://www.manuscriptwishlist.com/

Emily Dickinson bio critique and poems

https://www.poetryfoundation.org/poets/emily-dickinson

Lucid Dreaming Quotes

https://www.positivityblog.com/quotes-on-dreams/

Dream Quotes

https://www.positivityblog.com/quotes-on-dreams/

Art Therapy

https://arttherapyresources.com.au/art-therapy-resources-welcome/?fbclid=IwAR1H_KPZSwQqPNBZJ399dGCs_qWTZ1vBm4nb0M0lJVBvQO9oIoXF-1A6kHE

Useful client based approach to personal growth

http://www.nwbttc.com/

What's happening with bibliotherapy these days?

 https://app.buzzsumo.com/content/web?q=bibliotherapy

Slideshare on Bibliotherapy

 https://www.slideshare.net/osfarizal/bibliotherapy-14950453

mmhmm

Without literature, I might know things but I wouldn't understand much.

Dream Bank

http://www.dreambank.net

etymology resource

etymonline.com

Your Brain on Poetry

https://www.thecut.com/2017/05/this-is-what-happens-to-your-brain-when-you-read-poetry.html

What We See When We Read by Peter Mendelsund

Haiku Haibun

https://poets.org/text/more-birds-bees-and-trees-closer-look-writing-haibun

free poetry prompts

https://www.localgemspoetrypress.com/free-poetry-prompt-download.html

State by state Book awards

https://lithub.com/a-state-by-state-survey-of-literary-masterpieces/

Robert J. Sawyer and the p-zeds

Oh wow, discovered new Robert J. Sawyer's QUANTUM NIGHT in ebook from library 💟 and am enthralled. Written soon after our last election, this theory of consciousness near future scifi novel explains much about the psychopath we have sitting in the WH, as well as his p-zed followers. Sawyer is one of the best, and Canadian to boot!

https://en.m.wikipedia.org/wiki/Philosophical_zombie

https://www.sfwriter.com/scqn.htm

Biblioboard Open Access

https://library.biblioboard.com/curations

Juneteenth Bibliotherapy

https://www.nypl.org/blog/2020/06/09/schomburg-center-black-liberation-reading-list?utm_campaign=NYPLSocialMedia&utm_source=facebook.com&utm_medium=social&fbclid=IwAR2OGn4cR9pGNRqWiOVBOTt5J9Vp7A6v50RmGGDJ341HaRU3g5uZINB-1mU

Favorite prompt

Choose 5 words.

Write about each for 1 minute.

Then write for 5 minutes.

Prompts from chapter headings...

Ideas for prompts from chapter headings of

https://www.amazon.com/dp/1622038991/ref=cm_sw_r_cp_api_i_dFL2Eb897060K

This is how...

If I could...

Everywhere I turn...

Beyond the telling...

Before I die...

Being in time...

Complicated things...

How to empty...

A life of questions...

Inside the darkness...

Near the center...

Giving way...

Of course you can come...

The golden thread...

Instructions to my smaller self...

Inheriting now...

Pandemic Project

https://exw.utpsyc.org/

Literary Terms

Major Literary Terms

 

allegory - device of using character and/or story elements symbolically to represent an abstraction in

      addition to the literal meaning

alliteration - the repetition of sounds, especially initial consonant sounds in two or more neighboring words

      (e.g., "she sells sea shells")

allusion - a direct or indirect reference to something which is presumably commonly known, such as an

      event, book, myth, place, or work of art

ambiguity - the multiple meanings, either intentional or unintentional, of a word, phrase, sentence, or

      passage

analogy - a similarity or comparison between two different things or the relationship between them

antecedent - the word, phrase, or clause referred to by a pronoun

aphorism - a terse statement of known authorship which expresses a general truth or moral principle

apostrophe - a figure of speech that directly addresses an absent or imaginary person or a personified

      abstraction, such as liberty or love

atmosphere - the emotional mood created by the entirety of a literary work, established partly by the setting

      and partly by the author's choice of objects that are described

clause - a grammatical unit that contains both a subject and a verb

colloquial - the use of slang or informalities in speech or writing

conceit - a fanciful expression, usually in the form of an extended metaphor or surprising analogy between

      seemingly dissimilar objects

connotation - the nonliteral, associative meaning of a word; the implied, suggested meaning

denotation - the strict, literal, dictionary definition of a word, devoid of any emotion, attitude, or color

diction - refering to style, diction refers to the writer's word choices, especially with regard to their

      correctness, clearness, or effectiveness

didactic - from the Greek, literally means "teaching"

euphemism - from the Greek for "good speech," a more agreeable or less offensive substitute for a

      generally unpleasant word or concept

extended metaphor - a metaphor developed at great length, occurring frequently in or throughout a work

figurative language - writing or speech that is not intended to carry literal meaning and is usually meant to

      be imaginative and vivid

figure of speech - a device used to produce figurative language

generic conventions - refers to traditions for each genre

genre - the major category into which a literary work fits (e.g., prose, poetry, and drama)

homily - literally "sermon", or any serious talk, speech, or lecture providing moral or spiritual advice

hyperbole - a figure of speech using deliberate exaggeration or overstatement

imagery - the sensory details or figurative language used to describe, arouse emotion, or represent

      abstractions

infer (inference) - to draw a reasonable conclusion from the information presented

invective - an emotionally violent, verbal denunciation or attack using strong, abusive language

irony - the contrast between what is stated explicitly and what is really meant

      verbal irony - words literally state the opposite of speaker's true meaning

      situational irony - events turn out the opposite of what was expected

      dramatic irony - facts or events are unknown to a character but known to the reader or audience or

           other characters in work

loose sentence - a type of sentence in which the main idea comes first, followed by dependent grammatical

      units

metaphor - a figure of speech using implied comparison of seemingly unlike things or the substitution of

      one for the other, suggesting some similarity

metonomy - from the Greek "changed label", the name of one object is substituted for that of another

      closely associated with it (e.g., "the White House" for the President)

mood - grammatically, the verbal units and a speaker's attitude (indicative, subjunctive, imperative);

      literarily, the prevailing atmosphere or emotional aura of a word

narrative - the telling of a story or an account of an event or series of events

onomatopoeia - natural sounds are imitated in the sounds of words (e.g. buzz, hiss)

oxymoron - from the Greek for "pointedly foolish," author groups apparently contradictory terms to suggest

      a paradox

paradox - a statement that appears to be self-contradictory or opposed to common sense but upon closer

      inspection contains some degree of truth or validity

parallelism - from the Greek for "beside one another," the grammatical or rhetorical framing of words,

      phrases, sentences, or paragraphs to give structural similarity

parody - a work that closely imitates the style or content of another with the specific aim of comic effect

      and/or ridicule

pedantic - an adjective that describes words, phrases, or general tone that is overly scholarly, academic, or

      bookish

periodic sentences - a sentence that presents its central meaning in a main clause at the end

personification - a figure of speech in which the author presents or describes concepts, animals, or

      inanimate objects by endowing them with human attributes or emotions

point of view - the perspective from which a story is told (first person, third person omniscient, or third

      person limited omniscient)

predicate adjective - one type of subject complement, an adjective, group of adjectives, or adjective clause

      that follows a linking verb

predicate nominative - another type of subject complement, a noun, group of nouns, or noun clause that

      renames the subject

prose - genre including fiction, nonfiction, written in ordinary language

      repetition - the duplication, either exact or approximate, of any element of language

rhetoric - from the Greek for "orator," the principles governing the art of writing effectively, eloquently,

      and persuasively

rhetorical modes - the variety, conventions, and purposes of the major kinds of writing (exposition explains

      and analyzes information; argumentation proves validity of an idea; description re-creates, invents,

      or presents a person, place, event or action; narration tells a story or recount an event)

sarcasm - from the Greek for "to tear flesh," involves bitter, caustic language that is meant to hurt or

      ridicule someone or something

satire - a work that targets human vices and follies or social institutions and conventions for reform or

      ridicule

semantics - the branch of linguistics which studies the meaning of words, their historical and psychological

      development (etymology), their connotations, and their relation to one another

style - an evaluation of the sum of the choices an author makes in blending diction, syntax, figurative

      language, and other literary devices;  or, classification of authors to a group and comparison of an

      author to similar authors

subject complement - the word or clause that follows a linking verb and complements, or completes, the

      subject of the sentence by either renaming it or describing it

subordinate clause - contains a subject and verb (like all clauses) but cannot stand alone; does not express

      complete thought

syllogism - from the Greek for "reckoning together," a deductive system of formal logic that presents two

      premises (first "major," second "minor") that inevitably lead to a sound conclusion (e.g., All men are

      mortal, Socrates is a man, Socrates is mortal)

symbol (symbolism) - anything that represents or stands for something else (natural, conventional, literary)

syntax - the way an author chooses to join words into phrases, clauses, and sentences

theme - the central idea or message of a work, the insight it offers into life

thesis - in expository writing, the thesis statement is the sentence or group of sentences that directly express

      the author's opinion, purpose, meaning, or proposition

tone - similar to mood, describes the author's attitude toward his material, the audience, or both

transition - a word or phrase that links different ideas

understatement - the ironic minimalizing of fact, presents something as less significant than it is

wit - intellectually amusing language that surprises and delights

 

Poetic Feet

 

U - unaccented syllable, A - accented syllable

 

amphimacer - AUA

anapest - UUA

antibacchus - AAU

bacchius - UAA

chouambus - AUUA

dactyl - AUU

iambus - UA

pyrrhic - UU

spondee - UU

trochee - AU

 

breve - symbol for unstressed syllable

macron - a "-" symbol to divide syllables