Breath Work:
Abbra Kotlarczyk
Gently inhale & exhale
Right lung, left lung, blink [1]
Hold on to your seat real tight, hold your breath, keep your eyes in your head, and go on [2]
Meditate on the colour that is flesh void of oxygen, also the
discoloured fruit / fingered out of misted windows / into which I breathed [3]
     for years i stood / in the semeny ginko staring at my hands         believing / in afterlives thinking one day I’d wake into / a new kind of body     like a fish suddenly / breathing air through its eyes [4
When ready, place your right pointer finger in the centre of your forehead, your thumb over your right nostril, your middle finger searching for its erogenous zone. 
o separate(d)/strands of our breath!/Bright silver/threads of spirit/O quicksilver/spurt of fist, scansion of/unfocused eyeball [5]
While here, practice pushing air from the back of your throat up into your eye sockets. 
consider making this your mourning practice.
you don't refuse to breathe do you [6]
the primary medium of poetry is not language but breath, specifically the breath of the poet marrying the breath of the reader. This is the key to its intimacy, its strange physicality [7] 
the HEAD, by way of the EAR, to the SYLLABLE / the HEART, by way of the BREATH, to the LINE [8]
This is (also) why bad poetry hurts so much [9] 
becoming dragonfish to survive / the horrors we are living / with tortured lungs / adapting to breathe blood [10]
 the hellish (but breathable) finitudes of our present conjuncture [11]
Inhale & raise your arms / above your head (...) 
Apply a small amount of  tea tree oil to the tip of a cotton ball (...)
all arrangements require pain (...) 
           Hold the cotton ball up to the opening of your mouth, so that your breath might catch its oil and become dry, brittle, might shrink 
 
References
1. Kaveh Akbar, Calling a Wolf a Wolf (London: Penguin Random House), 36.
2. Alexis Wright, The Swan Book (Artarmon: Giramondo Publishing, 2013), 99.    
3. Omar Sakr, These Wild Houses (Carlton South: Cordite Publishing Inc., 2017), 8.
4. Kaveh Akbar, ibid, 42.
5. “Diane di Prima,” The Allen Ginsberg Project, accessed August 13, 2020, https://allenginsberg.org/2017/08/diane-di-prima/.
6. Frank O’Hara, “Song (Is it dirty),” All Poetry, accessed August 18, 2020, https://allpoetry.com/Song-(Is-it-dirty).\
7.Ariana Reines, “Interview with Ariana Reines,” interview by Rebecca Tamás, The White Review, July, 2019, accessed August 10, 2020, https://www.thewhitereview.org/feature/interview-ariana-reines/.
8. Charles Olsen, “Projective Verse,” Poetry Foundation, accessed August 13, 2020, https://www.poetryfoundation.org/articles/69406/projective-verse.
9. Ariana Reines, ibid.
10. Audre Lorde, “Afterimages,” Poetry Foundation, accessed August 8, 2020, https://www.poetryfoundation.org/poems/42582/afterimages
11. Noah Brehmer, “There is, after all, still air to breathe in hell, Part 2,” Blind Field: A Journal of Cultural Inquiry, accessed August 13, 2020, https://blindfieldjournal.com/2019/02/28/there-is-after-all-still-air-to-breathe-in-hell-part-2/.
12. Brandon LaBelle, Lexicon of the Mouth: Poetics and Politics of Voice and the Oral Imaginary (London & Oxford: Bloomsbury Academic, 2014), 7.
© Lieu Journal 2020