Gravity Darkening (2013-current)
I began writing the series Gravity Darkening after becoming afflicted with a rare health disorder. No single creative outlet could express my experience, so I blended my poetry with facets of music and art. I arranged words on the page in a way that was aesthetically pleasing. What resulted was that the white space created a visual and audible rhythm. Phrases, surrounded by open areas, functioned like music notation and the words formed a lyrical cadence when spoken aloud.
I write poetry because it forges a universal connection. While illness is an isolating encounter, poetry bridges this solitary world into something deeper, beyond ourselves. The fragmented lines are a testament to living with a challenging condition, but at the same time, the words journey from a personal perspective to illuminate brokenness. Gravity Darkening integrates scientific information about hurricanes, black holes, and other elements. These forces can transform what it destroys similarly to how poor health recreates one’s sense of identity. Additionally, I included the presence of nature and its deteriorating state since it corresponds as an illness on a magnified level.
Throughout Gravity Darkening, the poems explore the mystifying relationship between the body and the soul. A human is composed of over thirty-trillion cells and a poem written in English can be created from over 400,000 words. This series is an elegy and tribute to these microbes and syllables that shape the syntax of creative expression.
Poems from Gravity Darkening are available to read in Jubilat Poetry Journal, Issue 28.
WE WERE PART HEARTED,
Part saddled by sky. How skies, how fences, cage a cage.
Gather trees and break down to them.
Whispering, forget to shade this henhouse…
—”Danger Makes Our Gardens”
“Overturn memory,” proclaims a line from Carand Burnet’s Henhouse. As with hens tilling soil in a garden, Burnet’s poems reveal and obscure a personal history. Each poem penetrates this history in a staccato pacing, drawing up facets which seem at once domestic and mythic. From these fragments Burnet hems together an altered language playfully and deftly, a language which tells us “nature fakes lawfulness,” and “Night would consume all day if it could.” — Phil Montenegro
Published by Projective Industries Press
27 pages; edition of 120 in Chicago, September 2013.
Covers letterpressed on a Sigwalt Ideal No. 5; salmon endpapers.
5 1/2 x 6 inches
Poems published online from Henhouse:
THE PRINCIPLES OF FRAYING:
A Collaborative Chapbook
by Beathanie Beausoleil, Carand Burnet, & Ruth Lehrer
Published by Factory Hollow Press, 2012