Carl Adamshick's Everything That Happens Can Be Called Aging

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Prayer demands sincerity. It’s reserved for all who communicate openly and allows for grace, gratitude, hesitation, helplessness, and seemingly endless pain. I’ve always felt that the true definition of prayer should rest with those who pray, but this is my insight. I’m sure many people will disagree, but I think that prayer allows for irreverence. Prayer always contains emotion. It doesn’t require the divine, but rests with the spiritual. Prayer, as I define it, exists as what is written in moments of brutal honesty with oneself and whoever may or may not be reading along. Written fragments or pages of poetry act as exercises in meditation and aid one both in documenting and accepting truths. Just as poetry becomes slam poetry, so prayer becomes …show more content…

The poem unapologetically documents the poet’s hopes to have all of his “emotions rattled” and makes demands: “Give me the bottom of the river, / all the unadorned, unfinished / unpraised moments, one good turn / on the luxuriant wheel.” Adamshick is sincere in his need for family, for dancing, and for “verbal sparring” throughout his time on this earth. It is his sincere confession and documentation of these needs and desires that makes his poem a prayer. Adamshick’s collection of poetry, entitled Saint Friend, focuses on the horrible truth that our time on this earth will end and is often short-lived. Despite Adamshick’s realization of this truth, he chooses to honor its presence through his …show more content…

Though writers may find an audience with God in solitude, bringing a piece into the realm of performance allows them to experience sincerity while sharing it. One of my favorite slam poetry performances is “An Open Letter to God from an Atheist” by Lindsey Michelle Williams. There are some prayers that may suffer a loss if brought into the realm of performance, but this one does not. If you’ve attended a slam poetry reading, you likely noticed how regularly the audience participates. Through sounds of agreement and snaps, the audience takes part in the prayer. The people who are present aid the poet in moving the energy in a room. A safe and holy space is created through this new sense of community. As Williams recites her poem and pleads, “turn to that page that notates every time that I got lost looking for you,” her anger and frustration are received by her audience. There is a clear and audible response, and the poem becomes more communal as the poet’s intention is

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