Category: poetry

  • HISTORICAL ARRANGEMENT by Olena Jennings

    HISTORICAL ARRANGEMENT by Olena Jennings

    Dip the fabric in a bath
    of onion skins, like she did.
    Let the dye cling
    like her ghost clings to me
    and to her old furniture,
    which has become mine,
    the headboard shaky
    as names being called,
    my name over and over.
    I cannot answer to it.
    Dip the fabric in a bath
    of onion skins.
    I cannot forget her ghost
    in front of the mirror.
    I realize her face
    is framed by my hair.
    She wanders the maze
    of armchairs. I fold my body
    over hers on one of the cushions.
    She clings to me.
    There is the end table that was carried
    with her from the farm
    where they first settled.
    Then she opened the window
    for the first calm in a long time.
    She felt the discomfort
    of knowing her family was not part
    of her peace. This scared her
    and so did the way
    their ghosts cling.

    I work with art in reaction to poetry. I find textiles work best since they are malleable and react to embroidery, dye, and wax. This helps me focus my poetry. Sometimes I rework the poetry after the textile is completed to create a stronger connection. -Olena Jennings

    The idea begins here with collecting onion skins for about a year. They crackle and crunch against each other as thin as a spirit.

    The title of the poem “Historical Arrangement” is about the ghost who is a deceased family member, and the voice in the poem is becoming one with history. What is remarkable is that the voice has her furniture and is taking on her features.

    The art, a woman’s shirt, is part of the poem because this family member is dyeing with onion skins. The voice in the poem is repeating her acts. My ancestor used onion skins to dye eggs, but I carried the process into my present by dyeing fabric.

    _______________

    Olena Jennings is a New York City based writer and translator. She is the author of the poetry collection The Age of Secrets (Lost Horse Press, 2022) and the novel Temporary Shelter (Cervena Barva Press, 2021). Olena Jennings has been a translator or co-translator of collections by Ukrainian poets Iryna Shuvalova, Kateryna Kalytko, Vasyl Makhno, and Yuliya Musakovska, among others. She also founded and curates the Poets of Queens reading series and press.

  • Olena Jennings and Natalie the Ukrainian doll

    Olena Jennings and Natalie the Ukrainian doll

    New York based artist and poet Olena Jennings created an installation of two artworks that are based on a family photograph. These two pieces revolve around one photograph of a little girl, who is Jenning’s mother, on a swing with a doll in the 1950s. The installation includes also connected poems.

    Natalie is a character in a long poem by Jennings. She is someone beloved who goes through many transformations. The colorful wall piece of Jennings’ installation (above), includes an excerpt of a poem from the collection The Age of Secrets (Lost Horse Press, 2022) about Natalie and the doll. The poem embroidered onto the artwork’s fabric is published as, When I Moved To the City. (https://www.apofenie.com/poetry/2021/1/22/when-i-moved-to-the-city):

    Natalie was the doll.
    I worried her eyes would close
    and get stuck,
    stay that way forever.

    -Olena Jennings, 2021 (excerpt, see the whole poem through the link above)

    The family photograph is transferred also into the bright orange crepe fabric, which is a new dress made by Jennings. This orange doll’s attire as part of the art installation, is a replica of the one that the doll actually wore in the family photo. Mother of the artist still has the doll in her house.

    This orange dress is decorated with Ukrainian-patterned ribbon, reflecting my cultural background. The orange dress is the doll’s. I often work with memory, as depicted here in a moment from the past that is repeated in each piece. -Olena Jennings

    Firstindigo&lifestyle: As a Ukrainian descendant, how are you dealing with the war in Ukraine, and thinking of your family and friends? Do you connect your poems and images to the tragedy happening today with the Ukrainian children?

    I think every piece of art I create now has to do with the war in Ukraine. It’s impossible to ignore and the sadness is tangible. As part of this project, I am digging into my roots through images that were taken there or shortly after my family’s arrival in the US. I do this to work through my own emotions and to find a point of connection with my friends in Ukraine. -Olena Jennings

    Below is the new unpublished poem INTERLOCKED, which Jennings created in conjunction to her art installation.

    INTERLOCKED


    A body is bare,
    ready for the dress
    of chiffon.
    My body is bare,
    in the mirror
    where her gaze falls.
    The doll’s is made
    of plastic, her belly button
    blossoms.
    Mine is made
    of warmth, my lips
    wet and petal-like.
    I have long conversations
    with her, her eyes
    stare back.
    We talk about the girls
    who ignore me
    on the swings.
    We talk about the way
    I can almost reach the sky,
    I always want more blue.

  • Olena Jennings: What is Left Behind

    Olena Jennings: What is Left Behind

    New York City poet Olena Jennings created a project based on a family photograph, which depicts a story belonging to her grandmother. It inspired her to design a special dress that carries a piece of the memory itself.

    The project “What is Left Behind”, is a dress design with photo transfer and red lace. The family portrait is an intimate piece of history. Working on a concept so close is unique. It is inspiring from the point of view of the four individual women that it represents, the four sisters. Their gazes are emphasized as if belonging to an era, when smile wasn’t yet invented as a facial expression in photographs. The picture taking was a rather serious event. Yet the photograph served its purpose as a posing for the memory.

    In the design, the black and white photo is surrounded by white and red stitches created with embroidery floss.


    Photo transfer of great aunts as attached to the fabric with embroidery floss stitches. Olena Jennings, What is Left Behind.

    The poem to accompany the dress is about Jennings’ grandmother receiving the family photograph. Like a message from the old country, They Bring The Photo is from the times that passed.

    THEY BRING THE PHOTO

    By Olena Jennings

    She would sew the buttons
    that would fall from her coat,
    threads invisible as webs,
    in the light that spilled
    around her like milk, the warmth
    she remembered from the farm,
    the kittens circling
    and her hands on the udders.

    The visitors
    gave her the photo
    in a weathered air mail envelope,
    their strange car in our driveway,
    his kiss leaving a mark
    on my cheek, letting me know
    I am forbidden to touch the pillow,
    the mark too special to rub off.

    The surprise
    was that she could be found
    anywhere, that she was not
    alone
    as she believed.
    So, she checked beneath the beds
    and in the dust in the attic,
    for those who knew her whereabouts.

    Her sisters’ faces in the photo
    were absent of emotion, distant.
    The black of their clothing reflected
    in their eyes.
    It was as if the space between them
    was bigger
    than the distance
    between their countries.

    Dress by Olena Jennings

    Artist website: https://www.olenajennings.com/