Hoje foi dia de Bolo de Pinhão no programa @vidamelhoroficial com a querida @claudiatenoriooficial na @redevida 💕 . . . . 🎂 || Bolos - doces personalizados & finos - chocolates - salgados personalizados . 💬 || Contato por inbox ou pelo e-mail: [email protected] Facebook: https://www.facebook.com/mnoemycaangi.ag . . #bolodepinhao #pinhao #redeviva #vidamelhor #bolodeaniversario #bolosdecorados #bolostematicos #bolospersonalizados #noemycaangiarteegastronomia #noemycaangi #bakeoffbrasil #arte #gastronomia #mulher #mulheresempreendedoras #existeamoremsp #comemoracao #bolosartisticos #noemybakeoff #bakeoff #cakelovers #noemycaangiconfeitaria #noemycaangicakedesigner #noemycaangicakeartistkj (em TV Gazeta) https://www.instagram.com/p/B0CgQbLAVE7/?igshid=vmqc06sm5ocl
redeviva = lost in trance.lations by Chloé S. Georas
I bought the multimedia (multi-material?) book used on Amazon, and when I opened the package, I flipped through to see a bandaid on mirrored paper, and it took me a minute to realize it was supposed to be there (as opposed to some gross prior owner sticking their used bandaid in the book for an unknown reason).
The bandaid motif reoccurs in the printed images, as does other healing materials--gauze, ace bandages, etc. This motif provides an indexical element to the text, which is reproduced in the text itself, primarily in the poems concerning the body, motherhood, and birth:
I pace, carrying a blank placard high
the other mothers greet me through the fallen frames of their smiles
this plaza is the cemetery for our missing
here we excavate empty tombs
intimate silhouettes that our children un . occupy
we are wandering gravestones
with a fossil in every womb (XV. “cemetery for the missing”)
The imprints or indexes left by the body, at times (like above) on the body, render the body as marked and marking; the footprints in the first section introduce this type of icon as important to Georas’ project.
Content-wise, I took to the poems published after the first section than to the poems within the first section. The images of stillborn motherhood, of women’s growing bodies, and the violence associated with these bodies attracted me more than the progressions of the first section, trance.lations.
In addition to markings Georas gives to her text, the previous owner of my copy made her own markings: On a couple of the pages (especially the definition page before the table of contents), the reader underlined clauses in red ink. I also found a short hair in the gauze in the middle of the book. These markings allow me to follow Georas’ journey within the text, as well as the journey of another reader, which I think increased my engagement with the text.
For my part, I’ve turned the pages so harshly that the binding is separating; pages are falling out.
