“Writing the Body” has helped me find my voice. I’ve been writing to hear myself–to hear what I have to say–and to be heard. I love being heard. Now, when I hear something I’m thinking, I often know whether it might be a poem title–or another part of a poem. The workshop is nurturing and nourishing (in many ways). It has also given me a framework and structure (and a totally supportive environment) in which to begin writing poetry. Dotz Darrah

Prior to my partner’s death I was mainly a freelance journalist, writing news stories, commentary, personal essays, and book and film reviews. Only a few poems. After my partner died, my life turned upside down, something in my mind shifted. I felt compelled, driven by something within myself, and almost outside myself, to write poetry. I was frightened of my grief–of living as a single person (after being in a relationship for 12 years)—but also of these poems that my self, my muse, insisted I write. Becoming a poet involved “coming out.” When I first took the workshop in 2002 it was as scary as “coming out” as gay or as a “crip” (as we say in the disability rights movement)—I’m legally blind. It was scary to be in the process of becoming a poet at the same time I was going through bereavement. Though also exhilarating. The workshop helped me see that I was making art out of grief—that I could make something universal out of my particular circumstances. For me, then, the workshop was a safe place where I could gain the confidence needed to be part of “po-biz”: to read at open mics, to submit my work to publications, to apply for and then attend poetry residencies at an artist colony, to be a featured reader, to put together a book. Kathi Wolfe

Writing the Body workshops help me see the world in a richer context–one full of the histories, feelings, and fabrications of my world–a context celebrating the density and hilarity of my body and the gifts of physical life. In the workshops we explore the bizarre and the terribly ordinary pictures around us, we tell lies and startling truths about ourselves in a familiar and supportive environment. It’s good work, and has become an essential part of my writing life. Regina Coll

I began attending Anne Becker’s “Writing the Body” at its inception in Spring 2001. The original thrust of the workshop was health trauma–individuals who have either experienced such, or have served as caretakers for others in the throes of such. In addition to having personal health issues, I had recently lost my youngest and closest sister to cancer. Writing nurturing poems based on Anne’s insightful exercises, then bringing these back to the group to share, assisted in the healing process. The group evolved beyond a strict health focus, matching my changing needs as well. Also, it gravitated to less emphasis on lecture and more on critique, time-challenged by as many as 12 participants today versus the 6 - 8 in the past. I continue to enjoy, in addition to a “writing” seat at Anne’s dining room table laden with china, teas and other sweet and savory goodies, her gentle, gifted, erudite style–the springboard for creativity–plus lasting friendships. Kathleen Adcock

The workshop helped me to give voice to a chronic condition. The participants were welcoming and supportive, and our critiques of each other’s poetry were constructive and helpful. I’d written very little poetry before taking the workshop, and the assignments unleashed my creative energies such that I want to continue writing and enroll in more writing workshops. Melea Greenfeld

I’m proud to be a charter member of the workshop which began about two years after my wife’s death–a time when I was just starting to re-enter the real world. However, when first approached with the idea of a bodywork poetic workshop, my first reaction was “no way” – the thought of sharing my innermost thoughts with a group of strangers, and poets for that matter, quite intimidated me. But I wisely decided to give the workshop a shot. My fears were quickly put aside when I realized that the other workshop members were also struggling with similar feelings.

The workshop has greatly aided me in dealing with the grief of the death of my wife of 37 years–as well as my quadruple by-pass surgery in 2004. By that time, the workshop was such an important part of my life I even attended a session less than 3 weeks after the surgery. A bit extreme, but I had to let my heart know that I was back in business.

Finally, I often think of poetry as the soul speaking–the workshop provides a marvelous place for one’s soul to be heard. And, perhaps even more importantly, the workshop has revealed the worthiness of my own poetry. John Harms

Anne Becker’s workshop is unique because of its intimacy, supportive atmosphere, and creative assignments. The workshop fosters exchange between participants that is deeply respectful and challenging at the same time. Her own responses to poems are on several levels and she devises extraordinary writing exercises, drawing on the work of John Berger, Joseph Cornell, and others. The assignments have helped me to access patterns, forms, and words that more conventional writing workshops do not. They help to stimulate the creative process and access the poetic unconscious rather than only focusing on the improvement of technique. Virginia Bell

Whether you are a beginning poet or much published, you will find a safe place in Anne’s group to exchange ideas, receive productive feed back, attempt new styles, and be motivated to grow. The atmosphere is stimulating, and supportive, and provides the deadlines every writer needs. I found myself eager for each meeting where such thoughtful, intelligent readers gave generously with a clear interest in my development as a writer; and I learned as much through my own careful reading of the varied voices around me. Anne is a rare, creative spirit who offers a meaningful heart-space to all who enter her influence. Kathy Williams

I have always written poetry for personal therapy, but I had never shared this work with anyone before joining the “writing the body” poetry workshop. The supportive, non-judgmental atmosphere encouraged me to read my poems and receive feedback. The creative assignments stimulated me to experiment with new directions in writing. My most important learning is that everyone has a voice and a story to tell. JoAnn Thacker

The workshop is all about motivation, not just in the form of prompts and deadlines, but, much more valuable for me, in the form of people whom one learns to trust and who help each other learn their strengths. And, indirectly, what needs work. This makes writing for an audience very specific and real. Mary Terchek