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This article provides reflexive feedback on a four hands poetry writing experiment as a field method for fostering expression in people unaccustomed to it. To complement my in-depth interviews with private security guards at the gates of fenced residences in Nairobi (Kenya), I conducted several poetry workshops with them between 2015 and 2017. Although this medium is no more authentic than conventional storytelling, poetry as a four hands practice allowed us to overcome inhibiting dualities (I/the Other; authentic/non authentic; here/there). Retrospectively, I argue that this collective work should be understood as the expression of a  dialectic of closeness  between the two coauthors, i.e. a codified oscillation game between two sets of attitudes: maintaining an explicit distance and attempting micro-intrusions. This dialectic may lead us to reconsider our relationship with the produced text, making it an independent third protagonist, but nevertheless necessary for the encounter.

Poetry Writing and the Dialectic of Closeness. Creative Encounters with Nairobi Urban Sentinels