When I first picked up Heather McHugh’s work[i], I delighted in her witty use of language – the way she was able to pick out a word’s multiple meanings in the course of tightly musical and lyrical verse. Some examples:
I don’t move
but the grass in the window
does an utter
The dog pauses before the fire,
weight, can’t make
light of it, lies
By themselves, these puns and surprising twists of language might suffice, but McHugh combines this wordplay with an unerring attention to the sound and rhythm of her lines as well. Continue reading “Heather McHugh’s Poetic Music”
by Frances Donovan
An issue I’ve struggled with time and again is how to incorporate multiple scenes in a single poem while still maintaining unity and clarity. Dividing a poem into separate sections with roman numerals or asterisks may work, but not all poems are long enough to justify multiple parts, nor does this method evoke the seamless way a particular sense perception or situation can trigger associations with another time and place.
Proust and his madeleine are a famous example: the taste of a cookie kicks off the epic, multi-volume novel Recherche du Temps Perdu (Remembrance of Things Past). Few modern poets have the luxury of such sprawl. But regardless of the length of the poem, one must still learn how to deal with nonlinear time in a way that mitigates the possibility of a confused reader. We experience time in a single dimension (past to present), but the way we think about time is multi-dimensional. It includes past, present, future, and possible divergences from a single outcome.
I set out in search of poems that dealt with the issue of multiple moments (past, present, future, and possible). Continue reading “Craft Essay: Nonlinear Time and Poetic Structure”