I'm going to do something a bit different and come back to this last poem, and write it up some more. Re-examining this piece in terms of craft has been quite the learning curve!! - wanna join me?? The reason being, for one of his shorter pieces, there is just so much more I'm noticing that is so effective. I focused more on content and meaning earlier, but some of his technique is so intriguing, because I didn't much understand what exactly is at work here. Some could definitively label it, but I just know it works and very well indeed. Doing this Remo type Napo is sucha blessed learning experience, in the parsing out, and in reading the feedback and gleaning further from that (I also find I've easily written some decent drafts as a direct result, bonus). So my focus now is on the lovely musicality of these sections of extended analogy of his Acting out of his vindictive Cruelty. In a different way, he is using contrast as a medium, because the section where he's describing the Act of Cruelty, he could easily have went for harsh mirroring sonics, used tonal and rhythmic disjunction to make the lines clunk; in describing an Act of ugliness, he could have mirrored uglyness. But no - he went a total nother way. It reminds me somewhat of the trademark film style of John Woo, and how he would take an unusually brutal scene,but instead of portraying it as such, he would slow it down, make it dance, literally, to music that would not be seen as appropriate to such brutality, employ artful cinematography to make the scene somehow visually beautiful in all its ugliness. (Think Reservoir Dogs, dancing to "Stuck in the Middle With You").
...my mother kneeling and
she's kneeling and somehow I know
exactly how to do it, calmly,
enunciating like a good actor projecting
to the last row, shocking the ones
who've come in late, cowering
out of their coats, sleet still sparking
on their collars, a voice nearly licking
their ears above the swordplay and laments:
I hate you.
Now her hands are rising to her face.
Now the fear done flashing...
Notice the prevalent use of ing ending words. I'd somewhat noticed them, on subsequent reads, but they really popped when i finally read the piece aloud. I didn't know why this was so effective in creating such a theatrical effect, but I sure noticed it did. So I looked up the various ing-words and got a brushup in the difference between gerunds and participles. And also found this very helpful blog http://erinspoetrytips.blogspot.com/2005/03/gerunds-and-participles.html , that encapsulated the effect thus: "can be used effectively to add a sense of movement to poetry. To do this, the writer must pre-think (and often re-think) his choices of frequency and placement." And this encapsulates it more concisely than I could, so I shall end on that note.