... and this, from the latest issue of Poetry, is awesome:
As IfBy J. Allyn RosserHow do you explain why elephantsappear to move their unwieldy hulkswith greater dignity than most humans doin their finest moments,as if they had evolved beyond wantinganything but what they have?Why does the field begin to ripplebefore the wind arrives in whispers,as if there were a communication,as if the landscape were poorly dubbed,and we weren't expected to notice?What butterfly does not dart away from usas if it could sense our latent cruelties,and yet return to check and double-check?Has the night not gotten recently darker,as if to insinuate that we have squanderedthe light that was there?Have we made too much of our own?And did you notice afterward the dawnopening up with a tentative eagernessas if there were something crucial to illumine,as if we would wake up early just to see it?I imagine you reading this nowwith an expression of quiet troubleitself troubled by currents of hope,as if you imagined me here with you,as if I might be able to see your expression,and at least answer it with mine.
There's a technique here that I can't name. It's similar to what Frank O'Hara does in "The Day Lady Day Died", or really what Zooey Deschanel does in "Sentimental Heart." It is like the payload of the piece is all on the back end.
So you're cruising along, having a nice time and then--"I imagine you reading this now..." and it's like, "Oh, we're doing this?" And the artist is like "Yeah babe, we really are. It's you and me. This is a real thing." Love that.
Enjoy your weekend.
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