Not imposition, but welcome. The way
cooperation welcomes coercion, turning the
tenor of the intended phrase, opening
the statement to interpretation, opening
a point without dissension, in the way
of politics, agreeing which fact will shape the
morning, which truth will determine the
next word and the subsequent, as if opening
the issue, claiming to have found the way,
one way, the only, but never actually opening.
* * *
A Tritina might best be described as the lazy poet’s Sestina, consisting of ten rather than 39 lines, with the end words of the first stanza repeating in a specific pattern in the subsequent two stanzas. The last line includes all three end words.
The last line uses the end words in sequence following the pattern of the first stanza.
I’ve just found, and followed, David Meeker’s impressive blog, 20th Century Protest Poetry: Poems That Make a Difference. Scrolling down the home page, you’ll find relevant poems, including Carolyn Forche’s “The Colonel,” Roethke’s “The Geranium,” and Nazim Hikmet’s “Letters from a Man in Solitary,” preceded by brief introductory essays. I wish I’d found this sooner, but will make up for lost time.
My poem, “From Left to Right I Ponder Politics and Kanji,” is up at Bonnie McClellan’s International Poetry Month Celebration. She’ll be presenting 28 poems following this year’s theme of “Neural Networks: The Creative Power of Language.” It’s been a fun, interesting month, with more to come.
Check out this poem sampler the editors of the Poetry Foundation have provided. Some of the usual suspects are there, of course, but look further to find Danez Smith’s “Tonight in Oakland,” Ilya Kaminsky’s “We Lived Happily During the War,” Heather McHugh’s “What He Thought,” and much more.