Hello Friends,
Today’s poem by Matthew Olzmann is composed entirely in couplets, groups of two lines, except for one stanza that is only a single line. Olzmann disrupts the structure of his poem at this moment, exactly at the same spot in the poem where he invokes the epigraph from Czesław Miłosz, to create a fulcrum on which he pivots to referring to a “you.” It’s as if the “missing” line that would have made that stanza a couplet is instead you catching your breath to realize “you” is you in the doorway. Or, the “missing” line is one of those special doorways in poetry that allows our minds to open a door to “a meadow, or a eulogy.”
This is just one small example of using form or structure to convey meaning — the words mean more because of how they are arranged on the page. The use of form is one of the key characteristics that makes poetry bett—ur, different from prose.
Enjoy.
Ellen
Letter Beginning with Two Lines by Czesław Miłosz
You whom I could not save,
Listen to me.
Can we agree Kevlar
backpacks shouldn’t be needed
for children walking to school?
Those same children
also shouldn’t require a suit
of armor when standing
on their front lawns, or snipers
to watch their backs
as they eat McDonalds.
They shouldn’t have to stop
to consider the speed
of a bullet or how it might
reshape their bodies. But
one winter, back in Detroit,
I had one student
who opened a door and died.
It was the front
door to his house, but
it could have been any door,
and the bullet could have written
any name. The shooter
was thirteen years old
and was aiming
at someone else. But
a bullet doesn’t care
about “aim,” it doesn’t
distinguish between
the innocent and the innocent,
and how was the bullet
supposed to know this
child would open the door
at the exact wrong moment
because his friend
was outside and screaming
for help. Did I say
I had “one” student who
opened a door and died?
That’s wrong.
There were many.
The classroom of grief
had far more seats
than the classroom for math
though every student
in the classroom for math
could count the names
of the dead.
A kid opens a door. The bullet
couldn’t possibly know,
nor could the gun, because
“guns don’t kill people,” they don’t
have minds to decide
such things, they don’t choose
or have a conscience,
and when a man doesn’t
have a conscience, we call him
a psychopath. This is how
we know what type of assault rifle
a man can be,
and how we discover
the hell that thrums inside
each of them. Today,
there’s another
shooting with dead
kids everywhere. It was a school,
a movie theater, a parking lot.
The world
is full of doors.
And you, whom I cannot save,
you may open a door
and enter a meadow, or a eulogy.
And if the latter, you will be
mourned, then buried
in rhetoric.
There will be
monuments of legislation,
little flowers made
from red tape.
What should we do? we’ll ask
again. The earth will close
like a door above you.
What should we do?
And that click you hear?
That’s just our voices,
the deadbolt of discourse
sliding into place.
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