Hello, Greg, and welcome to the Sphere. While you're here, I hope you'll putter around the other boards some. There's a helluva Dickinson discussion underway in Musing on Mastery. And we're doing our usual winnows of the incompetent from the promising over on the metrical boards.
I have a couple of linked questions. There have to be two, because you are the guy obsessed with twos. From the title poem of your first book (The Silent Partner) through the poem that titles this thread, to the amazing Double Exposures, you have made twoness your singular subject. How did twos become so prominent in your work?
My second question, possibly related, is pedagogical. What do you tell your most promising students about poetic voice? You have a distinctive one, partly because of your personal themes (doubling in particular), partly because of formal choices and a taste for word-play. Voice is rarely discussed on our workshop boards, where we generally stick to nuts, bolts, and trochees.
A.S.
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