Your poem seems to celebrate the arrival of a future: “we are of age.” But
it ends still looking forward: “our child will thank us when he is
Both statements are made with certainty. Can we know the future before
it becomes the present?
am a proponent of planning. I’d like to think I incorporate certainty
into much of my work, even among statements or images that are
intangible. In this poem, I was very much preoccupied with
the idea of physical things occurring without having any context or
making any actual sense. I wondered what it would be like to have major
life events, like marriage and childbirth, occur so instantaneously,
without heartbreak or amniotic fluid. The romanticizing of
societal expectations is a theme I like playing with (and distorting).
wonder what it means to “piss pearl.” It sounds like an undesirable
effect, but in the poem, the speaker takes it as a sign that “it is the
greatest part of summer.”
I really enjoy the poetic conceit
of flowers. However, I have a fear of being ultra-feminine and wanted
to slightly warp this poem through the use of a semi-unpleasant word:
piss. I also wanted to contrast the modernity of this word with the
more arcane language in the text as I used a book about plants and
flowers published in the 1730s as inspiration. I was interested in the
only seeing the end-product of a situation. We never see or
hear of the formation of the pearl. Regardless of how it was created,
we can enjoy it for its aesthetic beauty. The creation of the pearl (a
child) is also a testament to the innocence/naiveté of the couple.
poem demonstrates a great deal of sonic play. We are struck by the
proliferation of “p,” “b,” and long “e“ sounds. If this is a “second
song,” is there a “first song?” Are you guided by music?
was never a first song! This is primarily because I wanted the title to
convey a femininity through the soft “s” sounds (although maybe I was
also subconsciously influenced by the TV On The Radio song). I also
wanted the title to jump to this particular scene – one that lacks any
I grew up in a household that played “Sketches of Spain” by Miles Davis
on the regular. I’m often influenced by jazz, hip-hop, folk, etc., and
typically try to incorporate musicality into the poems that I want to be
playful. I’m drawn to work that plays with sounds, like that of Monica
Youn or Brenda Shaughnessy.