Another remarkable Clifford Duffy poem, Bargain, at Fictions 4.
Here is an excerpt, but please see it for yourself at his site to experience the whole thing with its proper visual context.
Bargain basement love. Let her to begin.A soft start. Incipient to rays of sun. and whether the big inn. And at first plate, a wretched coal diver! Of this ass she walks home vertical street down the declining upward to her house. resting her ass to the . Zhou you are this rental thief, a fiat against capitalism! And your whore body. Vengeance in their accent and lips, but O how ssoft that back of her skin small of her back. Backlogging to her love, and approximately her head wears minks, stoles, and greens, puttees, and purposeful tunes of air.
(Clifford Duffy, Bargain)
I find this poem very powerful. I feel variations in the speeds and intensities of pressure. Note for example this part of the html [I have not learned the language and I please request corrections].
body. Vengeance in
It seems the tag keeps 'body.' 'Vengeance' and 'in' together on the same line (at Duffy's location), even if you adjust the page size so that they might otherwise be broken into different lines. The overall effect I would like to account for is why it seems like a compression then release of pressure in this part of the text.
If 'in' and 'Vengeance' were on different lines, there would be a break in the speed of the text, like a pause. Before 'Vengeance' is 'body.' Of course there too would be a pause if they were on separate lines. The fact that they are all together makes them run into each other rather than be interrupted by pauses. But the period after body creates an intensity in the flow. The tag on the one hand forces the period-stop and the next sentence to run together; however the period is a force trying to separate the two from flowing into each other. So when reading over the period, we feel the intensity of that tension, as if pressure builds there. Then the fact that the next word 'in' follows directly after means that the pressure is forced to always release and explicate into the next sentence.
review of Duffy's work, by Corry Shores
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