Analysis of Locution/Location



She sings the letters
to my daughter, strings them
marigolds into garlands
in the order of the alphabet
E, F, G, she
tugs the haitch, taut and long
far from the breast, a letter
the length of a coast, the width
of a gull’s caw, she now carries
the haitch like I will carry the gurney
later, weightless
hammer
of feather
the letters swim with the orange petals
around & around
her, child & crone
milkflesh holme, mouthly
smelling of talc and gooseberry

When that song sills, will we
bury her in the sky
cirrus flight folded
into the pleats—riding the crest
and trench of her sari’s
weave and weft?
Will we be left
with her
haitch
a patch of ash, just voiceless & glottal
an open casket fricative
an open hatch?

Haitch: listen, I am asking you for her
tongue, wrapped in twill
flung to its thatched edge; I am asking
for a body thrown so far
it meets itself
in the mouth. How do we bury her
haitch
one glyph on either side
arm in arm
harm in harm, how will we use this
twin ruddered
throat in an open boat
home?

H circles her tea, water sunk by cream,
A
B
C
D
E
F
G
haitch floats my grandmother’s childbody, breastless
buoying, ankles cuffed
in silver, fish scales sequined on its heels
so it can stay, and stray, and swim with her
when she is restless, sugarhungry
when she is eighty and two hundred and twenty
heavy, human
cane in fist, knife in hand
in the kitchen, thrumming
haitch, haitch, haitch
the percussive hinder, the fescues
of coriander, thunder
haitch, haitch, haitch
turns the lathe with each exhale
haitch, haitch, haitch
her belly, wet with sink and soap
its damp, equatorial girth
curls my mother
into her mother, hatchet
to hammock, split and swung
haitch, the waist in two
haitch, the lips in four
haitch, a longitude’s wretch
I chart this stretch of tongue, I listen
for how her breath measures
the distance, pulls skin apart
to etch the gravity of gravidity

My daughter pouts yogurt out, plumbs
the berry, sun-smitten, filmed in milk, wades
her phonemic fen, hailing her elder, with bib and mitt.
But when this song sills, where shall we dig
us grandmotherless fools
us rudderless, us letterpoor
with drum and dread
where shall we dig
haitch, haitch, haitch
for this shibboleth of breath?
Source: Poetry (June 2020)


Scheme axabcdexfcxeexxxgc cxxxfbxeCghx egxxheCxxxbxx xxcccchcaxxeecixdCaeCgCxxexxxxciaxb axxjxexjCxx
Poetic Form
Metre 11010 111011 10011 00101010 1111 101101 1101010 0110101 10111110 0111110010 1010 10 110 0101101010 0101 011 111 1011010 111111 100001 10110 01011001 011010 101 1111 10 1 011111010 110101 1101 1101110110 1101 111111110 1010111 1101 001111100 1 111101 101 10111111 11 101101 1 1100110111 0 1 1 1 1 1 1 1111011 10101 0101110111 1111010110 111101 111100110010 1010 101101 00101 111 00101001 101010 111 1011101 111 01011101 1101001 1110 0101010 110101 10101 10101 10101 111111110 110110 0101101 11010011 11011011 0101101011 00101100101101 111111111 111 110011 1101 1111 111 111011 11001
Closest metre Iambic trimeter
Characters 2,249
Words 415
Sentences 7
Stanzas 5
Stanza Lengths 18, 12, 13, 35, 11
Lines Amount 89
Letters per line (avg) 20
Words per line (avg) 5
Letters per stanza (avg) 351
Words per stanza (avg) 81

About this poem

This is what writing is: I one language, I another language, and between the two, the line that makes them vibrate; writing  forms a passageway between two shores. —Hélène Cixous, “Three Steps on the Ladder of Writing”

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Written on 2020

Submitted by Drone232 on July 12, 2022

Modified on March 05, 2023

2:04 min read
5

Divya Victor

Divya Victor is the author of Curb (Nighboat Books, 2021); Kith (Fence, 2017); Natural Subjects (Trembling Pillow Press, 2015), winner of the Bob Kaufman Award; Things To Do With Your Mouth (Les Figues, 2014); Partial Derivative of the Unnameable (Troll Thread, 2005); and Goodbye John! On John Baldessari (2012); and the chapbooks UNSUB (2014), Hellocasts by Charles Reznikoff by Divya Victor by Vanessa Place (2011), and SUTURES (2009). Her poetry, poetics, and criticism have appeared in Dusie, Journal of Commonwealth & Postcolonial Studies, Crux, and P-QUEUE, among others, and her poetry has been translated into French and Czech. She has been a Mark Diamond Research Fellow at the US Holocaust Memorial Museum, a riverrun Fellow at the Archive for New Poetry at University of California San Diego, and a writer-in-residence at the Los Angeles Contemporary Exhibit (LACE). Her work has been performed and installed for or at Museum of Contemporary Art (MoCA) Los Angeles, the National Gallery of Singapore, LACE, and the Museum of Modern Art (MoMA). more…

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    Repeated use of words for effect and emphasis is called ________.
    A assonance
    B rhyme
    C rhythm
    D repetition