Tag Archives: anapests

Using form: anapest (anapaest): Susan McLean, ‘Illicit’

I needed to take a vacation from cake
so my diet would be more judicious.
But my plan was cut short by a chocolate fudge torte,
and the relapse was truly delicious.

Next it was cheese (such as triple-cream Bries
and Gruyères) that I vowed to avoid.
But I fell in the snare of a ripe Camembert.
It was bliss. My resolve was destroyed.

When the experts all said “To lose weight, give up bread,”
I thought that was a food I could shun.
I succumbed to the spell of the beckoning smell
of a freshly baked cinnamon bun.

I have found self-denial is not such a trial
and has unforeseen good effects.
True relish is hidden in all things forbidden.
Have I mentioned I’m giving up sex?

*****

Susan McLean writes: “Like many women, from my teens on, I had periods of dieting, followed by periods of eating normally and gradually regaining weight I had lost on the diets. That pattern can cause despair for many, but in my case, it made me notice how delightful a food becomes once it is forbidden. Diets are dull, and demonizing any particular kind of food is silly, so these days I don’t deny myself anything, but just cut back on the portions. Since the poem is about pleasure (and I once heard Dr. Joyce Brothers say that all pleasures are related to one another), I decided to write it in rollicking anapests, with lots of fun internal rhymes and polysyllabic rhymes.
This poem first appeared in Mezzo Cammin, an online journal of female formalist poets,
and later was published in my second book, The Whetstone Misses the Knife.”

Susan McLean has two books of poetry, The Best Disguise and The Whetstone Misses the Knife, and one book of translations of Martial, Selected Epigrams. Her poems have appeared in Light, Lighten Up Online, Measure, Able Muse, and elsewhere. She lives in Iowa City, Iowa.
https://www.pw.org/content/susan_mclean

Photo: “Joann’s cake: Now featuring every delicious thing at once” by ginnerobot is licensed under CC BY-SA 2.0.

(Loosely) Anapestic Sonnet: ‘A Run’

Over the island from beaches this side where it’s blowing,
it’s only a mile to the side where today it’s flat calm;
so over the hill’s potholed tarmac, to tracks of sand going
along under southern pine, seagrape, gum elemi, palm;
and then between sea-oats and cocoplums over the dunes
and down to the beach where the sand is as dusty as powder,
then lower across the high tide mark that seaweed festoons,
to harder packed sand under sun hot as bird-pepper chowder —
the sand at the ocean low tide, flat and hard as a ledge,
so flat you don’t feel that you’re running the side of a slope
where the ocean runs up inches deep and you splash through its edge,
one more mile to the end, where the sand is as pink as fresh hope,
is as pink as a conch shell, as pink as the still morning skies —
and you rest on the rocks in the shade while the southern pine sighs.

Eleuthera, the island where I was raised and where I live, is long and skinny like many of the Bahama Islands. A hundred and ten miles long, mostly a mile or two wide. I live on the south side (local name), the west side (tourist name), the sea side, the Sound side, the Caribbean side. It’s a great run of a mile over a 60 foot hill to the north side (or east side, ocean side, Atlantic side). On the south side the sand is white, and all the way out to the horizon the water is only 20 feet deep or so. On the north side the sand varies from powdery white to coarse pink, and long before you got to the horizon you would be in 8,000 feet of water. You can tell immediately from a photo which side you’re looking at: vegetation, beach, colour of the water, they’re all different.

This poem was published this month in Snakeskin, edited for 25 years by George Simmers. He is receptive to both traditional and free verse, everything depending on what appeals to him at the time. This is good for me, because I am inconsistent with what I produce. With this one, I went for the rhythm, the da-da-dum, da-da-dum which may not be the sound one person makes when running, but for me captures the mood of running. I can’t define it more than that. And so long as that rhythm is in the heart of each line, I don’t have a problem with being a syllable short at the beginning, or having an extra one at the end, so long as it all flows from one line to the next without a big hiccup.