Suggestion is a key element to poetry. Whether it’s a matter of word choice, how using the word “broken,” say, suggests its opposite, “fixed”; or within the structure of a metaphor itself, the juxtaposition of two things bringing to mind a further connection, suggestion is one word for poetry’s ability to tap into language’s conspiratorial nature.
The poem below, “Flirtation” by Rita Dove, is a good example of what I mean. Dove takes the contextual framework of the title and aligns it right away with a variety of evocative images:
After all, there’s no need
to say anything
at first. An orange, peeled
and quartered, flares
like a tulip on a wedgwood plate.
Anything can happen.
First, the movements here of an “orange, peeled / and quartered” are said to flare “like a tulip on a wedgwood plate,” a parallel that works both on a visual and sensory level. This parallel implies subtle physical shifts, similar to one person becoming particularly aware of another. The type of attention described here is sharp and visceral.
There is suggestion at work in Dove’s line break’s as well. The enjambment of the above lines, with line breaks on “peeled” and “flares,” creates tension as image and simile develop. This tension is broken by the following line “Anything can happen.” whose conceptual certainty is echoed in the use of a period to create an end stopped line.
A similar push and pull occurs later in the lines:
Outside the sun
has rolled up her rugs
and night strewn salt
across the sky. My heart
is humming a tune
I haven’t heard in years!
The line “across the sky. My heart” is especially effective as the enjambment and line break here both end and start a sentence, but also imply another parallel, that of a heart being like a sky. This deft way with the line creates a dizzying atmosphere, which brings us back to the title and its implied feelings. Dove continues to develop this atmosphere straight through to the poem’s elegant ending.
Flirtation – Rita Dove
After all, there’s no need
to say anything
at first. An orange, peeled
and quartered, flares
like a tulip on a wedgwood plate.
Anything can happen.
Outside the sun
has rolled up her rugs
and night strewn salt
across the sky. My heart
is humming a tune
I haven’t heard in years!
Quiet’s cool flesh–
let’s sniff and eat it.
There are ways
to make of the moment
a topiary
so the pleasure’s in
walking through.
*
Despite the bleak turns in a small amount of lines, this poem is one of hope in the way that poetry writing in general implies hope. Here, in ten lines, is the presence and direct statement of one’s feelings. Also, there’s the sense of one reporting from an inner landscape in language whose ambiguity leaves what poet D. M. Garrison calls “dreaming room,” that is, a space for a reader to dwell on what the words bring up for them. In the light of recent events in the news, including climate change reports and the Kavanaugh confirmation, we have been given many reasons to “look at the world” and “not want to believe.”
The Influence 