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20 pages 40 minutes read

From the Desire Field

Fiction | Poem | Adult | Published in 2017

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Literary Devices

Form and Meter

This free-verse poem does not employ rhyme, and its rhythms and line lengths vary widely. The poem is divided into units of one line, two lines, and three lines. These groupings do not occur in any particular order. The three-line units may be called tercets, which refers to a poetic unit of three lines. Usually, tercets are rhymed but they may also, as in this case, be unrhymed. The same holds true for two-line units, or couplets, which in this poem are also unrhymed.

The poem has a distinctive form on the printed page. The third line of all the tercets is indented, thus:

I want her green life. Her inside me
in a green hour I can’t stop.
       Green vein in her throat green wing in my mouth
(Lines 24-26)

(This is the only tercet in which the third line is long; in other tercets, the final line is shorter than the other two.)

Some of the two-line units are indented on the second line, and some are not:

My mind in the dark is una bestia, unfocused,
                     hot. And if not yoked to exhaustion
beneath the hip and plow of my lover,
then I am another night wandering the desire field—
(Lines 14-17)

Another element of the poem’s typographical form is that the first word in the line is capitalized only if it begins a new sentence. Otherwise, it appears in lower case. This combination of fixed and variable elements in the layout of the poem on the page contributes to a pleasing effect of freedom within boundaries.

Natalie Diaz’s frequent use of the long dash known as the em dash (—) is another notable aspect of the poem. It occurs both within the line (and therefore functions as a caesura or pause) and also at the end of the line. There are 10 em dashes in the poem. When occurring at the end of the line the em dash is usually used in place of a semi-colon (which Diaz does not use at all), or a comma: “I am struck in the witched hours of want— / I want her green life” (Lines 23-24). Em dashes also occur in place of commas to isolate a phrase and make the passage easier to read:

But sometimes when I get my horns in a thing—
a wonder, a grief or a line of her—it is a sticky and ruined
       fruit to unfasten from,
(Lines 4-6)

The em dash is a more emphatic form of punctuation than either comma or semi-colon. Diaz often makes liberal use of the em dash in her poetry more broadly.

Figurative Language

Figurative language refers to the use of words in a nonstandard or nonliteral way. It includes images, similes, and metaphors. Diaz uses figurative language frequently in this poem. A metaphor is a figure of speech in which one thing is identified with another, dissimilar thing, in a way that brings out a perhaps unexpected similarity between them. Similar to a metaphor, in a simile one thing is compared to another thing of a different kind. A simile can often be recognized by the use of the word “like” or “as.”

In Lines 4-6, Diaz writes metaphorically when her speaker states that something she focuses her mind on, “a wonder, a grief or a line of her,” is “a sticky and ruined / fruit to unfasten from” (Lines 5-6). The metaphor suggests the discomfort and difficulty of regaining psychic equilibrium after examining some gripping emotion or thing. There is also an implied metaphor of the speaker as an animal: “but sometimes when I get my horns in a thing” (Line 4). This is echoed later, when her mind in the dark is metaphorically identified as “una bestia” (Line 14).

Anxiety is presented metaphorically as a garden (Line 9). This produces a range of images and metaphors connected to nature; “worry,” for example, is presented in a metaphor as a flower, that is “ready to flower in my chest” (Line 12). The speaker at night “is a field” (Line 12) in which such things as desire grow and flourish. A similar metaphor is, “I am another night wandering the desire field” (Line 17). In a simile, insomnia is “like Spring” (Line 20) and is “many petaled” (Line 21). Continuing the metaphors drawn from nature, “the kick and leap of gold grasshoppers at my brow” (Line 22), are the many thoughts and desires she has during the sleepless night.

Successive images of “green” things beginning with “low green glow” (Line 18) and continuing in Lines 24-28, suggest nature in springtime as it greens the landscape. All these images are related to the physical body and to desire: “Green vein in her throat green wing in my mouth” (Line 26)—the lack of a comma after “throat” to mark it off from the phrase that follows suggests the urgency of that desire, and the coexistence of these moments in their tangled lovemaking. Also, “green thorn in my eye” (Line 27) presents metaphorically a natural object—a thorn—which one might usually regard as an obstacle or difficulty (as in the idiom “a thorn in the side”), but reimagined through the word “green” as something positive. This suggests that in the light of the speaker’s desire for her lover, all emotions, even difficult ones, are welcome.

Alliteration

Alliteration, the repetition of nearby consonants, is a common poetic device that adds tone to the poem. Diaz employs it several times, mostly within a few lines in the middle of the poem. For example, the “b” sound at the beginning of successive lines, followed by the triple repetition of the consonant “m:” “bewildered in its low green glow, / belling the meadow between midnight and morning” (Lines 18-19). Other examples include “gold grasshoppers” (Line 21); “witched hours of want” (Line 23); and the many soothing “s” sounds in “until I can smell its sweet smoke, / leave this thrashed field, and be smooth” (Lines 37-38).

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