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« "The Adlai Stevenson of the Art World" [Jane Freilicher] | Main | Eddie Muller Interviewed by Mark Yost for "Stay Thirsty" »

January 09, 2022

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Geoff has the gift of telling story within verse. He can manage characters, situation, plot in couplets or music -- a zeitgeist in poetry and song. Was wunderkind. Still is!

Terrific images--blurred as if underwater--and then crisp as the speaker comes up for air!

Oh, my! It's below freezing but this poem generated steaminess!
I did not know of Mr. Himes. Thank you for introducing me to him!
Mary Louise

I love this poem


You're welcome, Mary Louise

I love this poem. Marvelous images, esp. the mother oozing thru the webbing. Dang, I wish I could do a jacknife like that diver. Being only reluctantly a land animal, I love submerging in this terrific poem.

The poet kept scooping like a spoon, and it seems the diver kept diving like a knife. No wonder the water seemed to him to draw them together.

This poem lacks nothing. There’s Freud, sex, childhood, adulthood, longing, and lots of water. So much packed into nine and a half couplets. Very nice.

The zaftig chimera is what it is, and like a spoon and knife but with a forked tongue as admirable poets all have.

Geoffrey Himes breaks the tacit, time-immemorial "rule of three" (who makes these rules anyway?) regarding alliteration in his opening couplet: "slit," "surface," sliver," and "splash," with a tucked nod to consonance ("merest") amid the sweetly singing sibilance. His sure strokes show there need not be any stolid standards. I admire his serious-minded fun with words, a playfulness depicting deep-water desire. The aqueous awkwardness of the mother (“pudding oozing”) and the boyfriend (“cannonball tsunami”) leaves a lane open to the narrative “I” doting on the diver. The description of knife-like diving and spoon-like scooping makes a compelling cutlery couple. The water table is set--at least in the lap swimmer’s mind. “The Swimming Pool” adds a fresh swoon to sought-after spooning. Kudos, Geoffrey! (For those unfamiliar with his music criticism, I recommend reading “Why We Still Need Music Criticism” in the March 28, 2016, issue of PASTE magazine, for which he wrote “A Curmudgeon Column.”)

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