Left Unknown – Notes

Background Notes to Left Unknown

Don’t worry that there will always be things left unknown.

Some things I speak of in my poetry, I won’t want to talk about. It won’t mean there’s anything bad I’m hiding from you. Please don’t fill the void with anything.

The major repeton of the first triolet returns as the minor repeton of the second triolet. The result almost echoes the tap-tap-tap of a villanelle but in contrast to the left-right-left-right marching out of the repetons in a villanelle, this linked double triolet gives its repetitions more of a woven loop.

That was how I described this form to Tilt-a-Whirl when I submitted A Simple Request Asked of My Doctors for publication as a “linked double triolet.”

Maggie says I should maybe be calling this what we’ve tagged it here: a “Triolet Redoublé.”

I’m going with her advice. I don’t remember any of this from before, only what I can figure out from having David reading it all back to me since. But from that and all my notes, I was exploring this extension of the triolet after Maggie had posted poems such as Partly Over You, which took the idea of linked triolets to a deliciously extreme edge.

– Sara



2 thoughts on “Left Unknown – Notes

  1. maggie October 22, 2012 at 1:21 am Reply

    I like how you handled your stanza breaks on this one. Having most of your poem drafted as self-contained couplets highlights the way the repeated lines roll through not only the triolet’s own unique pattern, but how it folds over itself in the redoublé variation. Actually, that gives your poem a muscle that shows off the form as more than a mere variation, but a form in its own right.

    You make me want to write another of these myself! Your remark to Tilt-a-Whirl was on target: the repetitions here get reminiscent of a villanelle, but in a nicely twisted way, almost like a villanelle is a ladder to the triolet redoublé’s double helix.

    Nice write!

  2. clarioretenebris October 24, 2012 at 7:26 pm Reply

    I agree with Maggie about how your coupling of lines puts an interesting emphasis on the triolet form’s distinctive pattern of repeating its lines, especially when you have doubled the form carrying over the main repeated line in the first triolet as the secondary repeated line in your second triolet. It makes me feel like I’m looking at a reflection of the horizon across a wind-rippled lake. Sensing how you are using that to convey your poem’s word catches my breath, especially hearing it read aloud as of course it must be read.

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