This week: The Machinery of Poetry Edited by: Booo-rooke  
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According to Wikipedia, Poetry (from the Greek word poiesis, "making") is a form of literary art that uses aesthetic and often rhythmic qualities of language to evoke meanings in addition to, or in place of, literal or surface-level meanings. Thank you for reading this NL.
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I've heard Poetry called fluff writing–flowery language, lofty metaphors, and cryptic lines meant to mystify. But beneath thoughtfully written poetry lies a deliberate structure of emotion and meaning, built with tools that experienced poets wield with precision. These tools, known as poetic devices, are not just embellishments; they are the skeleton that holds a poem’s soul deftly in place.
There are a lot, but let’s explore a few of them with examples.
Some poets are creative enough to employ several devices in one piece. To demonstrate that let’s look at Gwendolyn Brooks's "We Real Cool" which employs several at once in a single poem. Let's look at four she uses:
Anaphora ("We" at the beginning of each line) is a technique that involves repeated use of a phrase at the beginning of lines or clauses. It can create a powerful atmosphere of strength. It is also effective in creating a sense of dread or impending doom, such as in William Blake's "London" (“In every…”)
Alliteration ("Lurk late," "Strike straight") is the repetition of consonant and vowel sounds. Alliteration is often dismissed as ornamental, but should not be underestimated as it can create a powerful impact for the reader.
Assonance ("cool/school," "sin/gin") is similar in that it creates a musicality by the repetition of vowel sounds with nearby words that results in an internal rhyme within lines and stanzas.
For the record, alliteration and assonance can also serve a deeper purpose: rhythm and mood. Edgar Allan Poe’s “The Raven” uses alliteration to evoke a hypnotic, slightly incantatory tone. (“And the silken sad uncertain rustling of each purple curtain.”) The sound itself becomes part of the story, like a soft, eerie whisper in the reader’s ear.
Enjambment (lines that don't end with punctuation, letting the sentence spill over into the next line without pause) is employed in her piece to create a rhythm but also to emphasize the characters' precarious lifestyle. The abrupt line breaks mirror the fragmented lives of the poem’s subjects. It’s a subtle device, but one that can create urgency, tension, or sometimes surprise.
Each one adds another layer to the piece's depth and meaning.
All those above are well known, but in my opinion, the most underrated and perhaps misunderstood device is ambiguity.
Many poets often leave space for interpretation, inviting readers to co-create meaning. Some readers mistake this for laziness, but it’s not. Just as in good storytelling, sometimes less is more. By resisting the urge to explain, poets allow their work to live in multiple dimensions, each reader bringing their own experience to the page.
Semantic Ambiguity
This kind of ambiguity is present when a word is “polysemous,” or it has multiple meanings.
Syntactic Ambiguity
This refers to the presence of two or more meanings in a sentence or phrase. A reader will interpret these different meanings due to the structure of the sentence rather than the content.
Narrative Ambiguity
The vaguest of the three, narrative ambiguity refers to a story or idea that has different meanings. The distinction is not made clear by the writer.
I have two examples to share using ambiguity. The first is simple but still very interesting to me. It’s one that a poet here at Wdc pointed out recently to me. Robert Frost’s “Mending Wall”. In this piece, the title itself is ambiguous. Does it refer to the act of repair or a wall that naturally mends itself? The poem explores two neighbors working to repair a stone wall. This is a simple enough visual, but the poem also demonstrates the metaphorical mending of their relationship as they rebuild that wall physically.
The second example is very different. Margaret Atwood’s “You Fit Into Me” explores the complex themes in a romantic relationship. The first line sets a tone that shifts abruptly as the reader continues. The first line “You fit into me” implies a tender sexual connection between the author and her partner. It continues with “like a hook into an eye” which seems to be meant to imply images of older formal clothing, possibly a bra hook closure, or a visual of constriction, such as a corset. This furthers the intimate theme of fitting tightly together. However, the second portion of the poem takes a dramatic turn with the jarring image “a fish hook/an open eye” demonstrating a shocking, violent relationship between the two and a very unsettling contrast for the reader.
In an age of instant communication and computerized everything, poetic devices remind us that language is not just a tool for clarity - it’s a vessel for mystery, nuance, and transformation. They challenge us to read slowly, to listen deeply, and to allow ourselves to feel more than we understand.
So, the next time you encounter a poem, don’t just skim for meaning. Look for the gears turning beneath the words. Poetic devices are the quiet machinery of poetic magic—and once you learn to spot them, you’ll never read the same way again.
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He sits on a window, waiting
For the fly to fill his stomach.
Behind him, a
Shadow, looming, watches
Him.
~  ~
Neighborly chats gone digital,
computers catching on to
mere asides, to idle
gossip flash-drive
stored, the depth
of Dell, an Apple for each byte.
~ ~
Take me as I am is my heartfelt plea.
True love does not come with false conditions.
Don't ask me to change. I would not be me.
Take me as I am is my heartfelt plea.
~ ~
Young sapling flexible trunk that's small
Yearns for when people will call
mighty Oak so tall
Loved by all
Gold
~ ~
I can feel your presence;
But looking over, you are
No longer there.
~ ~
Work harder
Work more
More hours
More productivity
Productivity for corporate profits
Productivity for shareholder valuation
Valuation of the bottom line above all else
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Poetry: September 10, 2025 Issue [#13333]
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