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N O T R E P R O D U C T I O N Retrofuturism Nº10<br />

“never”. Add “bafflement” and the poem will spell “neverending<br />

bafflement”, a neat characterization of the subject,<br />

the person with the secret life who is addressed. “nERVE”<br />

is available, too, for whatever that’s worth. “VERVE”, too.<br />

Thus does the disconcealment jiggle ordinary words beyond<br />

their first meanings.<br />

Although it is not emphatically metaphoric, “Your Secret<br />

Life” has touches of the figurative. One is the way most<br />

of the letters of “bafflement” shrink down to secret-size<br />

and hide in the E, thus metaphoring a kind of subterranean<br />

life. At the same time the word enacts a visual metaphor<br />

for bafflement, its spelling causing that state, at least initially,<br />

for most readers.<br />

The second of the three samples of Sequencing I want to<br />

discuss is called “Philosophy”. Its main form of<br />

disconcealment is Crosswording, which consists of the sharing<br />

of one or more letters between two or more words (or<br />

phrases)—as, in fact, in the poem just examined. It allows<br />

“Philosophy” to say, “ThOughTS in KnOTS”— which, presumably,<br />

is what philosophy consists of.<br />

The piece also makes use of the most common kind of<br />

disconcealment, the Disruption. The Disruption is merely<br />

the breaking up of a word or phrase in such a way as to<br />

reveal inner words or partial words that increase its potential<br />

for meaningfulness. The insertion of spaces into words<br />

would be another way to describe this device. It occurs in<br />

almost all of the poems in Sequencing, including “Your<br />

Secret Life”. In “Philosophy” the Disruption produces such<br />

extra meanings as the “ugh” that philosophical exertion in<br />

part is, and “Thin” and “think’n”, which are minor but add<br />

appropriate atmospheric effects to the poem. The arrangement<br />

of letters is to a degree a visual onomatopœia for knots,<br />

too—that is, it looks like what it denotes.<br />

Perhaps my favorite of the poems in Ernst’s collection is<br />

the one called “Proserpina”. This poem depends chiefly on<br />

disconcealment by crosswording: the words “have” and<br />

“come” are linked by a shared “E”; and an “I” crosswords<br />

the result into “I come” and “I have”. Two Es lower on the<br />

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