Sitting on the Fence & Oscillation - Suzette Richards's Blog

Suzette Swan Arc isn't about just sittin' on the fence—it's about the fence dissolving, leaving only the rhythm of oscillation, where choices ebb and flow in infinite continuity.

For those poets who are still sitting on the fence as to whether or not to write for my current contest, Elements of Nature: An emotional echo in nature—swing (oscillate, and not juxtapose) between objective and subjective perception throughout the poem. The following might inspire you to be adventurous and tackle the bull by the horns.

Liquescent Marmoris

sea-urchins in rock pools – 

the flesh, a delicacy –

sparkle –

protected from the ocean

where anemones proliferate –

by a mist-glistening 

heart shaped rock:

the keeper of my secrets –

a cache of memories

of mornings snorkelling

surface

eddy on the periphery

—homesick for my roots—

a keeper lost to shifting tides

white horses

masking risk in its wake …

a plastic wrapped sushi tray

on the kitsch kitchen counter

awash with the detritus of daily life—

a cold cup of coffee

milk skin

swirling like

liquescent marmoris

fluctuant under

fractured light

tender moments

where flaws hide in the spotlight

Laetrile induced

unsettling riptides

where occasionally colour swirls

marbling visions  

the future liquescent …

I’m drowning in

proposals of memories

to be made with loved ones

family secrets to

be offered up

a dish that could be as

risky as Omakase …

smiling indulgently with my eyes

as a mirror-smooth ocean –

a north-westerly wind

whipping up the occasional white horse –

hides its turbulent depths

so a state of amenomania   

settles over me 

the final images

• as requested –

the secrets of my life

tucked away in an abditory—

eddying between past and future

the key to

unlocking it—

left in

their hearts—

Liquescent Marmoris (poetrysoup.com)

REPORT

Your poem certainly incorporates both juxtaposition and oscillation, but the balance leans toward oscillation rather than stark contrast.

• Oscillation dominates because:
  • The movements in your poem are fluid rather than static contrasts. Moments shift between memory and present, exposure and concealment, immersion and distance.
  • The recurrence of swirling, eddying, marbling, and fluctuating elements creates an ongoing sense of movement rather than sharp opposition.
  • Even paradoxes—such as vulnerability in secrecy or turbulence beneath calm waters—are expressed through gradual shifts rather than abrupt divergence.
• Juxtaposition plays a role in:
  • The contrast between the natural world (rock pools, tides) and artificial elements (plastic-wrapped sushi, kitchen detritus).
  • The interplay of tenderness vs. unsettling riptides, indulgence vs. hidden turbulence.
  • Structurally, certain lines set up stark contrasts—such as the “mirror-smooth ocean” vs. “north-westerly wind whipping up the occasional white horse.”

Ultimately, the poem moves rather than clashes—its underlying rhythm favors oscillation over juxtaposition.

Details of Oscillating Elements in the Poem

This poem is a striking demonstration of oscillation—movement between surfaces, memories, and emotional states. Here are key instances where you’ve successfully employed this technique:

• Movement between containment and exposure:
  • “sea-urchins in rock pools – the flesh, a delicacy – sparkle – protected from the ocean” juxtaposes delicacy and protection, suggesting oscillation between vulnerability and sanctuary.
  • “the keeper of my secrets” introduces an anchoring element (the rock), yet the poem later shifts to “a keeper lost to shifting tides,” showing how stability itself is transient.

·  Shifts between past and present, memory and immediate perception:

• “a cache of memories of mornings snorkelling surface” contrasts submerged remembrance with surfacing awareness. The phrase "surface" acts as a pivotal moment of emergence from nostalgia into the present.
• “eddy on the periphery —homesick for my roots—” evokes circular motion, where longing and displacement swirl at the edges of recognition.

·  Fluidity and destabilization in sensory engagement:

• “milk skin swirling like liquescent marmoris” encapsulates oscillation through movement in liquid and fractured light, reinforcing instability and transformation.
• “Laetrile induced unsettling riptides where occasionally colour swirls” echoes a chemical-induced flux—marbling visions suggest an unpredictable interplay of clarity and distortion.

Emotional and thematic paradoxes of concealment vs. revelation:

• “I’m drowning in proposals of memories to be made with loved ones” employs drowning not as loss, but as being overtaken by possibilities, oscillating between suffocation and immersion.
• “a dish that could be as risky as Omakase” plays with the tension between anticipation and risk—revealing familial secrets likened to an unpredictable culinary experience.

Structural oscillation reinforcing thematic fluidity:

• “smiling indulgently with my eyes as a mirror-smooth ocean – a north-westerly wind whipping up the occasional white horse – hides its turbulent depths” juxtaposes surface tranquility with concealed unrest, where oscillation occurs beneath visibility.
• “the secrets of my life tucked away in an abditory—eddying between past and future” underscores movement between memory and possibility, reinforcing oscillation through placement and dislocation.

***

COMPARATIVE REPORT

Verismo

the lips of sunset

caress teal outcrop

damp with anticipation

ever speeding up

and illuminating every last aspect

however reluctantly

as it

has to relinquish

its grip on reality

and find

blessed relief

after the day’s toil

to rest    

a final burst of colour

in horizontal rainbow

celestial cymbals herald

the climax of the

verismo

Verismo (poetrysoup.com)

A poem that moves predictably in its progression or even where sections are over elaborated upon rather than allowing readers to engage intuitively with the poem's essence, is considered to be too linear. This is the antithesis of ambiguity and the remedy for too linear work is the oscillation of various elements within the poem—oscillation as an organic phenomenon; one that a poet must feel rather than merely construct.

My Suzette Prime poem—a syllabic verse—Verismo (above), dated 12 April 2023, exhibits a linear progression in the sense that it moves through time—a sunset’s descent—echoing the natural inevitability of motion. The act of relinquishing its grip and reflecting on squandered dawn suggests an inherent tension between progression and retrospection. The sunset becomes both actor and witness—the tension between action and contemplation heightens the juxtaposition between forward motion and retrospection, reinforcing the theme. However, it also exhibit oscillatory tendencies: the way anticipation builds, the reluctance of release, and the final burst of colour in contrast to its fading nature. These elements suggest a push-pull dynamic rather than a strictly forward motion. It’s a fascinating interplay within the same poem— a perfect example of how poetic structure should serve the essence of the piece rather than forcing the subject to conform to a predetermined mould.

Oscillation is as Old as the Hills

Besides Suzette Swan Arc, there are other poetic forms that incorporate oscillation in their design format:

• Metamodern Lyric: This form, influenced by the oscillatory nature of metamodernism, shifts between sincerity and irony, hope and doubt, often within the same poem.
• Wave Poetry – Inspired by the rhythmic undulations of waves, this form emphasizes cyclical movement, where themes and emotions ebb and flow rather than contrast sharply.
• Palimpsestic Verse: Poems that layer meaning through recursive engagement, allowing past and present interpretations to oscillate rather than remain fixed.
• Resonance Poetry: A form that thrives on thematic reverberation, where ideas echo and evolve rather than stand in opposition.
• Metamodern Haibun: A hybrid form blending prose and haiku, where the prose oscillates between introspection and outward observation, creating a dynamic interplay.
• Tanka Prose:  This prosimetrum naturally embodies oscillation through its interplay between prose passages and tanka poems, allowing for fluid shifts in tone, perspective, and emotional intensity.

You could also get reports like these (or similar) on your phone when you download the FREE app, Microsoft Copilot by asking (prompt) it to identify oscillation opposed to juxtaposition, and ask for recommendations. Or you may use an app of your choice - as I did with Grock 3 (see below). Easy-peasy, lemon squeezy. :)

GROCK 3 APPRAISAL

Thank you for sharing "Liquescent Marmoris". This evocative poem, with its rich imagery and fluid structure, provides a fascinating canvas to analyze against the principles of the Suzette Swan Arc poetic form as you described: oscillation, boundlessness, fluid transitions, and a Klein bottle-like interplay of opposing forces. Below, I evaluate the poem based on the four criteria you specified: oscillation vs. juxtaposition, too linear vs. non-linear, pivot vs. volta or twist, and open-ended finale vs. resolution or conclusion. I’ll reference specific lines and structural choices to ground the analysis in the poem’s text.

Oscillation vs. Juxtaposition

The Suzette Swan Arc emphasizes oscillation—a seamless, back-and-forth flow between opposing forces (e.g., internal reflection and external turbulence) that blends or transitions fluidly, rather than juxtaposition, which places contrasting elements side by side for stark effect without integration.

Analysis:
The poem beautifully embodies oscillation, weaving internal and external realms with fluid transitions. For example, the opening stanza shifts from the external imagery of "sea-urchins in rock pools" and "anemones proliferate" to the internal, intimate "heart shaped rock: / the keeper of my secrets." This movement blends the physical ocean with personal emotion, creating a dynamic interplay rather than a stark contrast. Similarly, in the third stanza, the external "plastic wrapped sushi tray / on the kitsch kitchen counter" merges with the internal "liquescent marmoris / fluctuant under / fractured light," where the swirling coffee and marbled light reflect emotional turbulence. The poem avoids rigid binaries, allowing images like "white horses / masking risk in its wake" to oscillate between serene surfaces and hidden dangers.

There’s little evidence of juxtaposition in the traditional sense, as the poem doesn’t place opposing elements in sharp, disconnected contrast. Instead, it flows like the Klein bottle’s continuous surface, with images and emotions folding into one another. For instance, "tender moments / where flaws hide in the spotlight" oscillates between vulnerability and exposure without a harsh divide.

Verdict: The poem excels at oscillation, aligning with the Suzette Swan Arc’s ethos of fluid interplay between opposing forces.

2. Too Linear vs. Non-Linear

The Suzette Swan Arc favors a non-linear structure, reflecting the Klein bottle’s boundless, non-orientable form, with jumps across time, perspectives, or images. A linear poem, by contrast, follows a straightforward narrative or logical progression.

Analysis:

"Liquescent Marmoris" is distinctly non-linear, embodying the Suzette Swan Arc’s multidimensional quality. The poem moves across settings (ocean, kitchen, emotional interior) and timeframes (past memories, present observations, future possibilities) without a clear chronological thread. For example, the second stanza recalls "mornings snorkelling" and a "keeper lost to shifting tides," then pivots to "homesick for my roots," blending past nostalgia with present longing. The fourth stanza introduces "Laetrile induced / unsettling riptides" and "marbling visions / the future liquescent," leaping into a speculative, almost surreal future. These shifts don’t follow a straight narrative but eddy like the poem’s own imagery ("eddy on the periphery").

The structure, with its enjambed lines and irregular stanza breaks, enhances this non-linearity. Phrases like "liquescent marmoris / fluctuant under / fractured light" and "eddying between past and future" evoke a cyclical, fluid movement rather than a linear progression. The poem’s fragmented, image-driven flow mirrors the Suzette Swan Arc’s rejection of conventional orientation.

Verdict: The poem is non-linear, fully embracing the Suzette Swan Arc’s boundless, multidimensional structure.

3. Pivot vs. Volta or Twist

The Suzette Swan Arc prioritizes pivots—intuitive, fluid shifts in perspective or tone that maintain the poem’s energy—over a volta (a sharp, defined turn, as in a sonnet) or a twist (an abrupt, dramatic shift).

Analysis:

The poem employs subtle pivots rather than sharp voltas or twists, aligning with the Suzette Swan Arc’s fluid transitions. For example, in the first stanza, the shift from "sea-urchins in rock pools" to "the keeper of my secrets" is a gentle pivot, moving from external observation to internal significance without breaking the poem’s flow. Another pivot occurs in the third stanza, where the mundane "plastic wrapped sushi tray" transitions to the poetic "liquescent marmoris / fluctuant under / fractured light," reorienting the reader from domesticity to a layered emotional metaphor.

The fifth stanza’s shift from "proposals of memories / to be made with loved ones" to "a dish that could be as / risky as Omakase" is another intuitive pivot, blending hope with uncertainty in a way that feels organic rather than jarring. These moments maintain the poem’s energy, like ripples in water, rather than introducing abrupt turns. There’s no single, dramatic volta or twist that redefines the poem’s trajectory; instead, the shifts are seamless, keeping the reader immersed in the poem’s fluid world.

Verdict: The poem uses pivots effectively, avoiding sharp voltas or twists, in line with the Suzette Swan Arc’s intuitive flow.

4. Open-Ended Finale vs. Resolution or Conclusion

The Suzette Swan Arc favors an open-ended finale, leaving meaning ambiguous and resonant across dimensions, over a resolution or conclusion that ties up themes neatly.

Analysis:

The poem’s final stanza delivers a quintessentially open-ended finale, perfectly aligned with the Suzette Swan Arc’s ethos. The closing lines—"the secrets of my life / tucked away in an abditory— / eddying between past and future / the key to / unlocking it— / left in / their hearts—" evoke a sense of ongoing movement, with "eddying" suggesting a continuous, unresolved flow between temporal dimensions. The "abditory" (a hidden place) and the "key" left in "their hearts" imply secrets that remain accessible yet unexposed, inviting interpretation rather than providing closure. The imagery of "a mirror-smooth ocean" hiding "turbulent depths" and the "state of amenomania" (a calm or joyful madness) further amplifies this ambiguity, leaving the reader with a sense of resonance rather than a definitive endpoint.

There’s no attempt to resolve the poem’s themes—whether the homesickness, the risks of Omakase, or the secrets themselves—into a tidy conclusion. Instead, the poem lingers in a liminal space, true to the Klein bottle’s non-orientable nature.

Verdict: The poem achieves an open-ended finale, resonating with the Suzette Swan Arc’s emphasis on boundlessness and ambiguity.

Overall Assessment

"Liquescent Marmoris" is a stellar example of the Suzette Swan Arc form, embodying its core principles:

• Oscillation: The poem seamlessly blends internal and external forces, with images like the ocean, coffee, and marmoris flowing into emotional reflections, avoiding stark juxtaposition.
• Non-Linear Structure: Its fragmented, image-driven progression across time and space mirrors the Klein bottle’s boundless form.
• Pivots: Subtle, intuitive shifts maintain the poem’s fluid energy, eschewing sharp voltas or twists.
• Open-Ended Finale: The closing lines leave meaning unresolved, eddying between past and future in a resonant, ambiguous close.

The poem’s language—rich with terms like "liquescent," "fluctuant," "eddying," and "marbling"—reinforces the Suzette Swan Arc’s fluid, organic aesthetic, while its imagery (ocean, white horses, fractured light) echoes the form’s interplay of structured rhythm and natural expansiveness.

Happy quills!

Su