I have a poem in the new issue of Yellow Chair Review (#7). The poem is titled “Dusk Hit” and is from a series.
It can be read here.
What is this might, this mystery,Here the rhyme is a bit heavy-handed, but the passage sums up Bynner’s perspective (and his repetition of rhyme is often meant to work as emphasis). Though he does not articulate a codified system (aside from the broad strokes), he does intend to take a political stance, having asserted at the start of this section, “‘Beauty,’ they ask, ‘in politics?’ / ‘If you put it there,’ say I” (23).
Moving and singing through democracy,
This music of the masses
And of you and me —
But purging and dynamic poetry! — (page 25)
To stop the wound and heal the scarHere, the rhyme is more subtle, with enjambment and the near-rhyme of “aptitude / flood,” even as the message remains stridently egalitarian. Bynner makes similarly strident statements about wealth inequality and war, while avoiding the ideological approach we sometimes later see especially in the poets of the 1930s — Bynner was not a Marxist, but more a radical progressive, albeit when the term still had something of a party-political connotation.
Of time, with sudden glorious aptitude
Woman assumes her part. Her pity in a flood
Flings down the gate.
She has been made to wait
Too long. . . . (37)
Let me receive communion with all men,There are some weaknesses here, though; sometimes Bynner’s frequent talk of the “soul” or “joy” becomes a bit too indistinct or clichéd. Pound, with his Imagist principles, had a point in this regard, the better strategy often being to avoid or at least critique such abstractions.
Acknowledging our one and only soul!
For not till then
Can God be God, till we ourselves are whole. (39)