NYU Black Renaissance Noire Winter 2014 - Page 52

50 With his use of enjambment and the music of qualifier-based sentences, he has developed a kind of expectation in our ears. We begin to expect the music of qualifying, the music of the list, but there are also surprises, moments of the sonic juke or stutter step. (The radical change of one body of sound or phrasing breaking into another). We get the quick sentence of “I love my big hands.” All on one line, started and end-stopped. This moment throws a swagger or trouble into the music. Surprises the list. Amplifies the sound. Then the following sentence, regains, again, the poem’s earlier music. Another striking move: the switch from the plural of “big hands” to the singularity of the body again with the use of the word “it”. “I love my big hands./ I love it clear down…” The “it” seems to refer to the body of the first sentence. A quick and subtle change —it simultaneously follows the pattern of repetition (I love, I love, I love—) while departing from pattern, as we see in the move from “big hands” to “it”. Plurality to singularity. Agai