I am beyond thrilled to announce that I have three poems in a Gulf Coast Online Exclusive! I wrote "Rid of Effulgence" and "With Anticipation" back in my grad school days. I'm pretty positive "Rid of Effulgence" was in my thesis while I have memories of workshopping "With Anticipation" after actually defending my thesis. That's just a memory though so I have no idea how reliable it is.
"The Night Is Rapt" definitely emerged after grad school. This is a non-explanation, but I can read it over and tell that I wrote it after I graduated. It feels and reads different to me. There's a bit of fear laced into the poem that has nothing to do with the subject matter and more to do with not having a thesis advisor. You can call nonsense of that, but it seems utterly rational to me.
Anyways, hop on over to Gulf Coast and check out the poems.
And below, as always, are the paragraphs I used to write the poems—all are from The Waves—with the words I used marked in red:
"Rid of Effulgence"
“‘Now I will walk, as if I had an end in view, across the room, to the balcony under the awning. I see the sky, softly feathered with its sudden effulgence of moon. I also see the railings of the square, and two people without faces, leaning like statues against the sky. There is, then, a world immune from change. When I have passed through this drawing-room flickering with tongues that cut me like knives, making me stammer, making me lie, I find faces rid of features, robed in beauty. The lovers crouch under the plane tree. The policeman stands sentinel at the corner. A man passes. There is, then, a world immune from change. But I am not composed enough, standing on tiptoe on the verge of fire, still scorched by the hot breath, afraid of the door opening and the leap of the tiger, to make even one sentence. What I say is perpetually contradicted. Each time the door opens I am interrupted. I am not yet twenty-one. I am to be broken. I am to be derided all my life. I am to be cast up and down among these men and women, with their twitching faces, with their lying tongues, like a cork on a rough sea. Like a ribbon of weed I am flung far every time the door opens. I am the foam that sweeps and fills the uttermost rims of the rocks with whiteness; I am also a girl, here in this room.’”
"The Night Is Rapt"
“For now my body, my companion, which is always sending its signals, the rough black ‘No,’ the golden ‘Come,’ in rapid running arrows of sensation, beckons. Someone moves. Did I raise my arm? Did I look? Did my yellow scarf with the strawberry spots float and signal? He has broken from the wall. He follows. I am pursued through the forest. All is rapt, all is nocturnal, and the parrots go screaming through the branches. All my senses stand erect. Now I feel the roughness of the fibre of the curtain through which I push; now I feel the cold iron railing and its blistered paint beneath my palm. Now the cool tide of darkness breaks its waters over me. We are out of doors. Night opens; night traversed by wandering moths; night hiding lovers roaming to adventure. I smell roses; I smell violets; I see red and blue just hidden. Now gravel is under my shoes; now grass. Up reel the tall backs of houses guilty with lights. All London is uneasy with flashing lights. Now let us sing our love song—Come, come, come. Now my gold signal is like a dragonfly flying taut. Jug, jug, jug, I sing like the nightingale whose melody is crowded in the too narrow passage of her throat. Now I hear crash and rending of boughs and the crack of antlers as if the beasts of the forest were all hunting, all rearing high and plunging down among the thorns. One has pierced me. One is driven deep within me.”
“‘It is now five minutes to eight,’ said Neville. ‘I have come early. I have taken my place at the table ten minutes before the time in order to taste every moment of anticipation; to see the door open and to say, “Is it Percival? No; it is not Percival.” There is a morbid pleasure in saying: “No, it is not Percival.” I have seen the door open and shut twenty times already; each time the suspense sharpens. This is the place to which he is coming. This is the table at which he will sit. Here, incredible as it seems, will be his actual body. This table, these chairs, this metal vase with its three red flowers are about to undergo an extraordinary transformation. Already the room, with its swing-doors, its tables heaped with fruit, with cold joints, wears the wavering, unreal appearance of a place where one waits expecting something to happen. Things quiver as if not yet in being. The blankness of the white table-cloth glares. The hostility, the indifference of other people dining here is oppressive. We look at each other; see that we do not know each other, stare, and go off. Such looks are lashes. I feel the whole cruelty and indifference of the world in them. If he should not come I could not bear it. I should go. Yet somebody must be seeing him now. He must be in some cab; he must be passing some shop. And every moment he seems to pump into this room this prickly light, this intensity of being, so that things have lost their normal uses—this knife-blade is only a flash of light, not a thing to cut with. The normal is abolished.’”