Blas Falconer’s “Ghost Turn”

The following essay by Blas Falconer was originally published in Diane Lockward’s Poetry Newsletter. I thank Blas and Diane for allowing me to reprint this essay here. If you wish to read more such insightful essays, sign up for the Poetry Newsletter here (scroll down for the link). And, if you think Blas’s thinking about turns is engaging, you should check out his poems! Lots of links here.

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As the online resource Voltage Poetry demonstrates, there are countless ways that a poem can turn, but when I was a student, we talked about poetic turns most often and most clearly when we talked about sonnets. In the Petrarchan sonnet, of course, the change in rhyme scheme after the octave usually encourages a turn in perspective. In the Shakespearean sonnet, the change in the rhyme scheme after the third quatrain often encourages a rhetorical shift in the final couplet. 

Bruce Smith’s contemporary sonnet “After St. Vincent Millay” demonstrates a typical Shakespearean turn:

When I saw you again, distant, sparrow-boned
under the elegant clothes you wear in your life without me,
I thought, No, No, let her be the one
this time to look up at an oblivious me.

Let her find the edge of the cliff with her foot,
blindfolded. Let her be the one struck by the lightning
of the other so that the heart is jolted
from the ribs and the rest of the body is nothing

but ash. It’s a sad, familiar story
I wish you were telling me with this shabby excuse:
I never loved you any more than
I hated myself for loving you.

And about that other guy by your side
you left me for. I hope he dies.

Years ago, one of my professors pointed out that the Shakespearean sonnet, in addition to its turn in final couplet, usually has a lesser turn, a “ghost turn,” after the eighth line, too, a nod to the Petrarchan tradition. As an editor and as a teacher, I have noted that one common difference between a good poem and a great poem is that the good poem, regardless of the form, so often mistakes a ghost turn (“It’s a sad familiar story”) with a final turn (“And about that other guy by your side”). To end a poem, free verse or otherwise, on the ghost turn means to end it prematurely. With the ghost turn, the poet senses a shift in the poem and shuts the poem down before it is fully realized, so the poem comes across as facile, less rich, less dynamic, less ambitious than it could be. 

Consider the poems you love, poems that have been celebrated for years to see how often they push beyond the first temptation of closure, the first disruption of a pattern, the first turn. Imagine, for example, if Richard Wilbur’s poem “The Writer” ended with the starling and not the daughter. 

It lifted off from a chair-back,
Beating a smooth course for the right window
And clearing the sill of the world.

It is always a matter, my darling,
Of life or death, as I had forgotten.  I wish
What I wished you before, but harder.

Imagine if Thomas James’s poem “Mummy of a Lady Named Jemutesonekh” ended with a description of the mummification and not the dead beloved, not the question about the lies that we tell each other.  

Shut in my painted box, I am a precious object.
I wear a wooden mask. These are my eyelids,
Two flakes of bronze, and here is my new mouth,
Chiseled with care, guarding its ruby facets.
I will last forever. I am not impatient—
My skin will wait to greet its old complexions.
I’ll lie here till the world swims back again.

When I come home the garden will be budding,
White petals breaking open, clusters of night flowers,
The far-off music of a tambourine.
A boy will pace among the passionflowers,
His eyes no longer two bruised surfaces.
I’ll know the mouth of my young groom, I’ll touch
His hands. Why do people lie to one another?

Then, read the featured entries in Voltage Poetry to see how brilliantly poets create turns in their poems.  Read Arielle Greenberg’s take on Shane McRae’s “We married in a taxi.” Read Craig Santos Perez’s essay on Anne Perez Hattori’s “Thieves.” Read David Wright’s critique of “When the Neighbors Fight” by Terrance Hayes. Identify the ghost turn. Consider how the poet resisted the easy ending.

Finally, with an open mind, look at your own poems. Do they end with a ghost turn? Have you mistaken an ending for the ending, for closure, when what the poem is really asking for is another beginning, another turn? Test your poems. Push yourself. Turn from description to reflection or from question to answer. Turn with a rhetorical shift. Turn from one story or image or idea to another, from statement to contradiction. Offer your reader a new voice. Push your poems past your comfort and what you already know. To write the great poem, I have come to believe, that’s what it takes.