[close] Ordinary mortals and poet scholars alike will find something to love in Koch's down-to-earth approach to making sense of that most head scratching of literary genres. Asserting that "poetry ... is a separate language," he steers clear of the stodgy, hidden-meaning school of deciphering poems (wherein the reader digs through the poem "for some elusive and momentous significance") and takes us instead on a tour through the tonal, rhythmical, and metrical aspects of poetry. Yes, it's about the music: "The sound of words is raised to an importance equal to that of their meaning, and also to the importance of grammar and syntax." But rather than asking us to simply take his word for it, Koch provides lively and insightful examples (including many rarely anthologized poems). For instance, why does "two and two are rather green" have little or no meaning, while "two and two / Are rather blue" smacks of the truth? Why does "I don't know whether or not to commit suicide" plop from the mouth like so much cold oatmeal, while "To be or not to be, that is the question" is so pleasing to the ears? Resonance, says Koch. "Poetry lasts because it gives the ambiguous and ever-changing pleasure of being both a statement and a song."

Moving from poetry's music to its methods (comparisons, personifications, and apostrophe, to name a few), Koch continues to offer up an amusing and edifying array of excerpts and analogies to clarify his point that with poetry, "as with baseball ... one has to understand a little in order to enjoy it...." Insightful, yet never patronizing, Making Your Own Days is for anyone who's ever read a poem and wished it were more "like a newspaper article." Though Koch can't tell us why Wallace Stevens wrote "I placed a jar in Tennessee," or why "So much depends / upon / a red wheel / barrow" (William Carlos Williams), he helps us listen to--and savor--that sometimes bewildering conglomeration of words otherwise known as poetry. --Martha Silano [close]