Adam Fenner's Blog, page 8

The End and the Beginning – Reviewed

Wislawa Szymborska

Translated from Polish by Joanna Trzeciak Huss

After every war
someone has to clean up.
Things won’t
straighten themselves up, after all.

Someone has to push the rubble
to the side of the road,
so the corpse-filled wagons
can pass.

Someone has to get mired
in scum and ashes,
sofa springs,
splintered glass,
and bloody rags.

You may find the rest of the poem here.

Poem for the end of a war

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Analysis

Wars don’t end when the fighting stops. The destruction doesn’t disappear overnight. Someone has to clear the wreckage, haul away the dead, and put everything back together. The End and the Beginning focuses on this part—the quiet, exhausting labor of rebuilding. It’s the part that never makes it into history books because there’s nothing dramatic about it. No victories, no heroes, just endless work that no one wants to think about.

The poem begins with a simple fact: after every war, someone has to clean up. The lines are short and direct, listing task after task like a never-ending to-do list. Rubble needs moving, bodies need clearing, broken things need fixing. The work is repetitive, slow, and ugly. Someone has to wade through the filth, scrape away the grime, replace shattered windows, and drag in beams to hold up crumbling walls. But no one is watching. The cameras have already moved on to the next war.

The speaker isn’t emotional about any of this. The tone is matter-of-fact, almost detached. The work itself is the focus, not the people doing it. No one in the poem is named because it doesn’t matter who they are. What matters is that this happens every time, and it always falls to someone. The war might be over, but that doesn’t mean things are fine. The destruction lingers, and so do the people who remember it. But even they won’t last forever.

The middle of the poem shifts from cleaning up to rebuilding. The bridges and railways need to be repaired. The streets need to be cleared. The people doing this work still remember the war, but new people are already arriving, people who weren’t there, people who don’t care. They find it boring. The past starts to fade.

Even the arguments that once mattered so much get tossed aside like rusted junk. The causes and effects of the war become irrelevant. The people who lived through it step aside for those who know little, then less, then nothing at all. It’s not just the war itself that disappears—it’s the memory of it.

By the end, the battlefield is covered in grass. The war has been erased. The last image is of someone lying in the grass, watching the clouds, completely unaware of what happened beneath him. He has the luxury of not knowing. The cycle is complete. Until the next war starts.

Photo by Jean-Pierre Brungs on Unsplash

Love – Reviewed

Iris Carden

“Love your neighbour,” the itinerant preacher said.
He continued with, “And love your enemy besides.”
Well, the response to that was predictable.
Such radical words will get you crucified.

He added to the case against him with further words,
He called for mercy for the foreigner, and the poor;
He said provide for the widow and orphan,
and care for the the sick, the imprisoned, and more.

…

You may find the rest of the poem here.

Love

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Analysis

“Love” is about how compassion is often resisted, both by individuals and institutions. The poem focuses on an itinerant preacher, whose teachings about mercy and kindness challenged the people around him. Instead of being embraced, his words were met with rejection and punishment. The poem suggests that this pattern has not changed—love remains rare, and those who claim to uphold morality often reject true compassion.

The poem highlights the contrast between the preachers’ message and the response it received. He spoke about loving neighbors, enemies, and the most vulnerable, yet this was seen as dangerous. The line “Such radical words will get you crucified” points to how even simple moral teachings can be treated as a threat. The third stanza expands on this, showing how religious figures of the time placed rules above care. His’ warning that “sinners” will enter heaven first challenges the idea that morality is about strict adherence to doctrine rather than genuine kindness.

The final stanza brings this into the present. His words are still remembered, but love itself remains scarce. Institutions that claim to follow his teachings often act in opposition to them, prioritizing tradition and control over empathy. The line “hold empathy to be a grievous sin” suggests that resistance to mercy is not a thing of the past. The poem makes it clear that the struggle between love and rigid morality continues.

The structure is simple and direct, using four-line stanzas that reinforce the clarity of the message. There is a quiet rhythm, but no unnecessary flourish. The tone is critical but restrained, allowing the message to stand on its own.

The theme focuses on the difficulty of practicing love when it challenges authority. Institutions that should encourage kindness often resist it, and individuals who try to live with compassion may find themselves at odds with the world. “Love” suggests that while the message of mercy endures, so does the resistance to it. It asks whether these teachings are truly being followed or simply remembered in words.

Photo by Nick Moore on Unsplash

My Muse the Devil – Reviewed

Kylie

You have always been my muse
Is that why its’ so intense
The love, happiness
Hurt and grief
My own personal devil
Please heal me from him

…

You may find the rest of the poem here.

My Muse the Devil – A Poem

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Analysis

“My Muse the Devil” is about the complicated relationship between inspiration and suffering. The speaker’s muse is both a source of passion and a reminder of pain, creating a struggle between appreciation and frustration. Creativity is often seen as a gift, but here, it comes with an emotional cost. The muse is described as a “personal devil,” suggesting that inspiration is not always freeing—it can also be something that holds a person back.

The poem’s structure is simple, with short, direct lines that move quickly, adding a sense of urgency. There is no consistent rhythm or rhyme, making it feel unfiltered and personal, as if the speaker is processing emotions in real time. The shift from recognition—“You have always been my muse”—to a desperate plea—“Please heal me from him”—happens fast, mirroring the intensity of the emotions. The final request to a “higher power” makes it clear that the speaker feels trapped, looking for a way to break free.

The tone is conflicted. The speaker acknowledges the muse’s influence but also feels exhausted by it. There is admiration for the creativity and passion it has brought, but also a sense of entrapment. The poem ends with a plea to return to normal life, reinforcing the idea that inspiration, in this case, is not just a source of beauty but also a burden.

The theme centers on the connection between creativity and personal history. The speaker’s relationship with their muse seems tied to past experiences, possibly involving their father. This adds another layer to the struggle—memories and emotions that fuel creativity also bring pain. The poem captures this tension, showing how inspiration can be both powerful and overwhelming, an outlet and a reminder, a source of both expression and entrapment.

Photo by Christopher Campbell on Unsplash

Lilac Love – Reviewed

Balroop Singh

we adore
juicy wildflowers
pure, untouched

…

You may find the rest of the poem here.

#Ekphrastic #Poetry #Shadorma

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Analysis

“Lilac Love” is a quiet reflection on nature and admiration. The poem is brief and precise, using just a few words to create a scene of stillness and appreciation. It captures a moment that feels both personal and universal, where love and nature seem intertwined. The imagery is simple yet effective, focusing on “juicy wildflowers” and “lilac love” as symbols of something pure and untouched. The final lines, “encompassed by green cover / sheer serenity,” frame the moment in stillness, reinforcing the poem’s sense of peace.

The structure plays a key role in shaping the poem’s effect. With its short lines and minimal wording, the poem slows the reader down, mirroring the calmness it describes. If read as a shadorma, its compact syllabic pattern adds a sense of rhythm, giving each word weight. The measured flow makes the scene feel deliberate, as if it were carefully arranged within a frame. This careful placement of words aligns with the tradition of ekphrastic poetry, where the act of observing and preserving a moment is as important as the scene itself.

The tone is quiet and appreciative. There is no movement or urgency—just stillness. The poem does not tell a story or introduce conflict. Instead, it focuses on observation, much like pastoral poetry, which often presents nature as a place of harmony and escape. The sense of protection in “encompassed by green cover” makes the poem feel even more contained, as if this beauty exists in a world untouched by time or change.

The theme centers on purity, love, and the connection between nature and emotion. “Lilac love” could represent a kind of love that is simple and free, much like the wildflowers themselves. By presenting nature as a source of serenity, the poem suggests that love, too, can be something quiet and enduring.

“Lilac Love” works because of its simplicity. Its structure and tone create a moment that feels suspended in time, offering a glimpse of beauty that asks for nothing but appreciation. It is a poem that lingers, not because of what it says, but because of how it makes the reader pause.

Ekphrastic Poetry

Ekphrasis is a way of writing poetry that focuses on art. It is about describing or responding to a visual piece, like a painting or sculpture, through words. The goal is not just to describe what is seen but to add something more—an interpretation, a feeling, or a new perspective. This kind of poetry has existed for a long time, with early examples coming from ancient Greece, where poets wrote about famous artworks.

One of the key ideas behind ekphrastic poetry is that it creates a dialogue between two art forms. A painting or a sculpture is silent, but poetry gives it a voice. Instead of just looking at an image, the poet invites the reader to experience it in a different way. Sometimes, the poem stays close to the original work, focusing on details and description. Other times, it moves beyond the image, imagining a story or emotion that might not be visible in the artwork itself.

Writing ekphrastic poetry can be a way to practice careful observation. It encourages looking deeper, noticing small details, and thinking about what those details might mean. Some poets use this as a way to connect with history, responding to classic paintings or sculptures. Others use it to explore personal emotions, seeing their own experiences reflected in a piece of art.

There is no single way to write ekphrastic poetry. Some poets stick to traditional forms, while others write in free verse. The important thing is the relationship between the words and the artwork. Whether the poem describes, questions, or reinterprets, it is always engaging with another form of expression. In this way, ekphrasis allows poetry to become more than just words on a page—it becomes a conversation between different ways of seeing the world.

You may learn more from the Getty Museum, The Poetry Foundation and the Poetry Lab.

Shadorma Structure

The shadorma is a short poetic form that follows a specific syllable pattern: 3-5-3-3-7-5. It comes from Spain, though its exact origins are unclear. The structure of the shadorma gives it a steady rhythm, making each line feel intentional. Since the form is brief, every word matters. There is little room for extra details, so the poet has to focus on what is essential.

Because the shadorma is small, it works well for capturing a single moment, thought, or feeling. It can be reflective, descriptive, or even tell a short story. Some poets write just one, while others string multiple shadormas together to explore an idea further. The limited space encourages careful word choice, creating a sense of precision.

Writing in this form can be a challenge but also a way to sharpen writing skills. It forces poets to think about syllables and structure while still expressing meaning. Like haiku and other short forms, the shadorma can create a strong image or emotion in just a few lines. This balance between structure and creativity makes it an interesting form to experiment with.

You may learn more from The Writer’s Digest, The Poet’s Pub and Wikipedia.

Photo by Mary Skovpen on Unsplash

Ghost Street – Reviewed

Daniela Torres

This is the first time I’ve felt alone,
In a place I’ve called my own.
What a curse it is to see,
You were never meant for me.

Yet still, despite how this will fall,
I’m grateful that I had it all.
To learn things
My heart will yearn.
To feel a warmth, that now is pain.

…

You may find the rest of the poem here.

IV: Ghost Street

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Analysis

“Ghost Street” is a poem that explores the complex emotions tied to love lost, but it does so in a way that is not weighed down by regret. The speaker reflects on a relationship that once felt vital and meaningful but has since ended, leaving behind a mixture of pain and gratitude. Instead of lamenting the end, the poem shows how the speaker accepts the loss, recognizing it as part of their growth. It moves through moments of sorrow and nostalgia, but ultimately conveys a quiet strength and understanding that comes with moving forward.

The structure of the poem mirrors this emotional journey. The mix of short, sharp lines and longer, reflective passages creates a natural rhythm, much like how the speaker shifts between moments of raw emotion and deeper reflection. The lack of a strict rhyme scheme adds to the feeling that the speaker’s thoughts are unfolding spontaneously, much like memories that resurface uninvited. There’s a sense of freedom in this structure, as though the speaker is letting their feelings take shape without forcing them into a neat, expected pattern.

From the very beginning, the speaker acknowledges the isolation they now feel. They describe being alone in a place that was once shared, which adds a layer of emotional emptiness to the experience. “What a curse it is to see, / You were never meant for me” marks the recognition that the relationship was never meant to last. This realization is painful but also freeing—it clears the way for acceptance. The speaker doesn’t linger on regret, though. Instead of focusing on what could have been, they reflect on what the relationship gave them, even as the pain of its end lingers. “To feel a warmth, that now is pain” shows the dual nature of the experience—the warmth of love has turned into something painful, but that warmth is still real, still worth acknowledging.

One of the most powerful aspects of the poem is the speaker’s ability to move beyond regret. Instead of feeling bitter about the loss, they express gratitude for what the relationship brought them. The line “I’m grateful that I had it all” shows the speaker’s ability to appreciate the good even when faced with the bad. The speaker doesn’t deny the hurt; instead, they see it as part of the journey. The past is not something to erase or regret but something to learn from and carry forward. This willingness to accept the lessons of the past is evident in lines that reflect on shared moments—simple, tangible memories of being together, like holding hands and watching favorite shows. These moments, no matter how small, weren’t meaningless. The speaker wants to hold on to that truth, even if the relationship itself has ended.

As the poem progresses, the speaker reflects on the difficulty of moving forward. The metaphor of “Ghost Street” captures this well—memories that linger like ghosts, haunting familiar places and marking every step the speaker takes. The past doesn’t just disappear. “How will I walk that street once more, / When memories knock on every door?” This line acknowledges that while the memories may always be with them, they don’t have to stop the speaker from living. The memories become part of who they are, but they don’t define the future. There’s a sense of peace in this realization, even if it’s not immediate. The speaker is learning to coexist with the past, to live alongside it rather than be overwhelmed by it.

In the final lines of the poem, the speaker reflects on closure. The idea that “some goodbyes / Were never meant to– / Be said” suggests that some endings don’t need to be wrapped up in a neat bow. Not all goodbyes are spoken aloud, and sometimes that silence is the most meaningful form of closure. The speaker seems to find peace in this idea, understanding that some things are simply meant to end without the need for final words. It’s an acceptance of impermanence and the understanding that some chapters are meant to close quietly, leaving space for new ones to begin.

Overall, “Ghost Street” is a poem about accepting the pain of loss without letting it define the speaker’s future. It shows a journey of growth, where the speaker learns to move on from what’s been lost, not by forgetting it but by understanding that it’s a part of them. The poem doesn’t dwell on regret; instead, it celebrates the lessons learned from a relationship that, though it has ended, shaped the speaker in profound ways. It’s a quiet meditation on the balance between loss and growth, and a reminder that the past, no matter how painful, can be something we carry with us as we move forward.

Photo by Philipp Torres on Unsplash

third eye creation – Reviewed

 j matthew waters

three grapefruit
two apples
one pear

I sit in silence
pretending they are not
placed inside
a wicker basket
atop the kitchen counter

…

You may find the rest of the poem here.

third eye creation

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Analysis

“Third Eye Creation” is a reflective poem about perception, imagination, and transformation. Using the concept of the third eye, the poem explores how ordinary objects can be reinterpreted through inner vision and creativity. It bridges the gap between the tangible and the imagined, inviting readers to consider how perception shapes reality.

The structure of the poem is minimal and direct, beginning with a simple list of fruit: “three grapefruit / two apples / one pear.” This grounded, factual opening sets a familiar scene, drawing the reader into the physical world. The shift occurs as the speaker closes their eyes and engages their “sixth chakra,” using intuition and imagination to transform the still life into a painting. The concise lines and straightforward progression mirror the meditative process, reinforcing the idea that creativity can emerge from simplicity.

The tone is calm and contemplative, with phrases like “I sit in silence” and “I relax & close my eyes” establishing a sense of quiet introspection. The language is plain, avoiding complexity, which makes the imaginative transformation feel accessible and relatable. This tone complements the theme, as the poem gently guides the reader through a process of seeing beyond the surface.

The poem’s theme centers on the interplay between perception and creation. The fruit begins as a physical still life, but through visualization and intuition, it becomes a painting. This transformation highlights how the mind can reinterpret everyday objects, turning them into something entirely new. The use of the third eye connects this act of imagination to a deeper sense of insight, suggesting that creativity is not only about seeing but also about understanding.

“Third Eye Creation” blurs the line between reality and art, showing how perception can reshape the familiar. Its minimal structure and meditative tone emphasize the quiet power of imagination, while the theme celebrates the ability to find meaning and transformation in ordinary moments. The poem invites readers to reflect on their own ways of seeing, encouraging them to explore the potential of their inner vision.

Photo by Masha Rostovskaya on Unsplash

Dancing in Glee – Reviewed

Disha Jethwani

I know it’s overwhelming,
Like the air itself is suffocating,
You feel your soul slowly drowning,
As you see the world around you crumbling.

But no darling, it’s not the end,
Instead, it’s the beginning of the mend.
This is when you can transcend,
All you have to do is stop this pretense.

…

You may find the rest of the poem here.

Dancing in Glee

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Analysis

“Dancing in Glee” is a motivational poem that offers wisdom and encouragement to those facing struggles. The poem recognizes the weight of pain and fear but shifts its focus to renewal, guiding readers toward self-acceptance and inner peace. Through its warm tone and practical advice, it provides reassurance that even in difficult times, healing is possible.

The structure of the poem is steady and consistent, with four-line stanzas that create a calming rhythm. This simplicity mirrors the progression of the poem’s message, moving naturally from acknowledging despair to offering hope and finally celebrating freedom. The rhyme scheme adds a sense of flow, making the poem accessible and engaging while reinforcing its comforting tone.

The poem’s theme centers on letting go, self-compassion, and resilience. It begins by validating the reader’s struggles, with lines like “You feel your soul slowly drowning,” establishing a connection with those who feel overwhelmed. From there, the poem gently encourages release, as in “Let go of the weight, the fear, the strain,” framing this act as a path to freedom and renewal. The phrase “nothing you’ve done has been in vain” adds a layer of reassurance, emphasizing that past experiences, even painful ones, contribute to growth and value.

The tone is supportive and kind, addressing the reader directly with terms like “darling” to create an intimate and encouraging voice. The poet offers practical steps for healing, such as pausing to breathe and accepting one’s flaws, framed as acts of quiet strength. The line “You’ll finally feel deserving of that applause” suggests that peace comes from within, not from external validation, emphasizing the importance of self-worth.

The poem concludes with an inspiring image of freedom and joy. The metaphor of “dancing in glee” captures the transformative power of peace, showing that true healing leads to lightness and clarity. This ending ties together the poem’s themes of resilience and hope, leaving the reader with a sense of empowerment.

“Dancing in Glee” is a heartfelt reflection on the journey from struggle to peace. Its simple structure, warm tone, and motivational message make it an uplifting reminder that even in the face of difficulty, there is always a path to healing and joy. The poem invites readers to embrace self-compassion and find strength in the process of letting go.

Photo by Andrew Rice on Unsplash

The Poet’s Embezzlement – Reviewed

Con Chapman

          Every poet cheats his boss.
                    Russian proverb.

Into the middle distance
I fix my blankest stare.
I nod my head
at what is said.
My brain is God knows where.

“Our revenue’s declining”-
so says our CFO.
I hear the words–
it’s too absurd–
I care not ’bout his dough.

…

You may find the rest of the poem here.

The Poet’s Embezzlement

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Analysis

“The Poet’s Embezzlement” humorously explores the clash between the monotony of corporate life and the boundless creativity of the poet’s mind. Through wit, wordplay, and the clever use of workplace jargon, the poem critiques the rigid structures of office culture while celebrating the quiet rebellion of imaginative escape. It turns the mundane setting of a workplace into a backdrop for a playful exploration of the poet’s inner world.

The poem’s structure is straightforward and rhythmic, with short stanzas that reinforce its conversational tone. The consistent rhyme scheme gives the poem a lighthearted flow, making it feel approachable and engaging. This simplicity mirrors the duality of the poet’s experience—physically grounded in the office but mentally wandering into realms of creativity. The rhythm also highlights the dissonance between the poet’s corporate obligations and their artistic aspirations.

Corporate jargon plays a significant role in the poem, anchoring it in the language of office life. Phrases like “Our revenue’s declining” and “on the clock” create a sense of familiarity with the professional environment while underscoring the poet’s disconnection from its priorities. The poet’s indifference to “his dough” and the humorous observation that “Lyric’s gain is mammon’s loss” emphasize the tension between profit-driven systems and the intangible value of art and imagination. This blend of corporate language with whimsical imagery draws attention to the absurdity of confining creativity within a rigid framework.

The tone of the poem is witty and self-aware, using humor to critique the expectations of the workplace. Lines like “I’ve picked the lock while on the clock” and “Too bad we’re not in textiles—at gathering wool I’m good!” cleverly frame daydreaming as a subversive act. The comparison to Melville’s Bartleby adds depth to the humor, suggesting a quiet resistance to conformity and productivity. This tone makes the poem relatable, capturing a universal sense of distraction and dissatisfaction with routine.

The theme centers on the conflict between creativity and practicality, portraying the workplace as a setting where the poet’s physical presence is required but their mind is free to wander. The poet’s inner world is described as a treasure trove, with “spelunking mines within my mind” turning daydreaming into an act of exploration and resistance. The final line, “every poet cheats his boss,” humorously frames this imaginative escape as a kind of theft, suggesting that the true value lies in moments of creativity stolen from the constraints of the job.

“The Poet’s Embezzlement” is a clever and relatable critique of corporate culture and the ways it stifles creativity. By incorporating workplace jargon and humor, the poem highlights the tension between the demands of productivity and the freedom of imagination. Its lighthearted tone and universal themes make it an enjoyable reflection on the small acts of rebellion that keep creativity alive in even the most mundane settings.

Photo by Hunters Race on Unsplash

SOUNDSCAPE – Reviewed

Mary Featherstone

The music of ‘wellness’
Washed clean of all colour
Plays out its servitude
In the glass lift
Boards of directors having concluded
That calm can be conjured
From shallow waters
The panic of thought
Contained by the bland

Corporate music
Oils the transactions
Of profit and loss
Caresses the ankles
Of greed and desire
Wraps up the senses in
Wall-to-wall feel-good
Till the soul caves in
And clicks on ‘buy’

…

You may find the rest of the poem here.

SOUNDSCAPE

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Analysis

“Soundscape” examines music as a reflection of human experience, exploring how it can be manipulated by systems of power, serve as a tool of resistance, and ultimately remain a fundamental part of life. The poem critiques the ways music is used for control and profit while celebrating its resilience and deeper connection to existence. Through distinct sections, the poem moves from criticism to hope, creating a layered meditation on the role of music in society.

The poem opens with the “music of wellness,” where corporate interests reduce music to a shallow, calculated tool. Lines like “washed clean of all colour” and “wraps up the senses in wall-to-wall feel-good” highlight how this music is designed to pacify and manipulate rather than inspire. It serves as a background to consumerism, where “the soul caves in and clicks on ‘buy.’” This section critiques how music, stripped of individuality, becomes a mechanism to control emotions and facilitate profit.

The second section focuses on the “music of empire,” where sound is weaponized for dominance. The imagery of “brass, fife, and drum” and the association with “the goosestep” reflects how music can amplify power and suppress dissent. It becomes a soundtrack for war, with its “full bombast” drowning out individual voices and reinforcing conformity. The tone here is ominous, illustrating how music can be used to enforce control and perpetuate lies.

The poem then shifts to the music of resistance, contrasting the oppressive forces with the power of song to challenge authority. The imagery of destroyed instruments—“broken-skinned drums” and “lyres ripped of their strings”—symbolizes attempts to silence dissent. Yet the persistence of the “underground railway of song” suggests that music, even in repression, continues to provide a means of defiance and hope. This section highlights the resilience of individuality against efforts to suppress it.

The final sections celebrate the “music of life,” reconnecting music to its natural and universal roots. Lines like “woven into the helix” and “echoes from canyon to glacier” depict music as an intrinsic part of existence, beyond human control. The tone here is expansive and uplifting, emphasizing that music, in its purest form, remains untouchable by systems of power. The imagery of life’s rhythms—from the “beat of the breast” to “the chop of an axe”—grounds music in the everyday and the elemental.

The poem concludes with a reflective tone, tying its themes together in the line “our lives play the music of the masters we serve.” This ending invites readers to consider how their choices and environments shape their experiences of music and life. It suggests both a caution against passivity and an encouragement to embrace the music that resonates with freedom and connection.

“Soundscape” offers a thoughtful exploration of how music reflects the human condition. Its critique of control and celebration of resilience create a balanced perspective, urging readers to listen closely to the sounds around them and to recognize their significance. The poem’s shifts in tone and imagery provide a rich and engaging narrative, making its message both impactful and enduring.

Photo by Damiano Baschiera on Unsplash

Devon and Cornwall went for a drink – Reviewed

Graeme Sandford

Devon and Cornwall
went for a drink;
they met at The Tamar,
a few jars did clink;
and the evening was fun,
they talked about darts,
and threw clever suggestions,
straight from their hearts.

.

When ‘Chucking-out time!’ 
was eventually called,
they stumbled out unsteadily,
they’d been truly DevonWalled!

…

You may find the rest of the poem here.

Devon and Cornwall went for a drink

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Analysis

“Devon and Cornwall went for a drink” is a playful and imaginative poem that personifies the neighboring counties of Devon and Cornwall, turning them into lively characters in a story of camaraderie, humor, and misadventure. The poem uses its setting, language, and sensory details to explore themes of regional identity and connection while weaving in a lighthearted tale of overindulgence.

The meeting at The Tamar, a river that serves as the natural boundary between the two counties, is a fitting starting point. It represents both the physical and cultural ties that unite Devon and Cornwall, and the act of sharing a drink becomes symbolic of their shared history and friendly rivalry. The mention of darts and the cheerful “clink” of glasses bring a pub-like atmosphere to life, grounding the narrative in a familiar and relatable social setting.

The structure of the poem is simple and rhythmic, with rhyming lines that give it a conversational flow. Each stanza builds on the playful tone, moving from the initial fun of the meeting to the humorous chaos of their drunken misadventures. The imagery enhances the storytelling, with phrases like “stumbled out unsteadily” and “truly DevonWalled” vividly capturing the physical awkwardness and playful humor of the scene.

The misplacement of Devon in Truro and Cornwall in Exeter adds a layer of absurdity, blurring boundaries and highlighting the interconnectedness of the two regions. This mix-up mirrors the disorientation of waking up in an unfamiliar place, a situation made even funnier by the poem’s exaggerated metaphors. The description of waking up in the wrong place as a “Hell of their own making” and the musical reference to “too many flats, and not enough sharps” add layers of wit and charm.

The poem also engages the senses, from the sound of clinking glasses to the imagined confusion of waking in the wrong location. The humor is rooted in clever wordplay and relatable moments, while the sensory details create a tangible and entertaining world. Lines like “Drink be the Devil of counties” and the reference to angels and harps add a whimsical and almost surreal quality that deepens the poem’s playful tone.

At its heart, “Devon and Cornwall went for a drink” celebrates the shared culture and good-natured rivalry of these southern English counties. By personifying them as characters, the poem transforms geography into a dynamic narrative filled with humor and warmth. It invites readers to view familiar places through a creative lens, making the story both engaging and memorable. This lighthearted exploration of regional identity and human folly ensures the poem leaves a lasting impression.

Photo by Luca Bravo on Unsplash