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Poetry Challenge Day 2: Learning a Poem's Rhythm

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Poetry Challenge Day 2: Learning a Poem's Rhythm

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If you’re joining us in memorizing Edna St. Vincent Millay’s “Recuerdo” this week, you probably already have the first two lines stuck in your head. (If you’re just discovering the Poetry Challenge, please check out yesterday’s introduction. It’s never too late to start!)

We were very tired, we were very merry 

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We had gone back and forth all night on the ferry. 

Ken Burns, filmmaker

Once you’ve got these, you’ve learned a third of the poem, since this repeating couplet functions as a mini-chorus at the start of each stanza.

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That refrain tells the story in a nutshell. But this poem is more than just a report on one night on the ferry. It recreates the voyage through a flurry of sensory details, embedded in strikingly stylized language.

Those features — the imagery and the sound; what your mind’s eye sees and your physical ears hear — are what make “Recuerdo” a poem, and paying attention to how they work can help us learn it.

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“Recuerdo” is a whole mood. Weary and buoyant, the poem captures how it felt to be on that boat. You can see the sky turning color as the morning air breezes up.

And the sky went wan, and the wind came cold, 

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Joy Harjo, poet

You can taste the fruits of the voyage.

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And you ate an apple, and I ate a pear, 

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Tia Williams, novelist

Strain your ears just a little, and you can make out the sounds of boats in the harbor.

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And the whistles kept blowing, and the dawn came soon. 

Kevin Kwan, novelist

These impressions — and the vividness of Millay’s language — can help anchor the poem in your mind. But the secret to fixing it in your memory is to learn its structure, to listen to the musical patterns of its language.

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Poetry is older than writing, and many of its features originated as aids to memory in an oral, pre-literate culture. It’s easier to find the word you’re looking for if you know it sounds like the other words around it. Rhyme, alliteration and rhythm are not only pleasing to the ear; they’re sticky.

Each line of “Recuerdo” is a poetic wave that breaks on the shore of a rhyme.

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It was bare and bright, and smelled like a stable 

But we looked into a fire, we leaned across a table, 

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Reginald Dwayne Betts, poet

Rhyme is just one of the ways poets use repeating sounds to make their work memorable. Alliteration is another, and the English language has a fondness for it that goes back to its earliest literature. In the part of the poem we just heard, clusters of consonants in the middle of the lines knot them together and help you hold on to them.

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It was bare and bright, and smelled like a stable 

But we looked into a fire, we leaned across a table, 

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Ayad Akhtar, playwright and novelist

The poem’s individual words and syllables bob like a string of harbor buoys. Every line is propelled by the cadence of stressed and unstressed syllables. Our ears hear four heavy beats.

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We were very tired, we were very merry 

We had gone back and forth all night on the ferry. 

Jennifer Egan, novelist

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This pattern of rhythm and sound — four-beat lines yoked in rhyming pairs — is a familiar one in English. You may have encountered it before you could read, depending on your exposure to Dr. Seuss:

Every Who down in Who-ville liked Christmas a lot

But the Grinch, who lived just north of Who-ville, did NOT!

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Dr. Seuss, “How the Grinch Stole Christmas!

Songwriters are fond of it, including Joni Mitchell:

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Rows and floes of angel hair

And ice cream castles in the air.

Joni Mitchell, “Both Sides Now

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If you paid attention in English class, you might know it from Andrew Marvell:

Had we but world enough and time

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This coyness, lady, were no crime.

Andrew Marvell, “To His Coy Mistress

As these examples suggest, there’s a lot of variation within the basic pattern — longer or shorter lines, snappy or languorous pacing, playful or wistful emotional effects. Every voice will find its own music. This isn’t math or science, it’s art.

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The variation is partly a matter of meter. This is the most technical part of poetry, with its own special jargon, but it’s also intuitive and physical — it lives in the bobbing of your head or tapping of your foot as you read.

A foot, as it happens, is what a unit of meter is called, and while most English poems (including “Recuerdo”) have varying feet, many have one that dominates, keeping time like a bass drum. In this poem, Millay often places her strong beats after two unstressed syllables: da-da-DUM. But like any good poet, she achieves both consistency and variety. In some lines, the syllables land like hammer blows:

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And the sky went wan, and the wind came cold, 

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V. E. Schwab, novelist

In others they spatter like raindrops:

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We hailed, Good morrow, mother! to a shawlcovered head, 

Jenna Bush Hager, TV host and noted book lover

Words are more than sounds and syllables. They communicate emotion and meaning. The words in “Recuerdo” form a bouquet of arresting images and sensations, an experience that will be different for each reader. And even though, for the purposes of memorization, we have pulled apart some of the components of the poem, you can’t really separate sound from sense, or feeling from structure. They all happen at the same time, and work together to create something that resists summary. The poem is its own explanation.

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What does a bucketful of gold look like to you? What face do you see when the shawl-covered head turns to acknowledge your greeting? As you answer these questions, you take possession of the poem. It becomes part of you.

Today’s game will help with that process. See how many of its words you already have!

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Your task for today: Practice the rhythm.

Question 1/3

Fill in the missing words.

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It was bare and bright, and smelled like a stable 

But we looked into a fire, we leaned across a table, 

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Tap a word above to fill in the highlighted blank. Need help? Click “See Full Poem
& Readings” at the top of the page.

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Edited by Gregory Cowles, Alicia DeSantis, Nick Donofrio and Joumana Khatib. Additional editing by
Emily Eakin, Tina Jordan, Laura Thompson and Emma Lumeij. Design and development by Umi Syam and
Eden Weingart. Additional design by Victoria Pandeirada. Video production by Caroline Kim.
Additional video production by McKinnon de Kuyper. Photo editing by Erica Ackerberg. Illustration
art direction by Tala Safie.

Illustrations by Hannah Robinson.

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Audio of “Recuerdo” from “Edna St. Vincent Millay in Readings From Her Poems” (1941, RCA); accompanying
photograph from Associated Press.

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Closed-Door Romance Books That Will Make You Swoon

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Closed-Door Romance Books That Will Make You Swoon

As a lifelong fan of romantic comedies, my list of favorite “sweet” romances is extensive.

Not because I have a spice aversion — but because the rom-coms I love most, with that classic cinematic vibe, often come with fewer peppers on the spice scale.

Some people refer to these books as “closed door.” I prefer to think of them as “in the hall” romances (though that admittedly doesn’t roll off the tongue quite the same way). The reader is there for all the swoon, the burn and the banter — but when things head to the bedroom, the reader remains out in the hallway. With less focus on what happens inside the boudoir, all that juicy heightened tension and yearning really shine. Here are a few of my favorites.

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Book Review: ‘Seek the Traitor’s Son,’ by Veronica Roth

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Book Review: ‘Seek the Traitor’s Son,’ by Veronica Roth

SEEK THE TRAITOR’S SON, by Veronica Roth


I read Veronica Roth’s new novel for adults, “Seek the Traitor’s Son,” over one weekend and had a hard time putting it down, and not just because I was procrastinating on my house chores.

There’s much about the novel one would expect from Roth, the author of the Divergent series, one of the hottest dystopian young adult series of the 2010s. Thematically, the novels are similar. Like “Divergent,” this new book is also set in an alternate, dystopian version of our world; it is also packed with vivid, present-tense prose full of capitalized labels to let you know that something different is going on; and it also centers on a classic “Chosen One” who is burdened by the mantle of savior she carries.

These are classic tropes, but I, like many other genre fiction fans, enjoy that familiarity. Still, I’m always hoping for a subversion, a tornado twist that sucks me into imagination land.

In “Seek the Traitor’s Son,” our Chosen One is Elegy Ahn, the spare heir of the most powerful woman in Cedre. Elegy likes her life, even if it’s filled with danger. See, some time ago, a virus took over the world. The contagion is strange: Everyone who is infected dies, but 50 percent of the people who die come back to life with mysterious cognitive gifts.

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After the outbreak, Earth split into two factions: The dominant Talusar, who worship the Fever, believe it is a divine gift, willingly infect themselves with it and consider anyone who does not submit to it a blasphemer; and Cedre, a small country made up of everyone who rejects the virus and the dogma around it. They are, naturally, at war.

Early in the book, Elegy, solidly on the Cedre side, and Rava Vidar, a brutal Talusar general, are summoned by an order of prophets who tell them: One of you will lead your people to victory over the other, and one of the deciding factors involves an unnamed man whom Elegy is prophesied to fall in love with.

Elegy doesn’t want this. But the prophecy spurs the Talusar into action, and so her mother assigns her a Talusaran refugee as a knight and forces her into the fray as the Hope of Cedre.

If that seems like a lot of setup, don’t worry. That’s just the first few chapters. Besides, if you know those dystopian novel tropes, you’ll get the hang of it. Roth gets through the world exposition quickly, and after a rather jarring time skip, the plot takes off, effectively and entertainingly driving readers to the novel’s exhilarating end.

The strength of “Seek the Traitor’s Son” is Roth’s character work. Elegy is a dynamic heroine. She has a lot to lose, and she leads with love, which is reflected in the intense grief she feels for the people she’s lost in the war and the life the prophecy took from her. It’s love that makes her stop running from her destiny and do what she thinks is right to save the people she has left.

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Many authors isolate their characters to back them into bad decisions, so it’s refreshing that Roth has given Elegy a community to support her. Her sister Hela in particular is a treat. She’s refreshingly grounded, and often gives a much needed reprieve from the melodrama of the other characters’ lives. (She has an important subplot that has to do with a glowing alien plant, but the real reason you should pay attention to her is that she’s funny, loves her sister so much, has cool friends and listens to gay romance novels.) Hela and Elegy’s unwavering loyalty to each other casts a positive illumination on both characters.

My favorite character is Theren, Elegy’s knight, who is kind and empathetic to everyone but himself. As the obvious romantic lead, his character most diverges from genre standard because of the nuanced depiction of his trauma. He has been so broken by his experiences that he thinks what he can do with his body is all he can offer, and it’s worth nothing to him.

But like I said, I need subversion, and for all the creative world-building, I didn’t quite get it. The most distinct part of the novel was the setting and structure of alternate Earth, as well as the subcultures born from that setting. But after ripping through the novel, I found that those details didn’t provide nourishment for thought, and the general handwaviness of the technology and history of Earth was distractingly easy to nitpick.

I am a greedy reader, so I want my books to have everything: romance, action, an intellectual theme, novel ideas about the future, and character development. “Seek the Traitor’s Son” comes close. The novel is the first in a series, and I’m willing to hold my reservations until I read the next book. Elegy and Theren are worth it.


SEEK THE TRAITOR’S SON | By Veronica Roth | Tor | 416 pp. | $29

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Revolution is the Theme at the Firsts London Book Fair

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Revolution is the Theme at the Firsts London Book Fair

To mark the 250th anniversary of the U.S. Declaration of Independence, “Revolution” is the timely theme of the Firsts London book fair, opening Thursday in the contemporary art spaces of the Saatchi Gallery.

The fair, running Thursday through Sunday, will feature 100 dealers’ booths on three floors of the neoclassical, early 19th-century building in the upscale Chelsea neighborhood and will take place at a moment of geopolitical convulsion, if not revolution. It also coincides with a profound change in reading habits: Fewer people read for pleasure, and when they do, more often it is on a screen. And yet some physical books are fetching record prices.

Why is that? Clues can be found at Firsts London, regarded as Britain’s pre-eminent fair devoted to collectible books, maps, manuscripts and ephemera. Dealers will be responding to the revolution theme by showing a curated selection of items that document political upheavals over the centuries.

While the organizers — members of the nonprofit Antiquarian Bookseller’s Association and the International League of Antiquarian Booksellers — have been eager to expand the theme to include material that throws light on revolutions in other realms such as science and social attitudes, the momentousness of the Declaration’s anniversary has spurred dealers to bring items with ties to 18th-century America.

The New York-based dealer James Cummins Bookseller, for instance, will be offering a 1775 London printing of Congress’s declaration of the “Causes and Necessity of Taking Up Arms” against the British authorities. Mostly written by John Dickinson and Thomas Jefferson and published just a year before the Declaration of Independence, the document represents a decisive moment in the colonies’ struggle for self-determination. It is priced at $22,500.

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“We’re generalists. We’re bringing a bit of everything,” said Jeremy Markowitz, a specialist on American books at Cummins. “But this year, because of the anniversary, we’re bringing Americana that we otherwise wouldn’t have brought.”

The London dealer Shapero Rare Books will be showing a letter written in January 1797 by Thomas Paine, one of the most influential Founding Fathers, to his friend Col. John Fellows who had served with the American militia during the Revolutionary War. The text reiterates the views of Paine’s open letter to George Washington, urging him to retire from the presidency, fearing that the office might become hereditary. With an asking price of 95,000 pounds, or about $130,000. Paine’s letter to Fellows was written just weeks before Washington stood down in March at the end of his second term, a practice later enshrined in the 22nd Amendment limiting presidents to two terms.

Bernard Quaritch, another London bookseller, will be exhibiting a first edition in book form of “The Federalist Papers,” the celebrated collection of essays written in favor of the new Constitution by Alexander Hamilton, James Madison and John Jay from 1787-1788. (These texts are mentioned in Lin-Manuel Miranda’s award-winning musical “Hamilton.”) In its original binding, with the pages uncut and largely unopened, this pioneering work of U.S. political philosophy is priced at £220,000.

The fair, like the United States, has gone through its own process of reinvention. It is the sixth annual edition of Firsts London, but its origins stretch from 1958, when its more traditional forerunner, the London International Antiquarian Book Fair, was founded.

The rebranded Firsts London was initially held at an exhibition space in Battersea Park in 2019, then transferred to the Saatchi in 2021. (There is also Firsts New York and Firsts Hong Kong.) Last year the event attracted an estimated 5,000 visitors over its four days, according to the organizers, and notable sales were made.

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“Book fairs are now part of the ‘experience culture.’ In an age where everything is available at a click, fairs have to present themselves in a different way,” the exhibitor Daniel Crouch said.

Crouch will be showing two late-18th-century engraved maps printed on paper of New York by Bernard Ratzer, an engineer commissioned by the British to survey the city and its environs in 1766 and 1767 in case it became a battlefield. Ratzer’s large three-sheet map of the southern end of Manhattan and part of New Jersey and Brooklyn is priced at £240,000; his smaller map of south Manhattan at £25,000. Both date from January 1776, just six months before the Declaration of Independence was adopted in Philadelphia on July 4, 1776.

Other revolutions are also represented. The cover design of Millicent Fawcett ’s classic 1920 Suffragists tract, “The Women’s Victory — and After,” from the collection of the Senate House Library at the University of London, is the poster image for the event and the library is lending the entire pamphlet for display at the fair.

Scientific revolutions are represented by items like a 1976 first edition of Richard Dawkins’s book “The Selfish Gene,” offered at £2,250 by Ashton Rare Books of Market Harborough in Leicestershire, England. Fold the Corner Books in Surrey is offering a handwritten letter by an anonymous British spy describing scenes in Paris in 1791 during the French Revolution, and the dealers at Peter Harrington are bringing a Chinese parade banner from the Cultural Revolution. The banner and the letter are each priced at £750.

While the U.S. document’s anniversary has spurred many exhibitors to show rare 18th-century American items, the organizers stressed the fair’s wider remit.

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“We wanted to do something related to our cousins over the water, but something a bit broader than just the American Revolution,” said Tom Lintern-Mole, the chairman of this year’s London fair.

“Revolution is a concept,” he said. “It encompasses everything to do with our world. Printing itself was a revolution. It helps foment revolutions. We like to think that books make history, as well as being artifacts of it.”

In terms of making sales, science fiction and science and fantasy are genres that many traders see as the key growth areas, because of, in great part, recent Hollywood adaptations. “Affluent younger collectors are moving the needle in the market,” said Pom Harrington, owner of Peter Harrington.

Cummins is offering a 1965 first edition of “Dune” for $16,500, while the London-based Foster Books will be asking £22,500 for a 1954-1955 three-volume first edition of “The Lord of the Rings” by J.R.R. Tolkien. It is sumptuously covered in red morocco leather by the binders at Bayntun Riviere.

And with the rise of tech, online sales have increasingly replaced high street transactions, resulting in many rare-book shops closing. Tom W. Ayling, who trades from his home in Oxfordshire and is exhibiting at Firsts London, is one of the most prominent of a cohort of young dealers who sell online and at fairs without the expense of a shop.

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“I get almost all my customers through social media,” said Ayling, who has about 298,000 followers on Instagram alone.

Tolkien is a favorite subject for his engaging, regular video posts. Ayling will be bringing a copy of the author’s extremely rare collection of poems, “Songs for the Philologists.” Printed in 1936, only about 15 copies of the collection are known. Ayling is asking £65,000 for this one.

“I put as much content out there as I can to get people interested in book collecting,” Ayling said. “I want to widen the arcane world of book collecting to a mass audience.”

A mass audience collecting — let alone reading — books? That really would be a revolution.

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