There is a verse for everyone in poetry. Whether it’s a free verse or prose, poetry allows us to look through another’s perspective through their strung together cohesion of words and interpret them differently depending on both the subject matter and who we are as people. For the poets themselves, their words can function as an extension of their experiences and thoughts in how they journal it onto paper. Distraction’s Poetry Corner hopes to facilitate the spotlight for local writers at the U and explain the meaning and intent behind each highlighted piece.
Devil’s Tango
A breath: in, then out.
Dark eyes stare, piercing.
You wanted this.
Twist
A hand clutches yours,
Strong and demeaning-
But warm.
Pull
There’s life, everywhere,
But in his eyes,
There’s death.
Push
Distance- air, coveted with gasps,
There’s a moment, then —
You breathe.
Duck
He moves — an exit. You stare.
Only you have his attention, but
You want to be free.
Swirl
You both know the movements,
You can stop.
You keep dancing.
Step
He winks, you can’t move.
You love this.
You never wanted it.
Thrust
He invades, you’re on fire.
You made a deal,
So, you deliver.
Flail
He leaves, the room stops.
The lights dim, then shatter.
You’re mid-dance.
Bow
Your torn dress, your wobbling legs.
The scars, the blood, the ashes.
He was human.
Behind the ‘Verse with Kara Hufnagel
Q: The structure of this poem really draws the readers in, especially the italicized verbs emphasizing the snippets of thought that directly follow. Could you elaborate on why you chose to do so?
A: I wanted the poem to have some movement, so spacing out the italic verbs adds to the illusion of a ‘dance’ and contributes to an overall eerie feeling. Also, the verbs are shorter to make it seem more demanding, as if the reader is compelled to follow the instructions and imagine themselves in the poem. This idea is further emphasized by using the second tense ‘you,’ meant to startle the reader into realizing that this scenario, or at least ones resembling it, can really happen to anyone.
Q: The two-sided nature of the poem also lends itself to the strength of this writing. Is there anything you would like to point out about your piece?
A: The poem is meant to allow for two interpretations while reading it, hence its two-sided nature. It can be read as characters physically dancing together in a crowded room or as the characters having intercourse in an isolated, secluded room. The italicized words throughout contribute to both images, so either way the reader has a distinct image of movement, regardless of the setting.
Q: “He was human” really turns this man’s previous persona on its head, directly juxtaposing the reader’s first exposure to his character through “The Devil’s Tango” as a title. Could you elaborate on the second meaning of your poem further?
A: The final line ‘He was human’ was meant to bring this idea of misdirection, as up until that point the reader assumes that only a dangerous, even monstrous, person could have put the girl in that position but in reality, it was a human all along. The line serves as a stark reminder that people are not always what they seem to be, and humans are entirely capable, and sometimes even willing, to perform monstrous acts regardless of who gets hurt in the end. It’s another attempt to immerse the reader into the poem and allow them to imagine themselves in that position as this topic becomes increasingly relevant in real life.
Q: Are there any poets of yours that inspire your writing or you would recommend?
A: A poet that I tend to think of while writing is Edgar Allan Poe. I find myself thinking of the darker themes he touched on and his use of the dead as having a tangible hold on the living. A more modern poet I would recommend is Ocean Vuong due to his unique imagery and creative way of incorporating his personal issues and influences into his work, allowing the reader to learn more about the root cause of these events such as the Vietnam War, patriarchal relationships, homophobia, etc.
Q: If you were to translate your poem into a fashion statement what would those outfits entail?
A: While writing I left the question of outfits an open-ended one, but if I were to imagine a fashion statement, I would most likely lean toward the masquerade route. The antagonist of the poem would be dressed in sharp, dark edges, such as a black suit with red accents to give the slight impression of danger and a hint of violence. The red accent would be subtle but noticeable, so at first glance, it seems to go with the outfit but when someone quickly glances it looks like blood. The mask would be dark, and the entire outfit would look regal and expensive. For the protagonist, if they are imagined to be more feminine than they would wear a red, sort of flowy dress and a white mask. The color of the dress gives the illusion that any stains left by violence were intended to be there as they would be hidden in the color. The white mask symbolizes how the protagonist initially sees the world through their innocence, a fact remedied when it is removed later on in the narrative.
Q: And finally, how was it trying to translate your piece to an outfit, changing mediums on the basis of your writing?
A: It was definitely an interesting experience as I have never done something like it before. I was forced to actually think about my writing and the visuals I had created and find a way to express them in real life. I really enjoyed the process of trying to decipher what I meant by using specific word choices and imagery. One thing I struggled with was creative limitation, as putting an abstract idea into tangible clothes sort of felt like it was limiting the possibilities and imagination that come with visualizing words on a page. At the end of the day, it was something different to think about regarding poetry and I really enjoyed myself.
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poem_kara hufnagel. words_nicole vedder. design_melanie bergunker.
This article was published in Distraction’s Spring 2024 print issue.
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