Undulant, and further waves 2

Undulant has made its way from Monday Journal and PennSound to P.F.S. Post. It's probably the best sonnet I've ever written. Important to note, for those who may be interested, that when I wrote Undulant in 2017, I already had a published history with the sonnet form. When I started publishing seriously, as of the mid-to-late Aughts, and as part of a cabal of young American avant-gardists, few of the writers around me liked or pursued the idea of form, or formality, in the traditional sense. As an avant-gardist who was nonetheless steeped in Keats, Wordsworth, and the other major Romantics, I found the idea of translating traditional formality into terms the American avant-garde cognoscenti could understand an intriguing one. The solution, where the sonnet was concerned (and it should be noted that Karen Volkman and a few others had done analogous experiments), for me at least, was 2008's When You Bit. This 2007 page from Lars Palm's skicka blog, with poems from When You Bit..., presents some el primo textual specimens attendant on this syndrome: how does the American avant-garde plug into the history of the English language? How do Stein and Pound cohabitate, in a fourteen-line word-machine, with Sir Thomas Wyatt the Elder? Can we, at least, move past Millay? Later, more recent experiments with the sonnet form developed, for me, into a sense that a twenty-eight line poem, what I call a double sonnet, might be an interesting way to take conventional sonneteering and up the blazoning ante. Thus Perfect, a double sonnet from the same manuscript as Undulant, appeared in Otoliths in 2022.