Here, Bullet
If a body is what you want
then here is bone and gristle and flesh.
Here is the clavicle-snapped wish,
the aorta's opened valves, the leap
thought makes at the synaptic gap.
Here is the adrenaline rush you crave,
that inexorable flight, that insane puncture
into heat and blood. And I dare you to finish
what you've started. Because here, Bullet,
here is where I complete the word you bring
hissing through the air, here is where I moan
the barrel's cold esophagus, triggering
my tongue's explosives for the rifling I have
inside of me, each twist of the round
spun deeper, because here, Bullet,
here is where the world ends, every time.
If a body is what you want
then here is bone and gristle and flesh.
Here is the clavicle-snapped wish,
the aorta's opened valves, the leap
thought makes at the synaptic gap.
Here is the adrenaline rush you crave,
that inexorable flight, that insane puncture
into heat and blood. And I dare you to finish
what you've started. Because here, Bullet,
here is where I complete the word you bring
hissing through the air, here is where I moan
the barrel's cold esophagus, triggering
my tongue's explosives for the rifling I have
inside of me, each twist of the round
spun deeper, because here, Bullet,
here is where the world ends, every time.
--Brian
Turner
In Brian Turner’s Iraq war poem “Here, Bullet,” the
body is offered, thrown down like a gauntlet before a duel, in a challenge to
death and war. The speaker’s challenge
to the “bullet” becomes a kind of taunt and suggests that life does not end
with death, but continues, preserved in the written word. The words the speaker uses to describe his
body are hard, literal. “Here,” the
speaker says, “is bone and gristle and flesh./ Here is the clavicle-snapped
wish.” This frank and unsentimental
depiction of the body suggests a matter-of-fact intensity—this speaker seems
ready to sacrifice. It feels like a
personal grudge, too, disconnected from any larger political purpose about the Iraq
war in general: “I dare you to finish/ what you’ve started.” The confidence shown here suggests the
speaker’s faith that in writing itself is the true end: “here is where I complete the word you bring/
hissing through the air . . . here is where the world ends every time.” If “here” is the poem itself, the speaker
appears to be stealing from the bullet its power over life and death. Life ends “here,” in the poem, not in the
body. And the final line suggests
perhaps that “every time” the poem is read it is a new ending, a resurrection
and death that lasts long after the “insane puncture” has taken place.
Note: for tomorrow's peer review, please do put your next two notes in a post on your blog. If there is a youtube link to your film clip, please include it, but it is not a requirement. If you like, both of the artifacts you examine for these two notes can be from films. It will be nice is at least one is, though.
These paragraphs should probably contain at least 5-10 sentences, depending on how many clauses you have in them. For credit, these posts should be up by the time that school begins, and should have the post title "Notes 2 & 3" and should be tagged "Anthology."

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