Genetics: Genetics by Sinead Morrisey is perhaps the opponent’s experimenting or using a form. For effect Villa now is an elaborate pattern poem, where words and rhymes are repeated throughout the poems, and in a pattern.
And the stands as a tour sets, three lines. And then the final stanza is quite trained for tact as a resolution to bring the whole kind of thing tied up.
Now, what’s interesting is this ties into the content of the poem, which is the idea of looking at one’s hands, and the interweaving them and realizing family and identity.
This does, I mean, this is a theme that covers so many of the poems.
But this poem does it in such a different way, where they, they’re, they’re trying to look at. Not only there has been using the form itself as a way of expressing this intertwined and this my father’s in my fingers, from my mother’s in my poems.
So strangely, there’s some distinction between father and mother.
I lift them up, look at them with pleasure. I know my parents made me by my hands.
So my hands are my identity. They may have been repelled two separate lands.
So our hands look, they’re repelled, they pull away.
Two separate hemispheres may sleep with other lovers. But in me, they touch with fingers, linked to poems. So now we realize that they’re separated, perhaps divorced.
The metaphor of the hens as they’re separated, but they can come back together they link. So even though they’re gone in me, united, I am the genetic uniting of these two people, with nothing left of their togetherness.
But friends who Corey for their image by a river. At least I know their marriage by my hands.
So even their friends can’t remember what it is that unified them, but I am not memory.
I shape a chapel where a steeple stands. And when I turn it over, my father’s by my fingers was my mother’s by my poems.
So here the image is of a child playing a, you know this game where you, here’s the church, and here’s the steeple. Open the doors.
And here are the people this very simple image that kids play. It has a meta metaphoric remembrance of the wedding, of the marriage of their love.
Even though now they’re no longer I shape a chapel or a steeple stands when I turn it over my father’s by my fingers, my mother’s by my poems, demure before a priest reciting poems. My body is their marriage register.
I reenact their wedding with my hands. So it’s important and to for the speaker, their history, their identity, their genetics, and the title is illustrated from this game.
So take me with you. Take up the demands of the skin from mirroring and bodies of the future. There’s the big poetic line, I’ll bequeath my fingers if you bequeath your palms. We know our parents make this by our hands.
The last stanza for me makes me think that the speaker is addressing their lover or someone they want to marry.
And they’re worried that not that I get from our they’re worried because look, my, you know, the speaker’s parents divorced. But it’s, it’s okay.
Because of the skins demands for mirroring and bodies of the future.
Our body, these reflect our parents, and we also will do that to the next generation. And I’ll be quick, I’ll give my fingers if you give your palms will do this together.
And whether we’re together or not, we’re going to do this because we’re going to continue our generation because we know our past through our hands, and our children will know us through theirs.
So genetics actually is about for most of it about parents.
But actually, in the end, it’s about the speaker’s relationship, and a future will they get married? Will they have children? And how will their genetic makeup be passed on?
So it’s a deceptively simple poem, whose form kind of being intertwined completely reflects the content of the past intertwining with the present, and an ending the suggests that this that the speaker wants this to continue in the future.