In poems “The Lighters” and “Nursing,” Rennie McQuilkin articulates the variety and complexity of his feelings towards the sickening and passing of his mother. To vividly illustrate his sentimental attachments, McQuilkin extensively and effectively utilizes literary techniques such as contrasts, diction, and allusions in these two poems, leaving an accessible yet woeful depiction of his desperation and resignation in response to his mother’s suffering. McQuilkin frequently employs sharp contrasts to emphasize the significance and gravity of his language. For instance, in “The Lighters,” the elderly woman’s resolute decision of discarding her precious possessions of china and mementos is immediately contrasted with her cautious preservation
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In “The Lighters,” the word “gravely” near the end of the second stanza serves as not only a representation of the solemnity of the boudoir but also a wordplay that indicates deaths. In this case, the deaths include both the Zippos and the poet’s mother, foreshadowing a continued discussion of this gruesome affair. In the last line, the phrase “sotto voce,” which literally translates to “in a quiet voice,” ends the poem with a soft and quiet tone, leaving room for reflections and recollections. Further, “sotto voce” in music is a decrease in volume that intentionally gives the impression of involuntarily uttering a surprising truth. In this poem, the truth refers to the demise of the speaker’s mother, to which McQuilkin is reluctant to admit. In “Nursing,” the use of the word “umbilically” in the second stanza highlights the close proximity that the chord is to the speaker’s mother. Though “umbilical” refers to inseparable attachment in a literal sense, it also signifies the umbilical cord that has connected every fetus to the placenta during gestation. This subtle reference of the process before giving birth foreshadows the extended discussion on the biblical rebirth that follows and demonstrates the hopefulness that the poem exudes, apart from the overall despondent and gloomy
In “The Lighters,” the word “gravely” near the end of the second stanza serves as not only a representation of the solemnity of the boudoir but also a wordplay that indicates deaths. In this case, the deaths include both the Zippos and the poet’s mother, foreshadowing a continued discussion of this gruesome affair. In the last line, the phrase “sotto voce,” which literally translates to “in a quiet voice,” ends the poem with a soft and quiet tone, leaving room for reflections and recollections. Further, “sotto voce” in music is a decrease in volume that intentionally gives the impression of involuntarily uttering a surprising truth. In this poem, the truth refers to the demise of the speaker’s mother, to which McQuilkin is reluctant to admit. In “Nursing,” the use of the word “umbilically” in the second stanza highlights the close proximity that the chord is to the speaker’s mother. Though “umbilical” refers to inseparable attachment in a literal sense, it also signifies the umbilical cord that has connected every fetus to the placenta during gestation. This subtle reference of the process before giving birth foreshadows the extended discussion on the biblical rebirth that follows and demonstrates the hopefulness that the poem exudes, apart from the overall despondent and gloomy