Cold War

Cold War

By Randall Mann

 

If you can remember the cold war, you’re too old for me.

       —Grindr profile

 

Because you’re twenty-two, and in your prime,

you silently refuse to date, or “date.”

When war was cold, I had a lovely time.

 

I messaged you and sent a shot of grime,

then shot some more. It must have been too late.

Because you’re twenty-two, and in your prime?

 

Perhaps. I’m shifting like a paradigm.

And all the new assumptions formulate

as if our war were cold. A lovely time:

 

I’ll exercise my stock, internal rhyme—

the currency is yours to circulate.

I’m forty-nine; my interest rate is prime.

 

Suppose that poverty is not a crime.

Suppose you more or less accommodate,

like war. When cold, we’ll have a lovely time.

 

Perhaps you’ll click on me in wintertime.

Proximity is constant; so is fate.

Was I twenty-two? Before my prime

the war was cold. I had a lovely time.

 

 

About this Poem

 

“When I read this epigraph on a Grindr profile, I laughed, dryly, and then wrote it down in my notebook. When I returned to it, the villanelle just sort of wrote itself. This poem is in conversation with, and takes a few gestures from, an uncollected villanelle, ‘Complaint,’ that I published in 2002.” —Randall Mann

 

 

About the Poet

 

Randall Mann is the author of six collections of poetry, most recently Deal: New and Selected Poems (Copper Canyon Press, 2023), as well as Proprietary (Persea Books, 2017) and Straight Razor (Persea Books, 2013). He lives in San Francisco.

 

A Note about Villanelles

 

The villanelle is a highly structured poem made up of five tercets followed by a quatrain, with two repeating rhymes and two refrains. Besides sonnets, the villanelle is my favorite poetic form.

 

Rules of the Villanelle Form

 

The first and third lines of the opening tercet are repeated alternately in the last lines of the succeeding stanzas; then in the final stanza, the refrain serves as the poem’s two concluding lines. Using capitals for the refrains and lowercase letters for the rhymes, the form could be expressed as: A1 b A2 / a b A1 / a b A2 / a b A1 / a b A2 / a b A1 A2.

 

History of the Villanelle Form

 

Strange as it may seem for a poem with such a rigid rhyme scheme, the villanelle did not start off as a fixed form. During the Renaissance, the villanella and villancico (from the Italian villano, or peasant) were Italian and Spanish dance-songs. French poets who called their poems “villanelle” did not follow any specific schemes, rhymes, or refrains. Rather, the title implied that, like the Italian and Spanish dance-songs, their poems spoke of simple, often pastoral, or rustic themes.

While some scholars believe that the form as we know it today has been in existence since the sixteenth century, others argue that only one Renaissance poem was ever written in that manner—Jean Passerat’s “Villanelle,” or “J’ay perdu ma tourterelle”—and that it wasn’t until the late nineteenth century that the villanelle was defined as a fixed form by French poet Théodore de Banville.

 

Regardless of its provenance, the form did not catch on in France, but it has become increasingly popular among poets writing in English. An excellent example of the form is Dylan Thomas’s “Do not go gentle into that good night.”

 

Contemporary poets, such as Randall Mann, have not limited themselves to the pastoral themes originally expressed by the free-form villanelles of the Renaissance and have loosened the fixed form to allow variations on the refrains. Elizabeth Bishop’s “One Art” is another well-known example; other poets who have penned villanelles include W. H. Auden, Oscar Wilde, Seamus Heaney, David Shapiro, and Sylvia Plath.