Poetry punishment is back, but lucky for you, this poem marks the half-way point.
I adore Billy Rocks. A man of few words and brilliant knives, he’s a loyal friend to Goodnight Robicheaux. We’re introduced to Billy through Goodnight, who explains that he had a warrant for Billy’s arrest, but when he saw him easily taking care of a room full of men, he knew he couldn’t arrest him and they’d been partners ever since, making a living by betting on Billy’s skills against the unsuspecting.
Though Goodnight had a warrant for Billy’s arrest, it’s implied that Billy’s less an outlaw and more a victim of circumstance due to his race. He wouldn’t be whooping everybody’s ass all over here and there if they kept their racism to their damn selves. And though there’s definitely some racism in regards to Vasquez and Red Harvest, it’s explicitly pointed out in Billy’s backstory.
I love Billy’s friendship with Goody. As a result, that ended up being the main theme of his poem.
I chose the sijo poetic form for Billy’s poem. It’s a Korean form that’s meant to be sung. It’s three lines with 14 to 16 syllables per line. The first line introduces the subject, the second line develops it, and the third features a twist and conclusion. The syllable breakdown per line traditionally is 3-4-4-4, 3-4-4-4, 3-5-4-3, and there’s supposed to be a pause in each line.
Did I do all that? Well, mostly. I think I got pretty close.
I got my point across, anyway.
Billy Rocks
Miles and years away from his birth, his face a stranger.
His blades carve himself a partner, notch himself a place to belong.
His home is a grave with his dearest friend his closest neighbor.
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