Possession and Poetry

One of the books I purchased at Archon 35 in St Louis was The Handbook of Science Fiction Poetry by Suzette Haden Elgin, the author of Native Tongue and creator of the allegedly woman-friendly language Láadan (more on that thought later, if I remember). I was not planning to write any English-language (or even Láadan) poetry, but I did want to know her thoughts on the techniques of poetry to improve my prose. One section in particular caught my eye. Elgin points out in this section that every English sentence and word has a “phantom sentence” underlying it, and that the more liberal rules of poetry expose that truth more effectively than prose. The construction of a science-fictional or fantasy setting requires more exposition than a real-world fictional setting, and nowadays much of that must be discreet. I'm a fan of the old-fashioned expository speech, thanks to the amount of 1930s and '40s books I read as a kid, but that taste seems rare now.
 

The use of the word “orphan” implies two dead parents, and thereby can hang the tale. Add the word “homeless” to “orphan”, and the phrase suggests that the lack of a roof is connected to the lack of parents, although it need not be (perhaps the family was homeless beforehand). If you write the sentence “The homeless orphan was crying”, you have added definiteness (a specific orphan), a contrast (is there an orphan was has a home? Is there someone who is homeless but not an orphan?), and an action that implies a cause (why is the homeless orphan crying? Homelessness or dead parents need not be the cause of the orphans' sorrow.).