Here it is!

The epigraph, as it were

"One dark night /
my Tudor Ford climbed the hill's skull /
I watched for love - cars. Lights turned down, /
they lay together, hull to hull, /
where the graveyard shelves on the town..."

(from "skunk hour")

living in a tudor-style house atop a hill (or outcropping of dg) on a cul de sac we thought would be safe (we last lived in a gated community, which was just perfect *inside the gates* and really wonderful outside, but also a little bit "bigger city" than my husband could broker), and IS SAFE, but not only a "lover's lane" (it is a lover's lane) but also a place of prostitution (condoms thrown to the street on the Sunday morning of mother's day) -- this gives one, me, a different reading of skunk hour, one THAT CANNOT EVER LEAD TO Perloff's

"The "one dark night" of "Skunk Hour" -- the painful moment of terror (?) and axientry that leads to a renewal of ... blah blah blague this has nothing to do with the brief descriptive passage,, and "calvary" and "skull hill" seem almost accidental. How are cars ships? But of course bad Perloff doesn't know Tudor Ford is an actual car and not a pun, or rather a pun AND a car. Before Moore started naming them, of course, but still, and no wood sides or half timbering.


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