But, like, where is the body?                                         Girl in Feminist Literary Theory wants to know. She’s got precise long ringlets, tendency toward baby-doll shirts. Yes, and opacity? PhDs round the table join in, What is the opacity of the body?                                                                       And the writer . . . is she here in the text?                                              (Hermeneutics) Where is the body? Where is the body? All poets on standby: we prod our bran muffins, plop baby carrots back into Tupperware,            our underarms cold with irritation. The professor trails white chalk across her grey skirt, filling up the blackboard with heteroromance. Oh?                                                              Tell me more about that marriage plot,                                                              I am licking my fingers and picking up crumbs.I’m crying fruit tears inside the Goblin Market. I am Lizzie calling Laura up the garden. Did you miss me? Come and kiss me. Never mind my bruises, hug me, kiss me, suck my juices. Squeez’d from goblin fruits for you, goblin pulp and goblin dew.

I chose this poem because I found it really interesting and also indirect. Hirschfield said that poets stalk their subject from afar and look slightly off to one side. This allows for a broader picture of the subject or concept as a whole or a different understanding. This poem starts off about a girl in her feminist theory class, taking detours for food and clothes. By the end the narrator is (I think) talking about their love for their professor. While the topics brought up before are not necessarily related they set the mood, tone, setting, etc in a far different way than being direct can.