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“Another Reason Why I Don’t Keep A Gun In The House” is a free-verse poem of 20 lines divided into five unequal stanzas. There is a lack of meter and rhyme. The poem employs informal diction and relates a common experience. It is a straightforward lyric poem with narrative elements. The poem relies on the humor of the title, the common scenario of being annoyed by a situation out of one’s own control, the repetition of auditory imagery, and the transformative image of dog as musician. About formality, Collins said the following in an interview with George Plimpton:
Well, in one sense—a loose sense—I consider all my poems to be formal. I try to write poems that are a series of clear, solid lines, to give each poem a stanzaic shape, and usually to organize poems around a beginning, middle and end, or at least a distinct turn. I hope all that adds up to a certain degree of formality, an appearance of formality, anyway. The poem may not be wearing the official uniform of the sonnet, but still, its clothes are ironed and its buttons done up—except sometimes maybe the top one (Interview with Billy Collins. 2001. Paris Review.).
Collins structures this poem by dividing it into two sections. The first two narrative stanzas realistically present the speaker’s problem: “The neighbors’ dog will not stop barking” (Lines 1 and 5). The second stanza also shows the failure of the speaker’s initial solution of playing Beethoven’s symphony “full blast” (Line 7). This doesn’t drown out the dog’s barking; it just diminishes the sound. The next three stanzas recount an imaginative leap the speaker makes as a sort of Plan B. They reimagine the dog as part of the orchestra, “as if Beethoven / had included a part for barking dog” (Lines 11-12). These three stanzas are more lyrical and explore the possible importance of the dog’s would-be song and the listener’s experience.
The use of repetition is significant in Collins’s poem, particularly in reference to the dog’s yapping. In a 20-line poem, Collins uses variations of the verb “to bark” 12 times. Other auditory images are also present: Beethoven’s music is played “full blast” (Line 7), and the speaker mentions the “oboe section” (Line 14) of the orchestra. However, the music is overwhelmed by the dog’s continuous noise and by the time the “oboe section” (Line 14) is noted, even the musicians have fallen silent. The dominant sound throughout the poem is always the sound of the dog “barking the same high, rhythmic bark” (Line 2). The continual use of the verb “to bark” is not because Collins doesn’t know synonyms. Instead, the repeated use aligns the experience of the reader with that of the speaker. Like the speaker, the reader cannot ignore the pervasive barking. Without such aural reputation, the feeling of overwhelm would be less effective.
In the first stanza, the speaker distances themself from the barking dog by describing the dog in a mechanical way, noting that the neighbors “must switch him on on the way out” (Line 4), like a machine or a light. In the second stanza, the dog is merely a nuisance—the creator of sound that must be drowned out. However, as the poem progresses, the dog is personified—given more and more humanistic characteristics. He demands the speaker’s attention. In Stanza 3, he sits in the orchestra like a legitimate performer, and has “raised his head confidently” (Line 11). By Stanza 4, the speaker has zeroed on the dog’s specialty for he is “sitting there in the oboe section” (Line 14). His “eyes [are] fixed on the conductor” (Line 15) and he demands the respect of the other musicians as he continues “the famous barking dog solo” (Line 18). This is an excellent technique that shifts the presence of the dog from the back- to the foreground. This shift allows the reader to sympathize and admire the dog, as the speaker seems to by the poem’s end.



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