20 pages • 40-minute read
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The poem is written in free or unrhymed verse and does not follow a regular metrical scheme. Its lines are enjambed and of varying lengths. It nonetheless has a musical, rhythmic quality that recreates the patterns of oral speech; the easy flow of lines makes it clear this is a poem meant to be spoken aloud. The visual layout of the poem on the page gives it the quality of a fierce internal dialogue and the indented stanzas show the speaker is veering between answers. Although the poem eschews traditional form, it can be interpreted as a variation of a dramatic monologue or a soliloquy, both forms in which a speaker addresses an unseen audience, often represented by the word “you.” As if declaiming to an audience, the speaker’s dramatic and exaggerated style of speaking further gives the poem the quality of a theatrical performance piece, since both the dramatic monologue and the soliloquy are forms well adapted to the stage.
For an irregular, unrhymed poem, “Did I Miss Anything” has an unexpectedly musical quality. Much of this musicality arises from the repetition of the words “nothing,” “everything,” and “anything” in the poem. The title of the poem ends on an “anything,” which is soon followed by the “nothing” of the first line, which sets up an internal rhyme that binds the poem together. The poem’s easy pace is linked with its minimalist structure and fluid diction. As is typical of Wayman’s poetic style, most of the poem’s words are accessible and informal without being too casual. The abstract nouns “everything” and “nothing” are used frequently in everyday speech and are associated with a vague, unquantifiable quality. The poet uses these nouns deliberately to mimic everyday speech as well as to create a juxtaposition where solid objects like desks are pitted against abstract notions of “nothing” and “everything.” Thus, Wayman draws out the poetry inherent in everyday speech, highlighting the grounded, accessible ethos of work poetry and further emphasizing the inextricably compatible relationship between academic learning and everyday life.
Further, the poem uses rhetoric effectively, where the intent of the teacher’s speech is to make a statement rather than initiate a conversation. The teacher is tired of trying to initiate a dialogue, and now they want to impress their point of view upon the insensitive students. In keeping with rhetorical tradition, the poem is arranged as a series of answers in response to the central question: ”Did I Miss Anything?”
“Nothing. When we realized you weren’t here/we sat with our hands folded on our desks/ in silence, for the full two hours” (Lines 1-3). The poem’s opener itself packs a wallop of irony and sarcasm, literary devices that douse almost every line hereon. Of course, the speaker means exactly the opposite of what he initially tells the students. It is impossible that the class froze while they were away; in missing “nothing,” the students actually missed a lot. This constant push and pull between what the speaker says and means creates a subtext in the poem which may appear simple at first glance. Because the language of the poem is spare and uses little ornamentation, staying within the conventions of everyday speech, irony becomes one of the central devices in creating figurative meaning. The speaker of the poem is a sort of unreliable narrator—a performer who constantly uses wit and sarcasm to keep the reader on their toes. In one line, the speaker says the course has no content or meaning, and in another an angel appears in class dispensing the sum of all wisdom. Though the speaker sarcastically insists that nothing of significance can occur when the students are away from class, they also make it clear in the end that what the students truly miss out on is the here and now, which the poem argues is in itself everything.



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