There is only filth this week, and I'm sure everyone is upset with that. As penance, I'll be posting the second chapter of Death of the Actor shortly after this goes up.

The opposite of an iamb is a trochee, in which one places the stress on the first syllable, while the second syllable remains unstressed. Used in conjunction with iambs, it's possible to create a poem in which you have a "call" and a "response," so as to distinguish voices via rhythm. 

The Bickering Couplet
Tod dear, should you ask wherefore I love thee—
Dear Jack, I know no words would leave your mouth.

Needless cruelties caused this rift betwixt us—
And empty pleasures sought do widen it.

Many times I've said "you are for me," dear—
Who is this "you?" Why don't you bring him home?

Since my mouth is void of love for you, dear—
Perhaps I'll fill it then with my own love.

MMPH mmph MMPH mmph MMPH mmph MMPH mmph MMPH mmph—
My darling Jack, oh please, do watch your tongue.


Some would say that you can't validly write a verse of trochaic pentameter using only the sound "mmph." I would say that the late and great French poet Arthur Rimbaud wrote on the diseased, decomposing, syphilitic anus of a prostitute in Vénus Anadyomène, so thus, anything is valid in poetry: especially filth.


Degradation
Your words are hot wax /
Lightly burning my muzzle /
I should be punished.

Suspension
Held aloft by straps /
I gravitate towards you /
There is no escape.

Tongue
Your tongue flicks quickly /
Down my neck, my chest, my thighs /
To the tip of me.

Ears
A scratch of the ear /
Oft an innocent gesture /
Yet it drives me wild.

-Charles Michael Averin