A sestina is a rather complicated poem in which you have thirty-nine verses. Composed of six stanzas of six verses each, plus an envoi of three verses, the uniqueness of the sestina comes from the fact that the words used to end each verse in the first stanza are the words you use to end each verse in every other stanza. Moreover, each end word can only be used once in that stanza; to make matters even more complicated, there's a specific order to what words end which line of which verse in each stanza. 

For the first stanza, you have a word that ends each verse, words:
1 2 3 4 5 6

To determine which of these words ends which verse in the second stanza, take your six ending words;
1 2 3 4 5 6

Now reverse the order;
6 5 4 3 2 1

Now pair them as follows: first-last; second-fifth; third-fourth;
6-1 5-2 4-3

And repeat for each subsequent stanza;
6-1 5-2 4-3 is reversed into 3 4 2 5 1 6, which is paired into 3-6 4-1 2-5
3-6 4-1 2-5 is reversed into 5 2 1 4 6 3, which is paired into 5-3 2-6 1-4
5-3 2-6 1-4 is reversed into 4 1 6 2 3 5, which is paired into 4-5 1-3 6-2
4-5 1-3 6-2 is reversed into 2 6 3 1 5 4, which is paired into 2-4 6-5 3-1

and 2-4 6-5 3-1 is your final stanza, because:

2-4 6-5 3-1 is reversed into 1 3 5 6 4 2, which is paired into 1-2 3-4 5-6, and we don't want to repeat the same order again.

So, your order is:
1 2 3 4 5 6	Stanza #1
6 1 5 2 4 3	Stanza #2
3 6 4 1 2 5	Stanza #3
5 3 2 6 1 4	Stanza #4
4 5 1 3 6 2	Stanza #5
2 4 6 5 3 1	Stanza #6

Finally, you have the envoi at the end, which is a three-line stanza. The envoi follows a pattern of

2-5	Envoi verse #1 
4-3	Envoi verse #2
6-1	Envoi verse #3

this means in the first verse, word #2 must be used, and word #5 must end the verse. Similarly, in the second verse, word #4 must be used, and word #3 must end the verse. In the third verse, this pattern continues, where word #6 is used in that verse, and word #1 ends the verse.


Tying the Knot
Few questions are like that of tying the knot;
So lovely is life before that time does come,
Yet suddenly it dawns like the crowing of the cock,
Calling into question every touch and kiss:
"About this one, do I really give a fuck?"
In contemplation, asunder you are thrust.

Recollections of the deepness of his thrust
And the swollen, stretching goodness of his knot
Send shivers surging through you, down your spine; "Fuck!"
You cried out, but from within that voice did come,
That distant voice, like the graze before the kiss,
Now, you listen for it, clear as a gun's cock.

Your ears perked for his step, always at full cock,
Impelled by desire, into his arms you're thrust,
But lust alone is not your sole drive; each kiss,
Each muzzle-crashing ties your gut in a knot,
As from him, love and joy and fondness do come
Into existence, and off your cares do fuck.

You and he together do not crudely fuck:
You yearn to take him to the hilt of his cock,
To feel him writhing deeply as he does come,
To match your heartbeat to every single thrust,
To be tied together by the girth of his knot,
To expose your fragility through a kiss.

This, you know, is beauty, sweeter than a kiss,
And those who'd call him nothing other than a fuck
Know so little of the snarl that is the knot:
They preach and claim, but it's all a load of cock,
As the destruction of love is their main thrust;
To banish your beauty back whence it did come.

Reflection's end does come, and you give a fuck,
You'd kiss him and love him and deepthroat his cock
Through any thrust, you'll never untie this knot.


I enjoy the sestina as, even if the rules aren't explained, you figure out what's going on as quickly as the second stanza. It also encourages the writer to play with words that have multiple meanings, while (arguably purposefully) preventing rhyme schemes from taking hold and dominating the poem.


Shame
A slap on the rump /
A growing fire in my face /
Embarass me, please.

Remote
I try to sit still /
But I feel it within me /
You're pushing buttons.

Control
A velvet blindfold /
Leather tight around my neck /
Wrists bound behind.

Age
Your greying muzzle /
You used to hide it in shame /
I love you for it.

-Charles Michael Averin