So the puzzling ambiguity does not detract from poetic effect. Ambiguity is no doubt part of a poet’s purpose, and Ferguson’s water-liar remains such a charming as well as powerful image that I am happy to flounder for it. In spite of its power, the water-liar, a resultant form of his water imagery, leaves us floundering for meaning. In all his control and stanzaic regularity, Ferguson evokes from his interplay of images thought patterns that do become almost baffling at times. The image crops up again quite deliberately in “Day Rises in the Rose,” in which Ferguson demonstrates his particular rhyming style as well when Not one of the children knows Why, nor how, nor where blood Goes if the day though it rose As a rose blows to pieces. Ferguson’s gentle punning utilizes the rose, I think, with poetic integrity, as we can see in the opening and closing lines of the first stanza in “Aubade” : These two pools hold the rose of the morning’s grief This flower rose from a well of human sorrow. Another favorite image, and one quite challenging because of its timeless popularity, is the rose. 64, N.M.” Nor is the imagery restricted to stone, water, and light. The actual process of transformation reveals itself in such poems as “Bright Winter Vision at the Airport” and “U.S.
Imagery becomes a part of form in Ferguson’s poems, with the water and stone in his opening “Three Seascapes” working gracefully through such epic features as Aurora and the Sirens, to become transformed into light. Reviews 89 winged / Flash of seabirds,” “Wound around the neck and wounded place,” and several others. In lieu of an abstract, here is a brief excerpt of the content:
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