‘An homage’?

February 4, 2016

Snakeskin has writers and readers from all over the world. We only print poems in English, but English, of course, is a variable language. It has its dialects, its slangs and its local peculiarities, And is all the richer for it. Sometimes this variety throws up interesting issues.

I’ve received, for example, a couple of questioning notes about a phrase in Daniel M. Shapiro’s poem in the February issue. Daniel writes:

We whispered, unplugged,
an homage to Wicked Lester days.

‘Surely that should be “a homage”? ‘¬† my correspondents suggest.

That’s what I thought, too. Or maybe, I wondered, Daniel meant the French word, ‘hommage’, with the emphasis on the second syllable. It’s a term used by film critics when one director steals an idea from another. And, being unaspirated, it takes ‘an’.

I checked with Daniel and guest-editor Jessy Randall. Both are from Philadelphia, and say that ‘an homage’ (with the stress on ‘hom’) is standard pronunciation in those parts. Other Americans don’t recognise the phenomenon, but that seems to be how they say it in Philadelphia.

Despite Daniel’s generously offering to allow the change, I decided to keep the ‘an’. This is how he hears the poem spoken, after all, and that matters.

I very rarely suggest changes to the language of poems submitted to Snakeskin. I correct spellings and tidy punctuation where necessary, but don’t go further than that. If the poem doesn’t work for me as submitted, I generally just say ‘No thanks.’ The main exceptions come (and there are no more than two or three instances a year) when I can see a good shorter poem struggling to escape from a longer one. Sometimes, for example, I might say that I would print the poem except for the last verse which added nothing to an otherwise interesting piece. Or once, I said that I would be interested in printing a poem if the poet removed all the adjectives that were clogging up the lines. But such occasions are rare.

I’m English, and yes, my ear is attuned to the English way of speaking. In twenty years of Snakeskin, though, I’ve got used to other dialects and accents. Sometimes I’m offered a poem that rhymes perfectly if you say it in an Australian accent, but not in a British one. No worries. I can cope with that, and expect my readers to.

Daniel’s ‘an homage’, though, reminds me that the language is more various than I’d supposed. If that’s his way of speaking, then that’s how the poem should read.


Do readers, coming across that phrase, and thinking it odd, get their attention directed away from the poem to a detail that has little relation to what the poem is saying? If it’s distracting, should it be standardised? What do you think?



5 Responses to “‘An homage’?”

  1. jiisand Says:

    I have written quite a lot of all sorts of poetry and each poem requires an individual sense of what it requires to become itself. Some poems, such as Lewis Carroll’s pieces violate standard words and speak only out of intimations of meanings. I have written pieces that twist spellings into weird unexpected rhymes such as


    A singer, when she got tiddly,
    Sang songs in the key of middle E
    But she picked up a code
    Ad redired, Ib tode,
    Do da warb coasd of soudern Iddly.

    So it goes

    Jan Sand

  2. Jerome Betts Says:

    I doubt if it’s just Philadelphia. This NYT article of 2010 suggests a fashionable ‘de-anglicization’ of the pronunciation of ‘homage’ in the USA.


    In Lighten Up Online I will eventually be using a piece by an American originally titled ‘On Second Thought, at Cana’. I negotiated a change to ‘On Second Thoughts’, normal in the UK but as strange to Americans and Canadians, apparently, as ‘On Second Thought’ was to me, because I felt UK readers would simply take it as a misprint and this might distract from the verse itself.

    On the other hand, I’m happy to leave AE’s Noah Websterian spellings alone (although some American venues change BE spellings to AE) as these are familiar here and, I feel, may help to alert UK readers to the fact that the piece was conceived in a different variety. In this particular case ‘fiber’ for ‘fibre’ may prepare for AE ‘iodine’
    rhyming with ‘divine’ rather than ‘green’ as in BE.

    Jerome Betts

  3. Personally, I don’t mind in the slightest if some word in a poem distracts me from the sense of the piece and makes me pause to consider rhyme or etymology or ambiguity or anything else. Poetry is unique in having the words themselves be important, rather than their meaning being supreme. Read ‘Jabberwocky’ for the first time and you will find your thought process constantly derailed – and this is good!

  4. jessyrandall Says:

    Correction: Dan and I are actually both from Rochester, New York. George must be remembering that when I first started submitting to Snakeskin I lived in Philadelphia.

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