as a wonderful command of the fun counter-interpellation in The World’s Wife, Carol Ann Duffy is renowned for his intertextual games and feminist rewriting of the great myths, giving a voice to the female figures that history was frightened to triompher the female and lend the male. But his Rapture book, published in 2005, radically departs from the feminist model in an attempt to achieve a more discreet appropriation of the petrarisating tradition of amouous poetry. Resembling the images, playing on an incantatory simplicity, Duffy uses the echo rather than rewriting here, in a sensual count, exploring love and then desamour at the rate of a poetry that borrows its fluid or syncopate variations from the jazz.