A rake in the garden. The garden… by Joshua Beckman   Most lyric poems, as other contributions to Voltage shrewdly and ably attest, derive rhetorical shape and structure from one of two core architectonic strategies:  “turning” or “leaping.”  Of course, this is by no means a perfect taxonomy—certain poems, such as Rainer Maria Rilke’s “Torso of an Archaic Apollo” or James Wright’s “Lying on a Hammock at William Duffy’s Farm in Pine Island, Minnesota” would seem, in their last lines, at least, to straddle the boundary.  These terms are often used interchangeably or are bundled together under a perhaps more general heading (the “pivot,” e.g.), but in actuality they derive from disparate mechanics; classically speaking, “turning” is an outgrowth of hypotactic organization and procedure,…