Portrait of Madonna and Child, Perryton, Texas, 1967† by B.H. Fairchild   In many respects, B. H. Fairchild’s “Madonna and Child, Perryton, Texas, 1967” represents archetypal Fairchildian fare. The visual form (a blocklike monostanza) houses lines of what I would call roughneck blank verse, which, at least in my definition, requires much artful shoehorning of alexandrines. The syntax is customarily breathless, the entire forty-four line poem utilizing only three full stops, with the majority—all but the first four lines—getting by on a mere two. The backdrop, as in many of his poems, is equally rough, as we begin outside a border town near Del Rio, Texas. The protagonists—because this, like the best of Fairchild’s work, is interested in story—are roughnecks themselves or at least…