As I began to work on it, each individual poem in the sequence became an opportunity to explore and encapsulate a different time period in that ocean, different contexts for growth and the changes in a relationship between father and daughter. For once, the idea of form didn't feel limiting but instead became expansive, ripe with possibilities. It was a house with seven rooms that I could decorate however I wanted to, each room echoing and reverberating against the next and last. I suddenly got it: what once had seemed so limiting was actually one of the most liberating approaches to writing poetry that I had ever found. I already knew the structure of each poem, so I could actually focus even more on the content itself. Form was fun.