In her entry in “Endless Structures” in Structure & Surprise: Engaging Poetic Turns, Rachel Zucker refers to three poems that turn to sudden revelation near their conclusion. Here are links to those poems:
“Archaic Torso of Apollo,” by Rainer Maria Rilke
Here is Mark Doty on Rilke’s great poem.
“Lying in a Hammock at William Duffy’s Farm in Pine Island, Minnesota,” by James Wright
Other poems that feature a sudden, final revelation include:
“Mummy of a Lady Named Jemutesonekh,” by Thomas James
“The Impossible,” by Bruce Weigl
“Body as Argument,” by Jillian Weise (in The Amputee’s Guide to Sex (Soft Skull, 2007), p. 81).
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Terrance Hayes’s “American Sonnet for My Past and Future Assassin” (“Rilke ends his sonnet ‘Archaic Torso of Apollo’ saying”) offers an intriguing take on–and perhaps critique of–the epiphanic turn.
Structure & Surprise 
[…] Here are two student poems that ended up fitting the metaphor-to-meaning structure perfectly. Yet, even though these poems closely engage the structure, they do so in very different ways. With the metaphoric status of the blister(-as-poem) remaining a mystery until the end, Anjelica Rodriguez’s “Blister” makes a beautiful kind of surprising sense. However, the turn in Stephen Whitfield’s “Maturity” is more sudden, more shocking—it resonates with what Rachel Zucker calls the epiphanic structure. […]
[…] Rachel Zucker discusses “Archaic Torso of Apollo” as a kind of turn that she calls “the Epiphanic structure.” About poems using this kind of structure, this pattern of turns, Zucker states, “The […]
[…] Also of particular interest is lesson 4, “Wonder: The Poet Surprises Herself,” which focuses on a kind of turn we here have come to call, after Rachel Zucker’s naming it as such, an “epiphanic poem.” […]
[…] one of the poems with the shocking kind of turn that Rachel Zucker describes in her writing on the epiphanic turn. At the Voltage Poetry site, the dynamics of the poem’s turning are considered by James […]