DENISE LEVERTOV: Research Paper Denise Levertov is the poet who wrote “The Blue Rim Memory” and “A Tree Telling of Orpheus,” in which she portrays a theme of morals and religious beliefs though post modernism, anachronism, and liberalism. Levertov was born in llford, United Kingdom and later moved to Massachusetts where she taught in universities such Brandeis University, MIT and Tufts University. Levertov wrote “The Blue Rim Memory” and “In the Land of Shinar” which brought her the fame and enabled her to begin her pilgrimage journey towards the deep spiritual, personal, and political understanding . Levertov took part a large movement to help the country’s state. “On a small scale, the decade of the …show more content…
“Levertov 's American poetic voice was, in one sense, indebted to the simple, concrete language and imagery, and also the immediacy… The quotidian reality we ignore or try to escape…Levertov revels in, carves and hammers into lyric poems of precise beauty. Levertov was aware of the themes and styles being portrayed around her but supported her own writing skills. (Editors)“In contrast with the generally favorable criticism of her work, commentators tend to view the socio-political poems with a degree of distaste, often noting that they resemble prose more than poetry” (Editors). Levertov showed two contrasting styles in her poetry, yet she wrote in support of the modernist …show more content…
Her work was written in the reflection of her mother’s death in New Mexico. “Some critics consider Denise Levertov 's poem "The Blue Rim of Memory" one of the many written about her mother 's death in Mexico that make up much of Life in the Forest, in which it first appeared in 1978. Her story consisted a lot of natural elements to bring the feel for her mother’s locations (Constantakis). Many of the symbols and techniques Levertov used, can be found in her other poems, since she personalizes her
This book was published in 1981 with an immense elaboration of media hype. This is a story of a young Mexican American who felt disgusted of being pointed out as a minority and was unhappy with affirmative action programs although he had gained advantages from them. He acknowledged the gap that was created between him and his parents as the penalty immigrants ought to pay to develop and grow into American culture. And he confessed that he got bewildered to see other Hispanic teachers and students determined to preserve their ethnicity and traditions by asking for such issues to be dealt with as departments of Chicano studies and minority literature classes. A lot of critics criticized him as a defector of his heritage, but there are a few who believed him to be a sober vote in opposition to the political intemperance of the 1960s and 1970s.
Anne Bradstreet is considered by many experts to be the first English-speaking/writing American poet. Although arguments can be made that Phyllis Wheatley is indebted that title, the complexity, breadth, depth and ingenuity found in Bradstreet’s poetry is of such magnitude that she ranks among the top five poets, male or female, in American history. However, as with most issues, there is contention on both sides. “The question of Anne Bradstreet’s value as a poet has often receded behind the more certain fact of her value as a pioneer. This means that, while generations of students have read Anne Bradstreet’s work on the basis that she was the first American poet, and a woman at that, many have emerged from the experience unconvinced of her poetry’s intrinsic worth” (Hall 1).
A Heart With A Superfluous Chromosome Forty-six. This is the number of chromosomes a person has in their body. Forty-seven. The. This number represents the number of chromosomes present in the body of a person with Down syndrome.
The two poems best illustrate, through a reading put in a wider context of black suffering, Finney’s success in making the beautifully said thing intersect with the difficult-to-say-thing through her sharpened pencil (“Nikky Finney”), thus reshaping the present. The historical approach is necessary in order for given allusions to be situated in their social, political and cultural background. In order to escape intentional fallacy, a poet should relate his work to universal concerns. The application of the (auto)biographical-historical approach necessitates the investigation of some points: the relevance of the poet’s personal life and his/her poems; the expression of certain beliefs of the poet and his personal experience in relation to public concerns and beliefs of the time; the representation of historical figures in the poems; adequate depiction of the time/context of the poems (“Literary Criticism”); the poems as a reflection, a product of the time; the reformulation of actual events for special purposes; the difference between fictional representation and reality; the difference the time; understanding past events mirrored in the poems; and the impact of historical events/movements and literary works in formulating the poems.
Influenced by the style of “plainspoken English” utilized by Phillip Larkin (“Deborah Garrison”), Deborah Garrison writes what she knows, with seemingly simple language, and incorporating aspects of her life into her poetry. As a working mother, the narrator of Garrison’s, “Sestina for the Working Mother” provides insight for the readers regarding inner thoughts and emotions she experiences in her everyday life. Performing the daily circus act of balancing work and motherhood, she, daydreams of how life might be and struggles with guilt, before ultimately realizing her chosen path is what it right for her and her family.
The poem, “Remember”, by Joy Harjo illuminates the significance of different aspects in one’s life towards creating one’s own identity. Harjo, explains how everything in the world is connected in some way. She conveys how every person is different and has their own identities. However, she also portrays the similarities among people and how common characteristics of the world impact humans and their identities. Harjo describes the interconnectedness of different aspects of nature and one’s life in order to convey their significance in creating one’s identity.
The poems facilitate the investigation of human experience through illustrating life’s transience and the longevity of memory.
Analysis of Three Works of Poetry: My Papa's Walts, Our Father, and The Early Purges
Edna St. Vincent Millay has created complex as well as emotionally and politically charged poetry in her career. Her poetry is often considered expressive yet also indifferent by some critics. Yet, her skill with metaphor and other evocative poetic features bring us poems that are reflective of her self, and also ourselves as readers. By developing skilled metaphors for interpreting and developing her own identity as an author and for us as a reader, we are given a construction of selfhood. In this essay, I will analyze Edna St. Vincent Millay’s two poems; If I should learn, in some quite casual way, and What lips my lips have kissed in order to explain the meaning and presence of selfhood in lyric poetry. Through interpreting Millay’s poems, I will explain the construction of selfhood or identity in each poem through formal structures. Understanding selfhood comes with understanding one’s surroundings and how we are able to relate or compare ourselves to these surroundings. Edna St. Vincent Millay does a very complete job of bringing metaphor, narrative, diction and imagery to h...
the word or the digit. With all this there is a bad point to the short
It has been stated that the application of memory functions in fictional works which act as a reflective device of human experience. (Lavenne, et al. 2005: 1). I intend to discuss the role of memory and recollection in Kazuo Ishiguro’s dystopian science-fiction novel Never Let Me Go (2005).
Imagine having the ability to take a screenshot of what one sees. It sounds like photographic memory, that superhuman ability one often hears about on Dateline, movies, and shows. As much as the idea of saving everything one has ever perceived, storing it away like a file in a cabinet, and recalling it at a moment’s notice sounds amazing, it just isn’t plausible. Despite the sensationalism and myth surrounding it, photographic memory is not real. This misconception is often muddled with eidetic memory. Eidetic memory is the ability to recall certain images in great detail for a certain amount of time. After viewing a picture, a person with eidetic memory will retain the image in his or her mind, as if it is still present, floating in space (Berry, 2014). The “catch” about eidetic memory is that these “snapshots” are not stored forever. They eventually fade over time along with the actual ability itself. In 1964, Haber and Haber, two psychologists, conducted a series of studies on eidetic memory and found a correlation between it and age. In their experiments, children were exposed to a detailed picture on an easel for approximately thirty seconds. When the picture was taken away, the children scanned the blank easel in order to recall the image. They described the image in present tense, as if it was still there (Arnaudo, 2008). Haber and Haber found that although it is relatively rare, eidetic memory occurred more in children than adults. But upon further research, it appears there is an explanation to its gradual dissipation as one matures. Eidetic memory is more commonly found in children, because as children grow, their brains develop linguistically, functionally...
Eva Hoffman’s memoir, Lost in Translation, is a timeline of events from her life in Cracow, Poland – Paradise – to her immigration to Vancouver, Canada – Exile – and into her college and literary life – The New World. Eva breaks up her journey into these three sections and gives her personal observations of her assimilation into a new world. The story is based on memory – Eva Hoffman gives us her first-hand perspective through flashbacks with introspective analysis of her life “lost in translation”. It is her memory that permeates through her writing and furthermore through her experiences. As the reader we are presented many examples of Eva’s memory as they appear through her interactions. All of these interactions evoke memory, ultimately through the quest of finding reality equal to that of her life in Poland. The comparison of Eva’s exile can never live up to her Paradise and therefore her memories of her past can never be replaced but instead only can be supplemented.
Confessional poetry of women poets of the then 1950s and 1960s opens a new vista for them to express their ‘self’ and to foreground their identity. These poets feel the need for self-affirmation because of their experience of marginalization in society. They found all the experiences are gendered in the 1950s and 1960s patriarchal society and so they also develop a gendered image of their ‘self’ in their confessional poetry. At the time when Sexton and Plath were children, the authoritarian figure within the nuclear family was the father and so he was the representative of society’s rule. Hence, the delineation of the Electra complex in their confessional poetry is one of the approaches of scratching their gendered ‘self’ because through the Electra complex the poets inscribe the female sexuality into the text. So, “with their autobiographical works, they write themselves into the canon and represent and deconstruct cultural images and linguistic codes of ‘woman’ and suggest alternative modes of self and identity” (Carmen
The metaphor of memory pertains to many people in the novel. It is especially relevant to Karl and Annonciata’s family during the Rwandan genocide. As the Rwandan genocide progresses, Karl is away from Rwanda and his family. Therefore, Karl and his family experience trauma in differing ways through