Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Analyze and explain the role of a citizen
Analysis of citizen by claudia rankie
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Analyze and explain the role of a citizen
An Analysis of Citizen: An American Lyric It seems as if Claudia Rankine’s, Citizen: An American Lyric, is the artistic representation of the defining mood in this particular point in history as shown by widespread ideas and beliefs. When reading the book it is easy to think, “this is not really poetry”. Judges at the Book Critics Awards of 2014 declared that “It is not just poetry”. The sections of the book themselves are often categorized as essays, prose, stories, etc., in reviews by critics while the text as a whole is considered to be poetry. Ruth Kocher, an american poet, succinctly categorizes it as, “the poem… language that is perhaps poem or not poem”. Frankly, Citizen, is marooned in genre limbo. While it may seem inconsequential to define what exactly Citizen is, Kocher uses this indecision to express her concerns, “asking about the role of form and invention, within a discourse of the body, of identify, maybe even of the self and Other”. …show more content…
It is why when Rankine writes “you” you feel its abrupt force and the word “you” leaves behind a sense of unease. Addressability is why for a caucasian it is so awkward and complicated. Just by implying whom a caucasian is addressing he is subconsciously noting races that he is ready to shut out. This sort of language envisions a culture with the premise of certain peoples gone, at the same time, the races that are left out are also addressed. Prior to emphasizing the key points of Judith Butler’s philosophical lecture Rankine acknowledges a writer that believes that things are appropriate within certain context:
After a pause he adds that if someone said something, like about someone, and you were with your friends you would probably laugh, but if they said it out in public where black people could hear what was said, you might not, probably would not. Only then do you realize you are among "the others out in public" and not among "friends."
Ever since the abolition of slavery in the United States, America has been an ever-evolving nation, but it cannot permanently erase the imprint prejudice has left. The realities of a ‘post-race world’ include the acts of everyday racism – those off-handed remarks, glances, implied judgments –which flourish in a place where explicit acts of discrimination have been outlawed. It has become a wound that leaves a scar on every generation, where all have felt what Rankine had showcased the words in Ligon’s art, “I feel most colored when I am thrown against a sharp white background” (53). Furthermore, her book works in constant concert with itself as seen in the setting of the drugstore as a man cuts in front of the speaker saying, “Oh my god, I didn’t see you./ You must be in a hurry, you offer./ No, no, no, I really didn’t see you” (77). Particularly troublesome to the reader, as the man’s initial alarm, containing an assumed sense of fear, immediately changing tone to overtly insistent over what should be an accidental mistake. It is in these moments that meaning becomes complex and attention is heightened, illuminating everyday prejudice. Thus, her use of the second person instigates curiosity, ultimately reaching its motive of self-reflections, when juxtaposed with the other pieces in
When I read poetry, I often tend to look first at its meaning and second at how it is written, or its form. The mistake I make when I do this is in assuming that the two are separate, when, in fact, often the meaning of poetry is supported or even defined by its form. I will discuss two poems that embody this close connection between meaning and form in their central use of imagery and repetition. One is a tribute to Janis Joplin, written in 1983 by Alice Fulton, entitled “You Can’t Rhumboogie in a Ball and Chain.” The second is a section from Walt Whitman’s 1,336-line masterpiece, “Song of Myself,” first published in 1855. The imagery in each poem differs in purpose and effect, and the rhythms, though created through repetition in both poems, are quite different as well. As I reach the end of each poem, however, I am left with a powerful human presence lingering in the words. In Fulton’s poem, that presence is the live-hard-and-die-young Janis Joplin; in Whitman’s poem, the presence created is an aspect of the poet himself.
“The most exciting attractions are between opposites that never meet.” -Andy Warhol. Opposites are exciting. When positive and negative spaces collide, new ways to look at art formulate. When left and right sides of the aisle combine in the chambers of Congress, revolutionary new laws are passed. When the dead meet the living, zombies rise from the grave, a subject so captivating, it has formed its own subgenre in all kinds of mediums. In writing, these opposites take a few forms. In African American author and poet, Audre Lorde’s narrative, The Fourth of July, a stunning display of juxtaposition helps the reader understand how Audre Lorde felt during her fateful trip to Washington D.C. and her argument that racism is a prevalent issue, despite
In Claudia Rankine’s article ‘The Condition of Black Life Is One of Mourning”, she describes systemic racism as “Vulnerability, fear, recognition, and an absurd stuckness.” Living in America as a white person is completely different than if you were black. If you are black, you
He then moves on to the topic of white people should be the ones defending why they oppressed and exploited us and not blacks defending why they are in this country and defending their position before they come in the country… after all whites are the ones who took us out of Africa. He says the reason for the oppression the blacks received was due to their skin color and no other factor.
The world today can sometimes be a hard place to live, or at least live in comfort. Whether it be through the fault of bullies, or an even more wide spread problem such as racism, it is nearly impossible to live a day in the world today and feel like it was only full of happiness and good times. Due to this widespread problem of racism, often times we tend to see authors go with the grain and ignore it, continuously writing as if nothing bad happens in the world. Fortunately, Claudia Rankine, is not one of these authors. Rankine manages to paint a vivid picture of a life of hardships in her lyric Citizen: An American Lyric. In this lyric Claudia Rankine shows that she truly has a very interesting and not commonly used approach to some literary
Racism in itself is not difficult to recognize in its extreme forms. However, everyday racism is much more subtle and requires attention. It requires the recipient to be aware of the situation as to what is being said and how it is being said. One of these seemingly subtle incidents of everyday racism, Rankine uses the pronoun “you” by stating, “[b]ecause of your elite status from a year’s worth of travel, you have already settled into your window seat on United Airlines, when the girl and her mother arrive at your row. The girl, looking over at you, tells her mother, these are our seats, but this is not what I expected. The mother’s response is barely audible—I see, she says. I’ll sit in the middle,” (p.12). Here, Rankine uses the pronoun “you,” in hopes to put her reader in the shoes of the victim of this microaggression. If the reader is white, and is able to replace the victim with themselves, they would be able to see the incident as entirely unjust because they have never experienced being stereotyped. She doesn’t mention race but the minute a white reader recognizes that the victim is a black person (Rankine
In “Citizens: An American Lyric” by Claudia Rankine the audience is placed in a world where racism strongly affects the daily American cultural and social life. In this world we are put as the eyewitnesses and victims, the bystanders and the participants of racial encounters that happen in our daily lives and in the media, yet we have managed to ignore them for the mere fact that we are accustomed to them. Some of these encounters may be accidental slips, things that we didn’t intend to say and that we didn’t mean yet they’ve managed to make it to the surface. On the other hand we have the encounters that are intentionally offensive, things said that are
Second, many whites define culture in a way that draws impermeable boundaries around groups, and that views culture as consisting of flat and unchanging holdovers from the past. Moreover, equating ethnicity with race is a related strategy for evading racism, which actually highlights cultural heritage and denies whiteness as a phenomenon worth scrutiny. Furthermore, they evade white racism by constructing sentences that allow them to talk while removing themselves from racism. The final strategy is to avoid the use of a subject together by employing passive sentence construction. However, the more subtle one is the process called "white racial bonding", which the author explains as the interactions that have the purpose of affirming a common stance on race-related issues, legitimating particular interpretations of oppressed groups, and drawing we-they boundaries, for example, using strategic eye-contact, jokes and/or codewords.
...e still talking and laughing.” The crowd only pauses to criticize him when he mentions social equality. Even though the men are honoring him by allowing him to give his speech, he is reminded that they are belittling him and his race because he is being honored for obeying them rather than trying to further his race socially.
American poetry, unlike other nations’ poetry, is still in the nascent stage because of the absence of a history in comparison to other nations’ poetry humming with matured voices. Nevertheless, in the past century, American poetry has received the recognition it deserves from the creative poetic compositions of Walt Whitman, who has been called “the father of American poetry.” His dynamic style and uncommon content is well exhibited in his famous poem “Song of Myself,” giving a direction to the American writers of posterity. In addition, his distinct use of the line and breath has had a huge impression on the compositions of a number of poets, especially on the works of the present-day poet Allen Ginsberg, whose debatable poem “Howl” reverberates with the traits of Whitman’s poetry. Nevertheless, while the form and content of “Howl” may have been impressed by “Song of Myself,” Ginsberg’s poem expresses a change from Whitman’s use of the line, his first-person recital, and his vision of America. As Whitman’s seamless lines are open-ended, speaking the voice of a universal speaker presenting a positive outlook of America, Ginsberg’s poem, on the contrary, uses long lines that end inward to present the uneasiness and madness that feature the vision of America that Ginsberg exhibits through the voice of a prophetic speaker.
In the book, “Citizen - An American Lyric” by Claudia Rankine wrote about racial prejudice that the black body has been facing due to stereotyping. In the book, Rankine said the blacks are being judged by the color of their skin and not viewed as equal to their white counterpart. Rankine then backed up her claims by using descriptive imagery to create pictures in our mind as well as evoking feelings by citing various incidents to illustrate how black persons are still being discriminated against and wrongly perceived in the society we’re living in today. The purpose of Rankine’s use of her descriptive imagery is an attempt to capitalize on all of a reader 's senses and build them into something vivid and real in the reader 's mind that some
The female, adolescent speaker helps the audience realize the prejudice that is present in a “melting-pot” neighborhood in Queens during the year 1983. With the setting placed in the middle of the Civil Rights Movement, the poem allows the audience to examine the experience of a young immigrant girl, and the inequality that is present during this time. Julia Alvarez in “Queens, 1963” employs poetic tools such as diction, figurative language, and irony to teach the reader that even though America is a place founded upon people who were strangers to the land, it is now home to immigrants to claim intolerance for other foreigners, despite the roots of America’s founding.
Audre Lorde in her essay The “Fourth of July”(1982) asserts that freedom is not necessarily for all in the US. She develops her claim by utilizing situational irony, long flowing sentences, imagery. Lorde’s purpose is to show people the cracks in the ideals that the United States of America were founded on in order to get people to challenge those ideals themselves. She adopts a transforming tone to appeal to citizens who are not aware of racial issues that are relevant to them.
“Who was the most racist in that situation? Was it the white man who was too terrified to confront his black neighbors on their rudeness? Was it the black folks who abandoned their mattress on their curb? … Or was it all of us, black and white, passively revealing that, despite our surface friendliness, we didn’t really care about one another?” He never blames the black neighbors for their disregard of the mattress because their black, but sounds aware of the stereotyping and how he comes off addressing it. He also knows how much he stands out in the community as a minority, wondering what the cops would say to him, “ ‘Buddy,’ the cops would say. ‘You don’t fit the profile of the neighborhood.” Despite his pride in his actions of disposing of the mattress, the mistreatment by his black neighbors comes off as an unfortunate, but expected, consequence, “I knew the entire block would shun me. I felt pale and lost, like an American explorer in the