“He’d wrestle his Parents” (Nye line 2). For many children they do this all the time. In the poem “Our Son Swears He Has 102 Gallons of Water in His Body,” Naomi Shihab Nye describes this situation between a child and a parent arguing over the solution to a math problem. After analyzing the poem, the reader is the poem not only describes this conflict, but it also stresses the relationship between a child and their parents.
In the beginning, the speaker reveals the conflict between the son and his parents. The beginning line itself shows a common cause to arguments between parents and their child. The speaker states, “Somewhere a mistaken word distorts the sum”(Nye line 1). This line is trying to explain that somewhere the son and his parents misunderstood each other, and as a
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In the beginning the speaker shows the dad’s feeling. She states, “Later in a calmer moment his dad recalculates the sum and it comes out true” (Nye 14/15). Again, the speaker is showing his father still wants to help, and in this case he waits for a calmer moment because he knew the son would be more willing to listen. The speaker then uses a metaphor to describe the child and their parents relationship. The speaker says “We’re streams, sweet pools, something to dip into” (Nye line 17). The streams and sweet pools are meant to represent their relationship, then when it say “something to dip into” it is meant even though they might disagree at times the son can still look to his parents. After this, they then explain the state of their relationship even more with a simile. His parents state, “an old metal cup, like the one we took camping, that nobody could break” (Nye lines 18/19). Their relationship being compared to a metal cup that couldn’t be broken. The son’s parents are trying to say that no matter what happens, their relationship cannot be broken. His parents didn’t let the argument affect their
In her poem “The School Children”, Louise Gluck uses imagery by applying an extended metaphor to show how going to school is similar to going to battle and by describing the mothers’ actions through the use of vivid verbs to portray the disconnection between children and their guardians, despite the sacrifices that mothers make.
Stanza three again shows doubtfulness about the mother’s love. We see how the mother locks her child in because she fears the modern world. She sees the world as dangers and especially fears men. Her fear of men is emphasized by the italics used. In the final line of the stanza, the mother puts her son on a plastic pot. This is somewhat symbolic of the consumeristic society i.e. manufactured and cheap.
When the poem is read aloud, the explicit rhyme and rhythm of the lines becomes extremely obvious. In fact, the bouncy rhythm is so uplifting, it occasionally makes the audiences feel like it is too predictable and straight-forward. An example would be “bright with chrysolite”, the word “chrysolite” feels like it is forcefully implemented for the sake of the rhyme. This is somewhat similar to a children’s tale. Most children’s tale as we know it, conveys messages straightforwardly and are easily understood by children, it also has an amiable tone and a merry mood that engages the children 's attention. Similarly, the rhyme and rhythm of this poem is very obvious and explicit, creating a delightful, casual mood that appeals to a young audience. Even though the legend dealt with deep insights about parenting that are intricate and puzzling, the father delivered it in such a gratifying, simple manner that made even the most dark and dreadful matters: like the description of precarious beasts and vicious monsters to sound like a blissful adventure of friendly animals. The sole purpose of this contradiction between the tone and message is to make this seemingly strong and serious topic more tolerable and captivating to the son of the father. Unsensible, impulsive youth is very similar to restless children, a long insipid lecture about deep insights is very difficult for them to buy into. In the same time, a harsh, threatening warning will only make them obey unwillingly, and creating a doubtful relationship will make them uncomfortable to communicate or appeal to their parents. Clearly, the percipient father recognized the ineffectiveness of these unsuitable parenting methods. Instead, he conveyed the message in a uncomplicated, friendly way that made his son to accept his teachings more comfortably. A
father’s childhood, and later in the poem we learn that this contemplation is more specifically
Like Water for Chocolate, by Laura Esquivel, is a novel about a family of three sisters and their mother. The three De La Garza sisters consist of Rosaura, Gertrudis and Tita who are bound by family traditions and their mother, Mama Elena is the strict and stern antagonist of the novel. This novel revolves around the trajectories of three sisters, who all possess different personalities, and their struggle for love drives the plot ahead in the novel.
I have elected to analyze seven poems spoken by a child to its parent. Despite a wide variety of sentiments, all share one theme: the deep and complicated love between child and parent.
The Color of Water is an autobiography about a woman named Ruth Mcbride Jordan. She is the mother of the author of the book, James Mcbride. Ruth is a very strong woman with a lot of faith in God. She is a Polish immigrant and she faces some hardships in the story. She immigrated to America with her Jewish and Polish family when she was just a little girl. Throughout the book, her identity is transformed through all of the events that occur with her and the other characters. All of the important things in her life consist of: religion, faith, God, education, work, and school. The reason that I say that Ruth Mcbride is a strong woman is because she has the ability to get through several hardships in her life. After reading, The Color of Water, I would state that Ruth Mcbride has obtained the identity of a strong mother with a lot of faith and confidence.
The speaker also manipulates time to bring out his or her message. Lines 3, 8, 11, 21, 34, and 36 all contain some order of either “spring summer autumn winter” (3), as in lines 11 and 34, or “sun moon stars rain” (8), as in lines 11, 21, and 36. As the order of these seasons changes, it indicates the passage of time. This manipulation of time draws attention away from these lines and towards the lines with deeper meaning hidden within. However, there is another form of time: the progression of life. The speaker comments on the growth of children in terms of their maturity levels and how as they get older, children tend to forget their childish whims and fancies and move on. He or she says that they “guessed (but only a few / and down they forgot as up they grew” (9-10). He or she then goes on to say that “no one loved [anyone] more by more” (12), hinting at a relationship in development, foreshadowing a possible marriage.
The poem is written in the father’s point of view; this gives insight of the father’s character and
While reading the poem the reader can imply that the father provides for his wife and son, but deals with the stress of having to work hard in a bad way. He may do what it takes to make sure his family is stable, but while doing so he is getting drunk and beating his son. For example, in lines 1 and 2, “The whisky on your breath Could make a small boy dizzy” symbolizes how much the father was drinking. He was drinking so much, the scent was too much to take. Lines 7 and 8, “My mother’s countenance, Could not unfrown itself.” This helps the reader understand the mother’s perspective on things. She is unhappy seeing what is going on which is why she is frowning. Although she never says anything it can be implied that because of the fact that the mother never speaks up just shows how scared she could be of her drunk husband. Lines 9 and 10, “The hand that held my wrist Was battered on one knuckle”, with this line the reader is able to see using imagery that the father is a hard worker because as said above his knuckle was battered. The reader can also take this in a different direction by saying that his hand was battered from beating his child as well. Lastly, lines 13 and 14, “You beat time on my head With a palm caked hard by dirt” As well as the quote above this quote shows that the father was beating his child with his dirty hand from all the work the father has
Throughout the beginning lines of the poem, the author's use of diction and punctuation help to develop a frustrating relationship between the main characters. In line 2 the speaker says “Divide becomes multiply so he’d wrestle his parents who defy what he insists.” By using the word “wrestle” one can infer the teen is very aggressive and determined to assert his ideas on his parents. This same concept is presented when the son says “I did the problem and my teacher said I was right!” To state the phrase “I did the problem” shows that the teen was expressing he completed the problem and didn’t ask for help. In accordance with the word
The simultaneous distance and closeness within the relationship between the father and the child are inevitable even in the most tragic and happy events in life. The poems “Not Bad, Dad, Not Bad” by Jan Heller Levi and “In the Well” by Andrew Hudgins are both about the closeness and distance in a father and child relationship. Both poems are written in first person, or in the child’s point of view to emphasize the thoughts of distance and the experience of childhood thinking to the readers. The poems both use similar literary devices such as motifs and imagery to illustrate and accentuate the ideas of each event that the narrator, a child, experiences. Similarities between both poems are the use of water as a motif of the barrier to being farther away from the father, and the use of different synonyms for the word, father, to indicate the amount of distance at each point in the poems. On the other hand, each poem takes its route of distance in completely opposite directions. “Not Bad, Dad, Not Bad” by Jan Heller Levi and “In the Well” by Andrew Hudgins accommodate the similarities for the use of the same motif, water, and the use of several synonyms for “dad” throughout the poems, but also differentiate because they proceed in opposite directions from the beginning to the end.
From the every begin of the first lines of the poem, the imagery shows that the parents and son are at odds with each other. In the poem, the son is argues that there are 102 gallons of water in his body even though the parents tell him that he has mistaken the words “divide” and “multiply” to come out with a false answer. But, the son insists that he is right about this improbable figure because his teacher said that he was right. The parents argue back by saying do you remember that jug of milk and no way you’re carrying one hundred of those. Even after this the son still doesn’t listen to them. Because of the divide between son and his parents, the son won’t even consider that his parents might be right. The son thinks they are “idiots” without ev...
But as the poem goes on, you come to realize that there is a hidden secondary situation taking place. The more obvious parts of the poem is the two parents having sexual intercourse, and the child feeling all alone in their big house. Once the child comes into the parent’s room, we actually get to see them transform into the loving parents that they are. The author illustrates the exact moment in when the child barges in on his parents love making session. “But let there be that heavy breathing / … and make for it on the run- as now, we lie together, / after making love, quiet, touching along the length of our bodies” (Kinnell (917). For some readers, it may be easy to see and comprehend this surface situation. The child is the product of their being, and this poem is about the love the whole family shares. The author uses euphemisms to display an image of affection and compassion versus a nasty and indecent love. Kinnell’s main focus is on the love and devotion between the parents. He conveys his focus through such words like “after making love, quiet, touching along the length of our bodies / familiar touch of the long-married” (Kinnell 917). The act of their gentle and quiet love is what wakes their
... In fact, the mother even recollects how like an infant he still is as she reflects on his birth and "the day they guided him out of me", representing her denial at her son's pending adulthood. The son's rite of passage to manhood, his acceptance of the role of host and peacemaker and unifier, is a shocking one for both speaker and reader. To unite his comrades, he comments "We could easily kill a two-year-old" and the tone of the poem changes finally to one of heartlessness at the blunt brutality of the statement.