Marianne Boruch's Year in Hawaii
In her poem, “Year In Hawaii,” Marianne Boruch effectively portrays the feeling of an endless, motionless setting. This lyric poem attempts to transcend time by working with timelessness. The key lines to the poem take place at the very beginning, “The ocean takes so long/to think about.” Immediately the reader is met with mixed sensations of timelessness as well as restlessness. There’s a dreamy, sluggish feel to her wording. Using the ocean is perfect for evoking this, as looking out at the water, “Distance stops; one sees the endless line/of something.” So much empty space rolling out and out until it meets the sky. Boruch goes on to make her stance even clearer, “I was a toad/there, a river thing that got lost.” She places herself as a small, tiny creature that has no grasp of how big its surroundings are.
After setting the mood in this tropical haven, Boruch makes a point to explain, “I never had a vision/about the place. I never thought: this/is the beginning of the world.” Boruch lets the reader know this is not a dream world, this is not something that can be conjured up in the mind and cradled whenever desired. Her time in Hawaii is something that she could have never imagined. This helps the flow of the poem, as she then depicts how easily pleased humans are. “You’ve seen/the postcards. People buy them thinking/everything worthwhile comes/through a camera lens, and they put them/in a pocket or down the dark throat/of a mailbox someone later opens/with a key.” Finding themselves in this unimaginable tropical island, humans try to capture the unexplainable on a piece of paper and bring it home to their safe comforts. Going back to the running theme of restlessness, Boruch portrays the human desire to be able to see the beauty of this landscape and the resulting unawareness of how unattainable it is. Amazed, they get there and think it is a material thing, believing that a simple postcard will do justice to their paradise.
Even though she seems to be depicting a ‘paradise’ mind, Boruch immediately switches over to an ‘everyday’ mind. She describes the natives, “wanting just to live there, thank you,/going off to work and coming back, normal/things.” It’s as though the natives bring the poem back into time again, while the tourists had been stuck in timelessness.
She gets to the point and proves that in our current world we tend to say more than we should, when just a couple of words can do the same. In her writing, it is evident that the little sentences and words are what make the poem overall that perfect dream she wishes she were part of.
This poem captures the immigrant experience between the two worlds, leaving the homeland and towards the new world. The poet has deliberately structured the poem in five sections each with a number of stanzas to divide the different stages of the physical voyage. Section one describes the refugees, two briefly deals with their reason for the exodus, three emphasises their former oppression, fourth section is about the healing effect of the voyage and the concluding section deals with the awakening of hope. This restructuring allows the poet to focus on the emotional and physical impact of the journey.
In Gift from the Sea, Anne Morrow Lindbergh shares her thoughts on relationships, love, inner peace, and contentment. During her vacation by the sea to relax and detach herself from the hectic outside world, Lindbergh masterfully provides insights to a reader of any age or gender. Her poetic and flowing style allows the reader to easily absorb the themes from her meditations. She warns against the pitfalls of modern life because of what she calls hectic rhythm, as opposed to a more fluid and natural primeval rhythm. By removing herself from the outside world, she is able to look at life, love, and relationships from a different perspective. Also, she allows the natural world to help her make connections. She provides advice on how to treat our relationships with other people, and our ever evolving relationship with the outside world.
In this poem, the speaker is talks about his experiences in one significant morning. The poem introduces a beach environment where the speaker talks about collecting rocks, while seeing a dead otter, an oyster fisher, and a bird trying to find its prey. He recalls that this morning is the morning after contemplating of dying, but in the second stanza he has a change of feeling. Instead of seeing disturbances, he sees things that symbolize piece and serenity – butterflies, a couple, the sun. Taking into account all these literal events make the story far too normal. However, what makes this poem noteworthy is its two-sided arguments for the natural order of the world – chaotic in nature or underlying order.
With her mind already gone, Edna's body begins to swim out into the sea, not caring about what lies ahead: "She did not look back now, but went on and on, thinking of the blue-grass meadow that she had traversed when a little child, believing that it had no beginning and no end." (109)
Audience, tone, and mood are key aspects towards the understanding of this poem. The audience in this poem includes everybody specifically those who are ignorant to the life and culture of aboriginal living on reserves. The tone is positive and establishes the true essence and pure beauty of nature. The tone could also be reflective because it reflects upon the qualities that accompany life on the reserve. The reader can simply infer that the mood is peaceful, hopeful, cheerful, and
I wasn’t even outside but I could feel the warm glow the sun was projecting all across the campsite. It seemed as if the first three days were gloomy and dreary, but when the sun on the fourth day arose, it washed away the heartache I had felt. I headed out of the trailer and went straight to the river. I walked to the edge, where my feet barely touched the icy water, and I felt a sense of tranquility emanate from the river. I felt as if the whole place had transformed and was back to being the place I loved the most. That day, when we went out on the boat, I went wakeboarding for the first time without my grandma. While I was up on the board and cutting through the wake of the boat, it didn’t feel like the boat was the one pulling and guiding me, it felt like the river was pushing and leading me. It was always nice to receive the reassurance from my grandma after wakeboarding, but this time I received it from my surroundings. The trees that were already three times the size of me, seemed to stand even taller as I glided past them on the river. The sun encouraged me with its brightness and warmth, and the River revitalized me with its powerful currents. The next three days passed by with ease, I no longer needed to reminisce of what my trips used to be like. Instead, I could be present in the moment, surrounded by the beautiful natural
As a native Hawaiian, Kristiana Kahakauwila has extensive knowledge on Hawaiian customs and culture. Though she was not raised in Hawaii, Kristiana is still connected to the culture. Her upbringing in California did not separate her from the customs of Hawaii. Kristiana has a master’s in fine arts and a degree in comparative literature. Her degrees and background with Hawaiian culture led her to write the book “This is Paradise,” which is composed of multiple short stories. Each short story unveils a new layer of Hawaiian culture that many people tend to overlook. Before the first short story begins, Kristiana sets the tone for the novel with the cover of the book.
In this poem, the author tells of a lost love. In order to convey his overwhelming feelings, Heaney tries to describe his emotions through something familiar to everyone. He uses the sea as a metaphor for love, and is able to carry this metaphor throughout the poem. The metaphor is constructed of both obvious and connotative diction, which connect the sea and the emotions of love.
It is the landscape and Achille has found his happiness and appreciates the only home he knows and what ties him to this homeland. Walcott has taken the frame of the epic and given the Caribbean voice and struggle.
Second of all, in the poem “Lake Isle of Innisfree”, the reader sometimes fails to understand what is really happening. “I will arise and go now, for always night and day I hear lake water...
While relaxing on the beach with Mrs. Ratignolle, the sight of the endless ocean brings back memories from Edna's childhood. She suddenly recalls a summer day in Kentucky and "a meadow that seemed as big as the ocean to the very little girl...and I felt as if I must walk on forever without coming to th...
This morning I wake early from the light that creeps underneath my blinds and my bed next to the window. I wake floating on the streams of light, heated, like white wax spilled across the floor, dripping, soft. In bare feet I walk down the stairs, cold on the wood, and find my father in the kitchen, also awake early. Together, we leave the house, the house that my parents built with windows like walls, windows that show the water on either side of the island. We close the door quietly so as not to wake the sleepers. We walk down the pine-needle path, through the arch of trees, the steep wooden steps to the dock nestled in the sea-weed covered rocks. We sit silently on the bench, watch as the fog evaporates from the clear water. The trees and water are a painting in muted colors, silver and grays and greenish blue, hazy white above the trees.
This poem is full of visual imagery; one can imagine being the speaker, staring at the fish on the hook. The fish’s brown skin, shapes on his scales, the tiny white sea-lice, the green weed, the blood flowing from his gills, his entrails, and his pink bladder all describing the fish’s body. This allows the reader to imagine as if the fish was in their hands. She not only illustrates the fish as a whole but also ge...
The search for immortality is not an uncommon one in literature. Many authors and poets find contentment within the ideals of faith and divinity; others, such as Whitman and Stevens, achieve satisfaction with the concept of the immortality of mortality. This understanding of the cycle of death and rebirth dominates both Walt Whitman's "On the Beach at Night" and Wallace Stevens' "Sunday Morning" and demonstrates the poets' philosophies of worldly immortality.