Throughout this poem the speaker contemplates stealing a book of poetry. The poet Julia Alvarez gives the action of stealing the book a deeper meaning while portraying the significance of the book to the speaker. Julia Alvarez does this through the use of many poetic devices. Throughout this excerpt of the poem “On Not Shoplifting Louise Bogan's ‘The Blue Estuaries’” by Julia Alvarez, the poet conveys the speaker's discoveries through the use of imagery and diction in order to portray the overall meaning of the work as a whole.
The use of imagery through words with negative connotations play a crucial role in strengthening the idea that the bog woman’s punishment had really disfigured her once-beautiful body, thus bringing more pity towards her awful execution and encourages sympathy for such cruelty. The speaker’s first use of compelling imagery appears in the beginning of the poem as he describes the wind on the woman’s “naked front” blowing “her nipples”. The speaker also includes other body parts that are considered sensitive such as “neck” and “ribs”. The explicit description of her body expresses her feminine vulnerability and paints a picture of her weak, fragile body that is stripped down to nakedness and destroyed with the pain and agonies of her death process. The speaker stresses the bog woman’s ugly transformation by using strands of darkness to describe her state as a dead body. He compares her head to “ a stubble of black corn”, her blindfold to a “soiled bandage”, her face “tar-black”, and combs “darkened”. Seeing a ...
In the poem “Sarah Cynthia Sylvia Stout Would Not Take the Garbage Out,” by Shel Silverstein, the poet conveys his message to the audience extremely clearly. Shel Silverstein uses a mask of humor to make his message to the audience more impressive and strong than other poems. Three reasons contributing to making Shel Silverstein’s message clear are the fact that there is a funny part in the poem that people can relate to, that the poem itself is very descriptive to get lots of information from, and that the message is very deep and therefore readers really have to think deeply.
The specific word “after” shows that the previous poems were about the before and the poet is now in the future. The second and third line in the same poem “the bluebird dived just over the rail / into a dogwood” alludes to the new day. The reference to a bluebird generally shows a moment of clarity, hope and focus on a new day. The poems are not presented in a disconnected style and are placed evenly throughout the book. The use of white space allows the reader to follow the poet’s train of thought and the concrete imagery running alongside the enjambment adheres to a presentation that is pleasing to the eye. This particular chapbook was the easiest to read yet the context was unnerving and disheartening. Clearly, the poet is trying to convey the painful parts of a time when the world was encased in violence and
The Fish by Elizabeth Bishop With fewer than fifty published poems Elizabeth Bishop is not one of the most prominent poets of our time. She is however well known for her use of imagery and her ability to convey the narrator?s emotions to the reader. In her vividly visual poem 'The Fish', the reader is exposed to a story wherein the use of language not only draws the reader into the story but causes the images to transcend the written work. In the poem, Bishop makes use of numerous literary devices such as similes, adjectives, and descriptive language. All of these devices culminate in the reader experiencing a precise and detailed mental image of the poem's setting and happenings.
The author, to entirely convey Jonas’s view of the world in his imagination and the origin of his strong desires, employs vivid, colorful, extensive descriptions of the beauty and horror instigated by nature and freedom. A few of the exemplary integrations of imagery, which paint lush mental images, as written by Lois Lowry, include, “Looking through the front window, he had seen no people: none of the busy afternoon crew of Street Cleaners, Landscape Workers, and Food Delivery people who usually populated the community at that time of day. He saw only the abandoned bikes here and there on their sides; an upturned wheel on one was still revolving slowly.” (p.15), “Soon there were many birds along the way, soaring overhead, calling. They saw deer; and once, beside the road, looking at them curious and unafraid, a small reddish brown creature with a thick tail, whose name Jonas did not know. He slowed the bike and they stared at one another until the creature turned away and disappeared into the woods.” (p.230), “…banquets with huge roasted meats; birthday parties with thick-frosted cakes; and lush fruits picked and eaten, sun-warmed and dripping, from trees.” (p.232). Through such instances of imagery, the author is able to convey and inspire the reader through vivid, emotion-evoking mental
The Russian writer Ivan Turgenev wrote in Fathers and Sons in 1862, "A picture shows me at a glance what it takes dozens of pages of a book to expound” (Turgenev 196). Mark Twain was a living testament to that belief because iillustrations were an integral part of Mark Twain’s published work. They embellished his stories, informed the reader, and often reflected his humor. However, today’s fictional novels rarely include illustrations beyond the cover and fly leaf. This lack of illustrations has become more the norm in the digital publishing world because the illustrations often do not translate well to the digital format. My research paper will delineate the reasons that illustrations were relevant and necessary for the 19th century publication and why they are less relevant in the digital age. I will show that illustrations played an essential part in the success of Mark Twain’s books (1) because he made them an integral part of his writing, giving clarity to his written words; (2) because of the subscription publishing model of his era, and, (3) because of Twain’s dependence on them to describe his characters. However, the digital and audio publishing market of today has lessened the impact of illustrations in modern literary works. In Twain’s 19th century era, books were often a work of art as well as a literary treasure. The books I read today on my e-reader or listen to on “Audible” versions -- even Twain’s books -- almost never have a visual impact like Twain’s books had in the 19th century.
...s traits of the "low cultural" bestseller converge together in the compact, physical realm of the cover to reflect the content's most "popular" strengths in a way that is provoking, and often enigmatic. The use of image and other signifiers of the cover is handled differently by "high cultural" bestsellers, as their literary self-perceptions are different. Hence, although both "high" and "low cultural" bestsellers use similar methods of content reflection, their covers are remarkably dissimilar, owing to 1.The difference in the publishers' perception of the book's strengths (such as "art", or "entertainment"), and 2.The target audience the publisher wishes to attract, based upon these perceptions. All bestsellers are popular, and their charismatic covers, when channeled to the appropriate audience, must be imperative in their achievement of such immense popularity.