In the printed context of 0 TO 9, Three Street Works’ multiple identities (as a document but also a poem) are not so out of the ordinary. It reproduces some of the same flexibility ascribed to the medium of poetry by Acconci and Mayer themselves. Although 0 TO 9 also published numerous works in language in its pages that its editors may or may not have thought of as poetry, Three Street Works actually resembled the most conventionally poetic of its contents. The capitalized title next to Burton’s name signifies the page’s status as such, as this is how other poems in the meticulously designed magazine were presented. Burton’s other addition is the adverb (sic), added in hand drawn brackets after “Rose.” The correct spelling in this case would be Rrose, with two “r’s,” the same way Marcel Duchamp spelled it when he, like Burton, dressed up as a woman. The second “r” creates a pun, making the character’s first name into “Eros” instead of “Rose.” But Burton’s (sic) does not tell us this, only that “Rose” is, for one reason or another, incorrect. Instead, it metaphorizes the inco...
The timeline carries on chronologically, the intense imagery exaggerated to allow the poem to mimic childlike mannerisms. This, subjectively, lets the reader experience the adventure through the young speaker’s eyes. The personification of “sunset”, (5) “shutters”, (8) “shadows”, (19) and “lamplights” (10) makes the world appear alive and allows nothing to be a passing detail, very akin to a child’s imagination. The sunset, alive as it may seem, ordinarily depicts a euphemism for death, similar to the image of the “shutters closing like the eyelids”
Subject Placement in “American Gothic,” “The Third of May,” “The Acrobat’s Family,” and “The Waterseller”
Everett, Nicholas From The Oxford Companion to Twentieth-century Poetry in English. Ed. Ian Hamiltong. Oxford: Oxford University Press, 1994. Copyright 1994 by Oxford University Press.
Author’s style is defined as the distinct literary manner that makes his or her expression of content unique from other authors; Katherine Anne Porter and Emily Dickinson have different styles that contribute to a better understanding of the themes of their work. In “The Jilting of Granny Weatherall” Porter uses the strea...
Lowe, Peter J. Texas Studies in Literature & Language; Spring2007, Vol. 49 Issue 1, p21-44, 24p Academic Search Complete Ebesco. Web. 23 July 2011
Murphy, B. & Shirley J. The Literary Encyclopedia. [nl], August 31, 2004. Available at: http://www.litencyc.com/php/speople.php?rec=true&UID=2326. Access on: 22 Aug 2010.
12. What form of figurative language does the author use in lines 8 & 9 of page 216 to make his writing more
Comparing Ben Bertram’s [Response] and Kogawa’s Road Building by Pick Axe is an interesting exercise. There are two primary points of comparison : First, why did each author choose to use the form of poetry that they did, haiku for Bertram and blank verse for Kogawa; Secondly, what using that form of poetry accomplished for their poem. The reason that these poems should be read together is because Bertram raises several important questions about Kogawa’s writing that will help you to better understand Kogawa’s message.
Greenblatt, Stephen, and M. H. Abrams. The Norton Anthology of English Literature. 9th ed. Vol. A. New York: W.W. Norton, 2012. Print
Theo and the young Narrator similarly discover the revelatory capacity of art through a single pivotal painting and author respectively, both which become significant motifs in either text. Tartt utilizes an existent painting ‘The Goldfinch’ as a fixed point of reference, which, for both Theo and the reader provides a sense of reality and constancy ‘rais[ing him] above the surface’ of an otherwise tumultuous childhood. Whereas Proust uses a fictional author, ‘Bergotte’, to communicate the universality of art, and invite the reader, through the vivid immediacy with which the Narrator’s early reading experiences are described, to participate in his epiphanic discovery that art can translate ‘imperceptible truths which would never have [otherwise] been revealed to us’ (97). Artistic imagery becomes a motif in Proust’s descriptions of scenes of domesticity and nature. In a scene recounting Francoise ‘masterful’ preparation of a family meal the Narrator describes asparagus in the technical language of painting as ‘finely stippled’ provoking an association between his observations of asparagus and the creation of a painting. By forming this improbable link he elevates unremarkable asparagus to the ‘precious’ status of art in the eyes of the reader. Proust’s presentation of his Narrator’s ‘fascination’ and pleasure at their ‘rainbow-loveliness’, forces the reader to consider asparagus with unfamiliar and attentive appreciation, conveying the idea that art can uncover the overlooked beauty of the mundane. Though Theo reveals a far more cynical view of ordinary life as a ‘sinkhole of hospital beds, coffins and broken hearts’ Tartt conveys the similar belief in art’s capacity to create a ‘rainbow-edge’ of beauty between our perceptions and the harshness of reality. In the most
In Julia Alvarez’s poem “On Not Shoplifting Louise Bogan’s The Blue Estuaries”, Alvarez skillfully employs poetic devices such as imagery and personification to let the reader view the power of literature through the eyes of a young, poverty stricken, estranged woman, inspiring her love for poetry. Alvarez’s use of imagery paints a vivid picture of the setting and the narrator’s actions for the reader throughout her significant experience; all through the eyes of an alienated female. The use of personification and author’s tone brings “The Blue Estuaries” to life for the reader-just as it had appeared to the narrator.
Strand, Mark and Evan Boland. The Making of a Poem: A Norton Anthology of Poetic Forms. New
The popular American Poet, Billy Collins, is playing a significant role in the evolution of poetry. His writing style evokes an array of emotions for the reader. Every stanza in his poetry passes the satirical standard that he generated for himself over his career. Collins swiftly captivates his readers through his diverse use of figurative language. More specifically, his use of vivid imagery paired with humorous personification and extended metaphors create his unique style of satirical poetry. This developed form of writing appeals to a large crowd of people because the generally accessible topics that he discusses are fairly easy to resonate for the common man. However, his poetry offers an interesting perspective on what otherwise would be simplistic ideas. The main themes and concepts that are being presented in each of his writings are revered and coveted by the general population. An appealing aspect of his writing is his ability to directly convey the main idea within the poem. As a result, the reader can understand the meaning of his work with ease. The typical beginning of his work gives the reader a slight taste of what is to come. Billy Collins’ unique writing style and various trademarks directly influenced by his ability to propagate an array of emotions for the reader, his humorous tone, and the accessibility of the topics he describes within his poetry.
“Si vous aimez l’amour, vous aimerez le Surrealisme!,” She screams as he slams the door (Mundy 4). His eyes are like nails in the rain. He steps onto the street— the cobbled street. She presses her lips to the window— the waiting window. As he runs away his militant frame, once emboldened in comparison to her tiny fragility, sinks into a comforting smallness. He is gone. How small he looks now that he has not listened to her. How logical he seems. She is glad that he is no longer a man, but the memory of an umbrella.
The Bedford Introduction to Literature 4th ed. of the book. Boston: St. Louis St. Martin’s Press, 1996. 883-89.