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 help convey the speaker’s discoveries. Alvarez’s use of imagery paints a vivid picture of the setting for the reader, allowing for a better understanding of the context of the poem, and a clarification of what goes on within the college bookstore. The use of personification highlights the significance of the special book of poems and its persuasive effect on the main character. The title of the poem- “On not Shoplifting Louise Bogan’s The Blue Estuaries” may appear confusing to the reader at first, due to it not being similar to typical poem titles; however the title and setting have a very strong connection- which is solidified through the use of imagery. The poem opened with the line “your book surprised me on the bookstore shelf-.” This directly and openly presents the setting, shifting the reader’s focus to more significant aspects of the poem. The imagery then targets the appearance of the book, highlighting its significance and seemingly ‘one of a kind’ appearance with lines such as “swans gliding on a blueback lake”...”No sassy big haired picture to complicate the …show more content…
This shows how bold and captivating the unique appearance of the book was; it contained only an illustration and name, without the boasting of achievements. Imagery played a key role in
...es her. The imageries of pink Mustang signifies her social class, while “Road” indicates her location as nowhere within a community. The commodification of her body means it can be touched in ways derogatory to her dignity whether she likes it or not because it is a saleable commodity that doesn’t belong to her. Her silver painted nipples identifies silver coins. Silver coins represent monetary value put on her body. Silver painted nipples also mean the attractive way in which a product is packaged. The poem also depicts the defiance of women against how she has been treated. She identifies man as the one that kisses away himself piece by piece till the last coin is spent. However, she cannot change the reality of her location, and temporal placement.
The struggles that many face while experiencing poverty are not like any other. When a person is experiencing poverty, they deal with unbearable hardships as well as numerous tragic events. Diane Gilliam Fisher’s collection of poems teaches readers about labor battles within West Virginian territories, at the beginning of the twentieth century. Some of these battles include the Battle of Matewan and Battle of Blair Mountain. The collection of poems is presented in many different manners, ranging from diary entries to letters to journal entries. These various structures of writing introduce the reader to contrasting images and concepts in an artistic fashion. The reader is able to witness firsthand the hardships and the light and dark times of impoverished people’s lives. He or she also learns about the effects of birth and death on poverty stricken communities. In the collection of poems in Kettle Bottom, Fisher uses imagery and concepts to convey contrast between the positive and negative aspects of the lives of people living in poverty.
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
In the short story,’’Checkouts,’’ the author uses figurative language such as similes, imagery, and hyperboles. In structure, using figurative language allows the reader to understand the story better and make it more creative, along with it becoming interesting. For example, on (page 47), it states, ”Like a Tibetan monk in solitary medication, she calmed to a point of deep,deep happiness.” Next, there is also imagery in the short story. An example of imagery in the story is how the narrator describes when the girl and the bag boy meet for the first time. “She interested him because her hair was red and thick, and in it she had placed a huge orange bow, nearly the size of a small hat” (47). For example, there is also some hyperboles in the
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.
Therefore, Oliver’s incorporation of imagery, setting, and mood to control the perspective of her own poem, as well as to further build the contrast she establishes through the speaker, serves a critical role in creating the lesson of the work. Oliver’s poem essentially gives the poet an ultimatum; either he can go to the “cave behind all that / jubilation” (10-11) produced by a waterfall to “drip with despair” (14) without disturbing the world with his misery, or, instead, he can mimic the thrush who sings its poetry from a “green branch” (15) on which the “passing foil of the water” (16) gently brushes its feathers. The contrast between these two images is quite pronounced, and the intention of such description is to persuade the audience by setting their mood towards the two poets to match that of the speaker. The most apparent difference between these two depictions is the gracelessness of the first versus the gracefulness of the second. Within the poem’s content, the setting has been skillfully intertwined with both imagery and mood to create an understanding of the two poets, whose surroundings characterize them. The poet stands alone in a cave “to cry aloud for [his] / mistakes” while the thrush shares its beautiful and lovely music with the world (1-2). As such, the overall function of these three elements within the poem is to portray the
Life is bursting with temptation everywhere and based on peer pressure, if you can’t get something you want you rather find another way to get it. Individuals of the community rather act out of action without thinking about it first, which can lead them to the severe consequences of their actions. Then you later think what I did was wrong, I could have prohibited that by doing it differently. Afterward, you feel a great deal of emotions running through your mind; encumbrance, sorrow, and helplessness. These reactions cause you to overthink and make you feel compunction than you already feel. At first you feel calm and assumed you can get away with it, but unfortunately it landed you nowhere but deeper in the grave. Even in its effects in “Shoplifting”
Bishop’s use of imagism in “One Art” helps the reader to comprehend the ability of the speaker to move on from lost items such as a mother’s watch or loved houses.
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.
Personification is presented by the author as the only explanation for the narrator’s consumption. “The Blue Estuaries” begins to stir the narrator’s own poems (line 24) until she bores down on the page once more, coming back into what is perceived by the reader as a much more clear state of mind. Then, the narrator claims to have “lost her doubts” for a moment (line 34). This was a turning point in the narrator’s tone- signalling a shift in her thoughts, and was a strikingly out of place claim- especially coming from somebody so preoccupied- making the reader wonder what she had thought about for a moment. The narrator then begins to read once more (Line
Piper’s use of imagery in this way gives the opportunity for the reader to experience “first hand” the power of words, and inspires the reader to be free from the fear of writing.
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
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.
First, she begins the poem with the word “arrive”, in lower case and paragraph indented. The verb’s drop from the title and lack of proper capitalization diminish the self-important visitors. Then, Brooks’ employs sensual imagery that repels the visitors, such as the “stench; the urine, cabbage, and dead beans”.The faint-hearted “Lover’s of the Poor” are alarmed and finally routed by the poverty, as they state “Oh Squalor!”. The women are also put off by the words “Children, children, children—Heavens!” To the stuck-up visitors, there is something extremely repugnant in the prolific reproduction of the poor. Brooks reveals the ladies’ genuine feelings regarding the poor through references to their “love so barbarously fair,” their “loathe-love,” and their desire to refresh with “milky chill.”. Furthermore, alliteration throughout strengthens the underlying-tone of the poem. It is through these devices that one truly observes the true attitudes the two parties have towards