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Reflection of society's role in literature
Reflection of society's role in literature
Literature as a reflection in society
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A collection of intertwining poems, After and Before the Lightning recounts the struggles of writer Simon J. Ortiz during a winter on the northern plains of a tribal reservation in South Dakota. In his preface, Ortiz describes writing this book as "putting together a map of where I was in the cosmos" (xiv). This is a cosmos perpetually defined by extremes- harsh weather and terrains accompanied by equally difficult political and historical contexts. Ortiz characterizes these cosmos through cyclic occurrences, comparing the seasonal changes of the year to the recurring patterns of the social and political past of America. He uses his personal account of the unforgiving winter to provide insight into the loneliness and yearning for community that afflicted the survivors of the winds of colonialism as well as to analogize the power of the repeating seasons to the social …show more content…
realities Native Americans faced in the 20th century. Ortiz disputes through poetry that the first step in reclaiming America for tribal communities is the recognition of the complex nature of historical, political and cultural climate, without romanticization, as a periodically changing landscape that is shared by people who are joined under a common cause: to live. He is emphasizing that even the oppressive and genocidal past of modern American people has a place in the cosmos alongside traditional native beliefs and stories. If either end of conflicting Native and Western societies fails to see the actuality upon which the United States was built, the individualistic and materialistic ideology of the modern world will continue to clash with the lifestyles of tribal people and seclude them. Similar to its subject matter, After and Before the Lightning is split into four sequential parts, but is also defined as one, whole structure.
The book is outlined at the beginning by two poems representing the last storms after fall and at the end by "Lightning III" and "Lighting IV," which signify the end of winter. The four numbered and titled parts that make up the book take place in chronological order from the beginning of winter, “The Landscape: Prairie, Time, and Galaxy,” to the end of winter and the approach of spring, "Near and Evident Signs of Spring". This arrangement allows Ortiz to point out that observing these recurring processes isn’t enough to resolve oppression; however, viewing history as a whole, or as one cosmos, allows recognition and understanding to occur. Acknowledging the complexity of the issue, he uses these structural distinctions to contrast and relate the personal and historical forces throughout society. Through these arranged poems, he can relate his linear, personal struggles to the cyclic, complicated nature of the physical seasons and modern
society. Ortiz depicts the beginning of the cruel winter with human alienation. Like the violent history of colonialism, the cold began to evoke personal pain and strife. One example is shown in the poem, “The Edge Facing Us,” in which the author retells a collective memory of two Indian children who are refused help from a settler family (8-9). Ortiz is describing the source of conflict between the Euro-American residents and Indigenous people. He contrasts the Western notion originating from the Manifest Destiny, that land is real estate to be appropriated, with the common motif throughout the poems: that America is part of a relational map, containing both the living and nonliving and that the relationship must be based on recognition and receptivity rather than on appropriation. This passage exemplifies the destructive effects of illusions of exclusionary ownership as well as the dissolution of Native American convictions that keep tribal communities grounded . The passage's concluding question, “And again the children with ice clinging to their black hair, would they always be there?" (9) is a painful indicator of the cost of the settlers' dominance, and the need to recover Native American identity. Only through mutual understanding will both cultures coexist, otherwise Native Americans may continue being misrepresented or unacknowledged throughout American history.
Archibald Lampman’s “Winter Evening” and P.K. Page’s “Stories of Snow” both initially describe winter to be delicate and blissful, yet, as one delves deeper into the poem, it is revealed that the speakers believe winter to be harsh and forceful. Archibald Lampman’s “Winter Evening,” starts describing an evening
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”
The places in which we live are an integral and inescapable aspect of who we are, as they largely determine culture, community, and determine the outlook that one has on the rest of the world. In the American South, physical and cultural geography has played a particularly important role in the historical and modern contexts of racial relations. The dynamic between enslaved peoples and the natural landscape is a complex one that offers innumerable interpretations, but inarguably serves as a marker of the wounds created by institutional racism and human enslavement. In her collection of poems entitled Native Guard, Natasha Trethewey utilizes external features of the natural environment in the South in order to communicate the repressed grief, both personal and collective, which can arise as a result of inflicted systemic violence. Through comparing part one of Native Guard, which focuses on
cold, harsh, wintry days, when my brothers and sister and I trudged home from school burdened down by the silence and frigidity of our long trek from the main road, down the hill to our shabby-looking house. More rundown than any of our classmates’ houses. In winter my mother’s riotous flowers would be absent, and the shack stood revealed for what it was. A gray, decaying...
In the beginning, Blanco descriptively writes how the sun rises every morning over our rooftops as it enters our windows. He goes on to describe the movements behind the windows, which I believe are our shadows. Blanco goes through the routine of Americans when they wake up: they yawn, look in the mirror, and hear the sound of automobiles outside. Blanco moves from general to personal. He makes the poem personal and involves his mother who worked as a cashier for 20 years, so that he can be able to get an education and “write this poem” (7).
Although this section is the easiest to read, it sets up the action and requires the most "reading between the lines" to follow along with the quick and meaningful happenings. Millay begins her poem by describing, in first person, the limitations of her world as a child. She links herself to these nature images and wonders about what the world is like beyond the islands and mountains. The initial language and writing style hint at a child-like theme used in this section. This device invites the reader to sit back and enjoy the poem without the pressure to understand complex words and structure.
The speaker in “Five A.M.” looks to nature as a source of beauty during his early morning walk, and after clearing his mind and processing his thoughts along the journey, he begins his return home feeling as though he is ready to begin the “uphill curve” (ln. 14) in order to process his daily struggles. However, while the speaker in “Five Flights Up,” shares the same struggles as her fellow speaker, she does little to involve herself in nature other than to observe it from the safety of her place of residence. Although suffering as a result of her struggles, the speaker does little to want to help herself out of her situation, instead choosing to believe that she cannot hardly bare recovery or to lift the shroud of night that has fallen over her. Both speakers face a journey ahead of them whether it be “the uphill curve where a thicket spills with birds every spring” (ln. 14-15) or the five flights of stares ahead of them, yet it is in their attitude where these two individuals differ. Through the appreciation of his early morning surroundings, the speaker in “Five A.M.” finds solitude and self-fulfillment, whereas the speaker in “Five Flights Up” has still failed to realize her own role in that of her recovery from this dark time in her life and how nature can serve a beneficial role in relieving her of her
Didion paints uneasy and somber images when describing the Santa Ana winds. “There is something uneasy in the Los Angeles air… some unnatural stillness, some tension,” starts the essay off with the image of Los Angeles people in a sense of stillness or tense. She further adds, “Blowing up sandstorms out along Route 66… we will see smoke back in the canyons, and hear sirens in the night,” propagating the uneasy and stark image of Los Angeles. “The baby frets. The maid sulks,” she adds, giving a depressing view into the effects of the Santa Ana winds on people. Didion, in an attempt to show the craziness associated with the Santa Ana winds, points out the Indians who throw themselves into the sea when bad winds came. At any rate, Didion attempts to show the negative effects of the Santa Ana winds through images of stillness, uneasiness, and sobriety.
The confronting theme of life is shown through poetic techniques in the poems, Pieta and November. The cycle of life is shown through Pietà and November in two different ways. The child’s life is unfortunately cut short as it, ‘only [lives] one day.’ Whilst in November, the subject of the poem is about a Grandmother who is at the end of the cycle of life. This is unlike the baby in Pietà who is not able to live, or have a chance of living a long life. This may cause the audience to ponder about the purpose of life. Armitage uses consonantal alliteration and visual imagery, in ‘sun spangles,’ to symbolise that, ‘the only thing you can get, out of this life,’ is the beautiful happy moments. This logic is true for many non-believers as the purpose of life is unknown to them and the only positive reason for life is by creating happy memories.In November,the last moments of life are shown through the enjambment and flow. The audience is involved with the journey of bringing the woman to the hospital as if you are, ‘with your grandma taking four short steps to [your] two.’ This is effective as the audience can put themselves in the place of the narrator in the story.This is unlike Pieta which is written in past tense and is not able to put themselves in the place of mother but the audience is more sympathetic towards the mother and her loss of her child.
To begin, the story opens with a family receiving a visit by a stranger on a November evening. Since the author uses words like “chill, damp, deepening dusk” (Oates 325) to describe the condition of the
In the poems, “The Song of the Sky Loom”, “The Corn Grows Up”, and “The Hunting Song”, innocence and hopefulness are themes that reveal the Native Americans’ traits to the reader.
Info: Riordan, R. (2005). The Lightning Thief. Narrated by Jesse Bernstein. New York: Listening Library. MP3 Audiobook. ASIN: B000A5CJSQ
“We pluck and marvel for sheer joy. And the ones still green, sighing, leave upon the boughs…” (14-16). This emphasis on nature reflects the respect and connection to the natural world the culture was trying to convey in their poetry. The colorful and illustrative descriptions of the physical world are indicative of the mindset and focus of these poems. Namely the fact that they were concerned with the world around us and the reality we experience as opposed to that of abstract concept of god or the supernatural as seen in other historical texts. This focus on nature is important because it sets the context in which the major theme of loss and separation originate from. In this poem the poet chooses to emphasize the passing of time in the choice of comparing the two seasons. Spring, in which life begins a new, and fall, in which the leaves begin to fall off and die. The poem reads “And the ones still green, sighing, leave upon the boughs- Those are the ones I hate to lose. For me, it is the autumn hills” (15-18). This juxtaposition of these two
The poem, “Field of Autumn”, by Laurie Lee exposes the languorous passage of time along with the unavoidability of closure, more precisely; death, by describing a shift of seasons. In six stanzas, with four sentences each, the author also contrasts two different branches of time; past and future. Death and slowness are the main motifs of this literary work, and are efficiently portrayed through the overall assonance of the letter “o”, which helps the reader understand the tranquility of the poem by creating an equally calmed atmosphere. This poem is to be analyzed by stanzas, one per paragraph, with the exception of the third and fourth stanzas, which will be analyzed as one for a better understanding of Lee’s poem.
The sunset was not spectacular that day. The vivid ruby and tangerine streaks that so often caressed the blue brow of the sky were sleeping, hidden behind the heavy mists. There are some days when the sunlight seems to dance, to weave and frolic with tongues of fire between the blades of grass. Not on that day. That evening, the yellow light was sickly. It diffused softly through the gray curtains with a shrouded light that just failed to illuminate. High up in the treetops, the leaves swayed, but on the ground, the grass was silent, limp and unmoving. The sun set and the earth waited.