Analysis Of Chuhy By Michael Soto

Soto is a standout amongst the most critical voices in Chicano writing. He has notably depicted the life, work, and delights of the Mexican American rural worker. Moreover, he has done this with awesome lovely ability. He has an eye for the telling picture in his verse and composition, and he can make startling and fundamentally viable analogies. Soto’s poetry focuses on everyday experiences while evoking the harsh forces that often shape life for Chicanos, including racism, poverty and crime. His style is concrete and established in the dialect of the fields and the barrio.
There are numerous critical topics in Soto's verse. One of the soonest and steadiest is his perspective of the normal world as a no man's land. In spite of the fact that

he utilizes regular symbolism, nature is never kind or peaceful. It is, rather, brutal and unwavering. It scars the individuals who are in an exposed fashion presented to it from day break to sunset.
Soto does, however, modulate his bleak view of the human condition when he writes about childhood.

That state is filled with a quest for knowledge and experience. In the poem “Chuy,” the young speaker may be naïve or mistaken in his idealized love; however, he does manage to pass through his experiences and gain some wisdom, and he does not give in to cynicism. In the later poems, Soto contrasts the bleak conditions of his childhood with the innocence and privilege of his own daughter. In “Small Town with One Street,” for example, he shows his daughter a young boy in Fresno whom he says is an image of himself as a child. The daughter is shocked to see that poor and troubled image of her apparently powerful father. Soto did not alter his pessimistic view of the world as he grew older and prospered. In “The Way Things Work,” the speaker inventories the expenses of the day and worries about meeting them. The culture of poverty cannot be overcome by relative affluence; it continues to mark Soto’s view of the world, as the wind and dirt marked the workers in the

field.
Soto’s poetic style is marked by the use of short free-verse lines. There are seldom more than three stresses to a line, and the lines often run on, creating the effect of a rapid flow of images hurrying to reach a final resolving line. He uses occasional metaphors, but his primary poetic device is imagery. The poems are packed with images that follow one another, often creating a structural design. Because the poems deal with the Chicano experience in the field or in the street, the language is always concrete and dense in detail. Soto does not write many long poems; nearly all are short lyrics. If he does expand a poem, he does so by creating a longer poem that has many separate sections.
Soto uses irony consistently in his poems. He seems chary of ending a poem with a positive statement or image. The last few lines often reverse or sardonically comment on what went before. These ironic structures convey his bleak view of a world in which everything passes away, including any sign of the poor inhabitants. Soto is concerned not only with the fact of death but also with whether individuals can leave any sign of their presence on an indifferent universe.
Soto is the poet of the Chicano experience, but his view of that people is not hopeful. He shows their condition to be one of hard work with few rewards. There may be a few isolated moments of joy on the street or in the privacy of the home, but difficult economic conditions make such happiness short-lived. The one positive element in Soto’s poetry is his portrayal of his own family, which has escaped the confined and limiting world of manual labor Soto had experienced in Fresno. That family is also a composite, as Soto’s wife is Japanese American. The family scenes he creates are tender and hopeful.
Soto’s prose has many similarities with his poetry.

His subject in his prose books is primarily childhood and adolescence. He does not, of course, use the formal devices of poetry in these books, but he does use the same concrete detail and imagery. He often uses the same ironic reversal in many of the short pieces that make up each book. The prose narratives do have more humor than the poems, and they tend to deal more fully with relationships within the Chicano community than the poems do.
A popular poem I found interesting is Oranges. This poem is about a boy and a girl going out on their first date. The girl wants to buy chocolate that the boy cannot afford, so he pays with a nickel and an orange. Some figurative language I found is Tone. There is a conversational tone to this lyric, the speaker obviously needs the peruse to comprehend the experience he experienced. Truly, it was energizing and vital, however the kid likewise felt somewhat overwhelmed, so there is included vulnerability about exactly where this initially strolling date will wind

up.
“Oranges” is a narrative poem, and a narrative poem tells a story. The mood/tone makes the story sound like a fond memory. The poem is narrated by a man looking back on a childhood memory. Some imagery and symbols I found in the poem are “her house, the one whose porch light burned yellow Night and day, in any weather.” All references to the girl have to do with light. She is reliable, trustworthy. “I turned to the candies, tiered like bleachers,” this evokes childhood memories. “Fog hanging like old Coats between the trees” rich imagery enables the reader to feel the cold and see the fog. “I peeled my orange, that was so bright against The gray of December That, from some distance, someone might have thought I was making a fire in my hands” the girl’s light has passed to the narrator. Overall, Gary Soto is a well-known poem and book artist. He’s published more than forty books for children, young adults and adults.