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Life and death in literature
Essay on the experience of reading
My experience of reading
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By 4:14 in the afternoon it just hadn’t made a single sound. Despite my gentle coaxing and attention, I knew with futility that it would only listen when someone other than I called it’s name. It had been teeming with life this morning – I remember distinctly holding it in my hand and hearing it sing with life at the very crack of dawn – but, as expected, it was starting to die down. With it’s demure size one would think that it wouldn’t be such a hungry little thing, but with all it chirped and chattered it wasn’t too surprising. Often it would blink and show off it’s colored feathers, so to speak, but it only did so when it heard another one of it’s kind calling its name.
Gently curved at its edges, almost cradled in the palm of my hand,
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Dave Smith’s “Spring Poem” paints an interesting version of a spring day but does not feel entirely conclusive. It meanders, and like the heat it tries to capture, flares out quickly in its tedium. “He Wishes for the Cloths of Heaven,” does come to close to completing it’s message, but begs for some sort of expansion. The language is grandiose and heavenly – “Had I the heavens' embroidered cloths,/ Enwrought with golden and silver light,/ The blue and the dim and the dark cloths Of night and light and the half-light,/” (1-4) – but limits itself and it’s potential for expression by ending a mere 4 lines later. In this sense, MacNiece’s, “The Brandy Glass” most accurately captures what it sets out to do – to capture a man’s regrets and give a simple glimpse at his …show more content…
It wasn’t a simple, silent grumble or occasional rude comment – it was the sporadic, caustic murmur of disapproval that became ever more a nuisance as time went by. While the library itself was fairly new, stocked with all manner of texts, his particular poison - the angry and rather depressive McCarthies, and a certain bent toward the nihilist writers of the 21st century – were surprisingly and annoyingly, missing.
It hadn’t been the first time he’d found himself disappointed in the world around him. How often had his expectations, his dreams and aspirations, been shut down by the realities of a living world? It’s why he preferred to read those who admitted the world was a meaningless place than to placate himself with uplifting falsehoods and half-truths.
Well, ultimately it didn’t matter. He could whine and groan as much as he wanted, but doubted anything good would come from it. The library would not suddenly find itself stocked with his favorites, nor would any of the librarians give his grumble any more than a moment’s
This essay will explore how the poets Bruce Dawe, Gwen Harwood and Judith Wright use imagery, language and Tone to express their ideas and emotions. The poems which will be explored throughout this essay are Drifters, Suburban Sonnet and Woman to Man.
Australian poets Bruce Dawe and Gwen Harwood explore ideas and emotions in their poems through vivid and aural poetic techniques, the poets also use symbolism to allow the readers to relate to the text. In Dawes “Homecoming”, the poet explores the ideas in the text using language techniques such as irony, paradox and visual imagery to construct his attitude towards war and the effect. While in Gwen Harwood’s, “The violets”, she uses prevailing imagery and mood to emphasize fertility and growth. Contrastingly, In Bruce daws, “Life cycle”, the poet uses the idea of sport to symbolise and represent religion with the use of clichés and juxtaposition to convey his ideas of religion, myths and Christianity in the language use, similarly Harwood poem
Kim Addonizio’s “First Poem for You” portrays a speaker who contemplates the state of their romantic relationship though reflections of their partner’s tattoos. Addressing their partner, the speaker ambivalence towards the merits of the relationship, the speaker unhappily remains with their partner. Through the usage of contrasting visual and kinesthetic imagery, the speaker revels the reasons of their inability to embrace the relationship and showcases the extent of their paralysis. Exploring this theme, the poem discusses how inner conflicts can be powerful paralyzers.
When Beatty explains to Montag why books are being burned, he describes the method used when teaching students: “Cram them full of noncombustible data, chock them so damned full of ‘facts’ they feel stuffed, but absolutely ‘brilliant’ with information...And they’ll be happy” (Bradbury 58). Later, on the train, an advertisement blares, “Denham’s Dentifrice” while Montag struggles to read “the shape of the individual letters” (Bradbury 75). Montag’s society is convinced that education means mindlessly memorizing facts. However, a large amount of information and facts is not a proper substitute for deep, critical thought. When information is just given and not analyzed, it prevents questioning why facts are true and inhibits the development of basic thinking skills, such as when Montag struggles to understand the book he is reading. Additionally, with so much information and entertainment circulated in Montag’s society, significant ideas that promote questioning and changing life cannot be developed. Without thoughts that allow people to question their ways and change themselves, people believe they are perfect, cannot realize their faults, and are unable to change the way they are. When Montag consults Faber for some insight on books, Faber states that books have been abandoned because “they show the pores in the face of life” and, because of this, their society is “living in a time when flowers are trying to live on flowers, instead of growing on good rain and black loam” (Bradbury 79). Instead of taking the time to think and develop thoughts, the citizens of Montag’s city take the easy way in life, by avoiding any deep thought and personal opinion altogether. It is much easier for the citizens to enjoy mindless entertainment than to think about the issues in the world and their solutions. However, this can create problems within
This darkly satiric poem is about cultural imperialism. Dawe uses an extended metaphor: the mother is America and the child represents a younger, developing nation, which is slowly being imbued with American value systems. The figure of a mother becomes synonymous with the United States. Even this most basic of human relationships has been perverted by the consumer culture. The poem begins with the seemingly positive statement of fact 'She loves him ...’. The punctuation however creates a feeling of unease, that all is not as it seems, that there is a subtext that qualifies this apparently natural emotional attachment. From the outset it is established that the child has no real choice, that he must accept the 'beneficence of that motherhood', that the nature of relationships will always be one where the more powerful figure exerts control over the less developed, weaker being. The verb 'beamed' suggests powerful sunlight, the emotional power of the dominant person: the mother. The stanza concludes with a rhetorical question, as if undeniably the child must accept the mother's gift of love. Dawe then moves on to examine the nature of that form of maternal love. The second stanza deals with the way that the mother comforts the child, 'Shoosh ... shoosh ... whenever a vague passing spasm of loss troubles him'. The alliterative description of her 'fat friendly features' suggests comfort and warmth. In this world pain is repressed, real emotion pacified, in order to maintain the illusion that the world is perfect. One must not question the wisdom of the omnipotent mother figure. The phrase 'She loves him...' is repeated. This action of loving is seen as protecting, insulating the child. In much the same way our consumer cultur...
Cortney Harris Melvin English 101 November 19, 2014 American Poet, Edna St. Vincent Millay, once said, “I know I am but summer to you heart, and not the full four seasons of the year.” Summer is the point in the year where one is free to act however one may feel. When one can have that of childlike behavior and leave it behind once the season ends. David Updike’s “Summer” depicts a young boy, Homer, on a summer vacation who soon discovers his feelings for Fred’s sister, Sandra, but fears she does not feel the same.
Most of the Latino families grow up with their parents or grandparents telling their kids, nephews, or grandchildren scary stories or some of the scary stuff they have been through life. To be completely honest with you, who doesn’t get the chills when hearing these stories? Listening to the stories are one thing but, reading about them can sometimes be even scarier. This all depends on how good is the writer or how the writer tells it and how they foreshadow the story to make it more horrific and interesting. “Suspense is the uncertainty or anxiety you feel about what will happen next.” (Source 1 Sent.16) In the story, “August Heat” the author creates a lot of suspense in which is dark, hot and foreshadowing.
Robert Creeley, a famous American poet, lived from 1926 to 2005. Creeley was normally associated as a Black Mountain poet because that is where he taught, and spent most of his career. Throughout his life, Creeley wrote many different pieces of poetry. Four great poems by Robert Creeley are, “For Love”, “Oh No”, “The Mirror”, and “The Rain”. The poem “For Love”,was written by Creeley for his wife. In this poem Creeley explains, the love someone has for another person, and how complicated it is making his life because the person doesn’t know how to explain their love. “Oh No” is a poem that is literally about a selfish person who ended up in hell, but this poem has a deeper meaning. Part
On April 3, 1973, Martin Cooper made the first phone call in New Jersey to the headquarters of Bell Labs; we subtracted the year 1973 from the current year 2014, then we get 41 years apart from the first phone to our current timeline. You might be asking yourself (Why is math involved in this? The title says Levi Kinsel, but he starts up with the time gap of the first phone call and now. Is he doing his math homework? Is this essay really about Levi Kinsel?)
I first came across “Spring and Fall”—as I did a similar poem, Frost’s “Nothing Gold Can Say”—through two teen movies of the 1980’s. The Frost poem was featured in Copola’s adaptation of the popular S.E. Hinton young adult novel, The Outsiders, and Hopkins’ in Vision Quest, a forgettable movie about a young man searching to find himself by taking on the unbeatable state champion in a wrestling match. (Our hero beats him!) In both films, the themes of the pains and triumphs of growing up are presented in familiar formulas, and the poems lend a sense of gravity to that theme. In any case, lots of my friends in high school, who never would have read poetry otherwise, knew these poems and could recognize them, having heard them in a movie. (The same can be said of my generation in terms of another Victorian poem in our reading, “The Charge of the Light Brigade,” recited in class memorably by Alfalfa in one of the “Our Gang” comedies.) That said, hearing these poems in contexts outside of an academic setting really made them stick with me, and I’d like to use this paper as an opportunity to examine precisely what lends “Spring and Fall” in particular its haunting power.
Good morning/ good afternoon class and Mrs Coates my selected poem is time is running out, from the book the dawn is at hand. The dawn is at hand was published in 1966, the author who wrote it goes by many names her birth name was Kathleen Jean Mary Ruska. You may know her by her early pen-name Kath walker. In 1988 she changed it to a more traditional aboriginal name Ooderoo meaning paperbark and Noonuccal the name of her aboriginal tribe. She was the first ever aboriginal Australian woman to publish a book containing poems.
The first stanza is crowded with sensual and concrete images of nature and its ripeness during the first stages of Autumn. Autumn is characterized as a “season of…mellow fruitfulness” (1). It is a season that “bend[s] with apples the mossed cottage-trees” (5), “fill[s] all fruit with ripeness to the core” (6), “swell[s] the gourd, and plump[s] the hazel shells” (7), and “set[s] budding more” (8). The verbs that Keats uses represent the bustling activity of Autumn and also reflect the profusion of growth. Autumn also acts as the subject of all the verbs, indicating its dynamic behavior. Furthermore, the multitude of these images depicting the ripening of nature contributes to the sense of abundance that characterizes the first stanza. The stanza also contains many short phrases, again calling up images of abundance. Keats, through his use of sensual imagery, draws readers into the real world where there will ultimately be decay and death. The sound devices in this stanza further develop the sensual imagery and...
He’s Watching You As a boy growing up in the church of Christ at Romance, Richard Davis commonly led the singing and we would sing an old familiar song entitled “Watching You,” which was written by James M. Henson after being inspired by an incident at a revival. The revival speaker told a group of boys whose unruly conduct had been the source of trouble at previous services, “We are expecting order here and you had better be careful, because there’s an all-seeing eye watching you tonight.” That eye belonged to the county sheriff, who was at the meeting by invitation. I well remember the words to that song.
Smith personifies Spring in the way it “nurs’d in dew” its flowers as though it was nursing its own children (“Close of Spring” 2). While it creates life, Spring is not human, because it has the ability to come back after its season has passed. Human beings grow old and die; we lose our “fairy colours” through the abrasive nature of life (“Close of Spring” 12). Smith is mournful that humans cannot be like the flowers of Spring and regain the colors of our lives after each year. Normally, in comparing the age of sensibility with nature, we see this great appreciation of nature as a whole.
Throughout different eons, poets have contemplated the cycle of life and death, as well as the cycle of the seasons. Different perspectives pervade different forms of poetry, culminating in either finding meaning in the movement of time, or perhaps taking a more pessimistic view of the inconstancy of human life in contrast to nature’s eternity. Millay, in her poem “Spring”, takes a more skeptical view of the trope that spring brings with it consolation and recompense for loss, signifying rebirth and a revitalization of the world. Instead, she focuses on the reality of life in the now; the fact that the seasons come and go doesn’t change that. The trope is superficial, as a facade of flowers and happiness won’t change or fix time.