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More often than not, one can gauge whether resistance is present through the reactions of one’s oppressors. In A Place to Stand, Baca is sure to portray plenty of ways his formation of language was either impeded or partially destroyed by authority figures around him, his ability to express himself through language actively stifled from the start of his incarceration to its end. By attempting to keep Baca from achieving literacy, these structures are directly investing a great amount of power in language. This is emphasized when Baca is pulled astray again and again throughout the text. Near the start of his incarceration, Baca was quite literally denied the opportunity of education, the “committee [responsible claiming they could not] in good …show more content…
faith recommend school [for him] at the present time” (163). On the following page, Baca states that he “knew in [his] soul that if [he] had gone along with their classifying [him] as they wished, simply ignoring [his] request for school, that [he] would still be in prison today” (164). Through these series of passages, Baca assumes that the prison system actively withheld an education from him to stifle his ability to recognize himself as human. By denying him an education, all the positive effects previously outlined, such as a rise in self-esteem or a connection to the outside world, are nearly impossible to achieve. Luckily for Baca, he found other routes for education, ultimately guiding himself down a path of literacy. That being said, with our narrator’s furthered understanding only came much more specifically targeted attempts to shut down his access to language. By specifically targeting modes of language, the prison guards are pointing to its potential use as a mode of power and resistance. For instance, “the guards tore up all [of Baca’s] journals and confiscated [his] books” in an attempt to stop his self-education (193). Baca inevitably manages to work around this, describing his methods of memorization in the same paragraph, but his peers “began to send him good books” to read nonetheless (193). Despite gaining little to nothing from their transaction, Baca’s fellow inmates are working in opposition to the system around them by partaking in his love for language. At various points in the text, Baca attempts to circumvent the obstacles placed in his path, but one of the most jarring instances through which Baca’s ties to language are directly severed is during his time at Nut Run. Defiantly spending all his time reading, Baca specifically recounts a conversation with a prison guard, Mad Dog Madrill, when the latter repeated the phrase “in time” twice, “the threat lingering palpably in his words” (213). Baca soon reveals that the guards “[put] medication in [his] food to make [him] lethargic” and to force him to cooperate with their orders (216). In this instance, Baca’s ability to read, to write, and to speak are actively being targeted as undesirable behavior by the oppressive figures around him. It is this specific act of retaliation that makes the resistant aspect of Baca’s ties to language evident. “Unable to think clearly, had they continued, I probably would have gone along with anything they wanted,” Baca writes, “I would have been a good prisoner, had it not been for my need to speak” (216). Thus, in this specific instance, both Baca and the prison guards have managed to imbue language with a revolutionary purpose, the mere act of speaking out and connecting with others through conversation beginning to take on a form of resistance on its own. In summary, the core of Jimmy Santiago Baca’s autobiography, A Place to Stand, is steeped in the potential for liberation.
His audience can see, from his initial introduction to language, to his cultural education, to his superiors’ reaction to his literacy, that Baca’s willingness to speak out, to write poetry, and to communicate are inherent acts of resistance and revolution, no matter how inconsequential they may seem at face value. As his memoir is a depiction of a real life, whether liberation is or is not achieved is up for debate (if liberation is achievable at all), but, through the use of language, Baca establishes the beginning of his resistance to many of the vicious cycles which marginalization can perpetuate, a form of resistance that will hopefully continue on to aid the generations that may follow in his footsteps. Through language, Baca finds his self-worth and is able to acknowledge the systematic injustices that have plagued and destroyed facets of himself, as well as most of his family. Though language does not provide the opportunity to entirely reconstruct what has been lost, it can act as a safeguard against the possibility of even more devastation. Thus, the existence of A Place to Stand is a form of resistance in itself. Just like other texts by incarcerated figures, such as Wall Tappings and Mother California, Jimmy Santiago Baca’s memoir is a staunch reminder that incarcerated men and women desperately and unequivocally believe they need to be
heard.
His play on words is strong throughout the essay. In paragraph 17 he says “Through language I was free. I could respond, escape, indulge; embrace or reject earth or the cosmos.” His use of word choice in these sentences is so strong. He’s implying that although he was locked up in prison he felt free by expressing his opinion through writing. Baca’s word choice really allows the reader to imagine how it would feel to be him. This then develops the tone and mood of the
Oppression in One Flew Over the Cuckoo’s Nest and I Know Why the Caged Bird Sings by Maya Angelou
The 1990 poem “I Am Offering This Poem” by Jimmy Santiago Baca is themed around the life of a prisoner who has nothing else to offer except poetry. As one learns, more about the author’s background, the context of the poem becomes clearer. Examine this piece of information taken from the biography of Baca, “A Chicano poet, Baca served a ten-year sentence in an Arizona prison and his poetry grows out of his experience as a convict” (Baca). Baca’s experience as a prisoner reflects in his writing in that prisoners are often deprived of their rights and many of their possessions while serving a sentence. In his poem, “I Am Offering This Poem”, Baca speaks from the point of view of a prisoner having nothing to offer his love interest except the
From a young age we are taught the saying “Sticks and stones may break my bones, but words will never hurt me.” While this may be helpful for grade school children that are being bullied by their peers, it has some problems as it trivializes the importance that words can have. The words that people choose for themselves, as well as the words that others ascribe to a person, have an unmeasurable importance to how people can understand themselves. These labels can be a significant source of oppression or liberation for many people who identify within them. In Eli Clare’s memoir, Exile and Pride, looks at the importance of words as he explores the labels he’s associated with. He does this through mixing discussion of the histories and modern representation
To understand the desperation of wanting to obtain freedom at any cost, it is necessary to take a look into what the conditions and lives were like of slaves. It is no secret that African-American slaves received cruel and inhumane treatment. Although she wrote of the horrific afflictions experienced by slaves, Linda Brent said, “No pen can give adequate description of the all-pervading corruption produced by slavery." The life of a slave was never a satisfactory one, but it all depended on the plantation that one lived on and the mast...
Throughout life graduation, or the advancement to the next distinct level of growth, is sometimes acknowledged with the pomp and circumstance of the grand commencement ceremony, but many times the graduation is as whisper soft and natural as taking a breath. In the moving autobiographical essay, "The Graduation," Maya Angelou effectively applies three rhetorical strategies - an expressive voice, illustrative comparison and contrast, and flowing sentences bursting with vivid simile and delightful imagery - to examine the personal growth of humans caught in the adversity of racial discrimination.
One of the effects of the legacy of the residential school system is isolation and it plays a big role in both Creative Escape 2013 and Kiss of the Fur Queen. The incarcerated people face isolation from all families, communities and friends while in jail. In Creative Escape one poem discusses...
Black art forms have historically always been an avenue for the voice; from spirituals to work songs to ballads, pieces of literature are one way that the black community has consistently been able to express their opinions and communicate to society at large. One was this has been achieved is through civil disobedience meeting civil manners. In this case, it would be just acknowledging an issue through art and literature. On the other hand, there is art with a direct purpose - literature meant to spur action; to convey anger and shock; or to prompt empathy, based on a discontent with the status quo. That is, protest literature. Through the marriage of the personal and political voices in black poetry and music, the genre functions as a form
Bryan Stevenson grew up poor on the Del-Marva peninsula, a grandchild of Virginia slaves. He is a public interest lawyer, founder and Executive Director of the Equal Justice Initiative in Montgomery Alabama. He has dedicated his life to helping the poor, the incarcerated, and the unjustly condemned (Stevenson, 2012). He writes this book to allow the reader to get close to, “mass incarceration and extreme
Safety, acceptance, and freedom are three things that every person wants to feel. Where is the place that makes someone feel these things? Bell hooks expands our minds and provides us with an idea of such a place that would provide individuals with a sense of safety, acceptance, and freedom. She calls these hope filled settings “homeplaces.” In hooks piece, “Homeplace: A Site of Resistance,” she describes not only what a homeplace is, but also what the people who were involved in the homeplace endured and overcame. Hooks makes it clear that the hardships black women overcame, and the legacies they left behind are tremendously significant. Because of hooks personal and family’s experiences, her piece focuses on African American women , but clearly her understandings and principles also describe many other minorities as well as women in general. Women of all races, ethnicities, and religions have made leaps and bounds in positively impacting the world, and they will certainly not back down now.
She focuses not only in the obvious forms of resistance, but also its disguised forms by utilizing resources such as slave narratives and interviews, papers and journals. She demonstrates how enslaved people threatened the control of plantation owner’s space, time and movement through movement of bodies, objects, and information. Her work exhibits extended research of analysis on already researched topics. Camp gives a new angle on these already researched topics by providing a deeper analysis as if she knows what these enslaved women truly think. Thus, successfully showing the efforts of black women trying to establish ownership of their own body, showing their hope for freedom, and expressing their emotions as a way to show that they are more than just the price they were bought
Knowing and understanding the author’s purpose, we see where he is coming from and what his “point of view” is. We see that the author is someone that does not agree with the activities that occur in the native prison. It makes the author feel uncomfortable with the establishment and its procedures.
The poem “Exile” by Julia Alvarez dramatizes the conflicts of a young girl’s family’s escape from an oppressive dictatorship in the Dominican Republic to the freedom of the United States. The setting of this poem starts in the city of Trujillo in the Dominican Republic, which was renamed for the brutal dictator Rafael Trujillo; however, it eventually changes to New York when the family succeeds to escape. The speaker is a young girl who is unsophisticated to the world; therefore, she does not know what is happening to her family, even though she surmises that something is wrong. The author uses an extended metaphor throughout the poem to compare “swimming” and escaping the Dominican Republic. Through the line “A hurried bag, allowing one toy a piece,” (13) it feels as if the family were exiled or forced to leave its country. The title of the poem “Exile,” informs the reader that there was no choice for the family but to leave the Dominican Republic, but certain words and phrases reiterate the title. In this poem, the speaker expresser her feeling about fleeing her home and how isolated she feels in the United States.
Barriers come in many different shapes and forms. Sometimes they are more literal such as jail cells or windows and in other instances they can be more figurative, as in disabilities and such. However, how the barriers affect us is what is put into show in both the novelist Daniel Keyes’ and the poet Rainer Maria Rilke’s works. The theme of being barred out of an outside world and having your body or soul shackled within, is expressed using figurative language and detail by both Keyes in Flowers for Algernon and Rilke in “The Panther”.
Over the course of the century chronicling the helm of slavery, the emancipation, and the push for civil, equal, and human rights, black literary scholars have pressed to have their voice heard in the midst a country that would dare classify a black as a second class citizen. Often, literary modes of communication were employed to accomplish just that. Black scholars used the often little education they received to produce a body of works that would seek to beckon the cause of freedom and help blacks tarry through the cruelties, inadequacies, and inconveniences of their oppressed condition. To capture the black experience in America was one of the sole aims of black literature. However, we as scholars of these bodies of works today are often unsure as to whether or not we can indeed coin the phrase “Black Literature” or, in this case, “Black poetry”. Is there such a thing? If so, how do we define the term, and what body of writing can we use to determine the validity of the definition. Such is the aim of this essay because we can indeed call a poem “Black”. We can define “Black poetry” as a body of writing written by an African-American in the United States that formulates a concentrated imaginative awareness of an experience or set of experiences inextricably linked to black people, characterizes a furious call or pursuit of freedom, and attempts to capture the black condition in a language chosen and arranged to create a specific emotional response through meaning, sound, and rhythm. An examination of several works of poetry by various Black scholars should suffice to prove that the definition does hold and that “Black Poetry” is a term that we can use.