Ladan Osman is a Somali-American writer and filmmaker who was born in Mogadishu, Somalia, but grew up in Columbus, Ohio. She is the winner of the Sillerman First Book Prize for African Poets and the 2020 Hurston/Wright Legacy Award for Poetry for her most recognizable works, The Kitchen-Dweller’s Testimony and Exiles of Eden. Her collection of works, like the given examples, are artistic responses to issues of racial politics, gender, and religion. Ladan Osman uses her own experiences as a Somali-American, a first-generation immigrant, and a woman to create her poetry and short stories. When Osman thinks about the memories from her childhood in Somalia, she remembers the smell of the salty ocean and her parents' home. Even though she has “loved and matured here in the States,” she has “cellular memory calls” to the …show more content…
This is because when she creates a new poem, she tries to figure out “who the work is for, what the work is for, what it is meant to do” (Osman, The Paris Review). In First Red Dress, the poem addresses the problem of girls being harassed at a young age, and Osman was taken aback when many young women related to the poem and recited lines from it to her. When explaining her purpose for the poem, she states how the poem reflects “that [women’s] bodies are not ours, that we can expect abuse” (Osman, Prachya Review). Even as an eight-year-old girl in the poem, the narrator’s brother tells the child that if she goes out in her first red dress, she will “get split like a watermelon” (Osman, The Kitchen-Dweller’s Testimony). Before many children are even able to comprehend the abuse they fear, they are taught to cover themselves and feel guilty for having a body. As a woman, Osman is able to put into words the fear that many young people experience and create a poem that women can connect with and feel represented
Naomi Nye was born to a German-American mother and a Palestinian-American father. However, she normally writes from her Palestinian-Arab perspective. In several of her poems within The Heath Anthology—“Ducks,” “My Father and the Figtree,” and “Where the Soft Air Lives”—Naomi Nye reminisces about her Muslim heritage and childhood as it correlates to her present identity. In addition, she incorporates the effect of the Palestinian-Israeli conflict on herself and on Arab culture in her work. Ultimately, Naomi Nye’s poetic work should remain in The Heath Anthology as her style demonstrates how historical events and a deep-rooted heritage can enrich a sense of identity and culture.
Teenage rebellion is typically portrayed in stories, films, and other genres as a testosterone-based phenomenon. There is an overplayed need for one to acknowledge a boy’s rebellion against his father, his life direction, the “system,” in an effort to become a man, or rather an adult. However, rarely is the female addressed in such a scenario. What happens when little girls grow up? Do they rebel? Do they, in a sudden overpowering rush of estrogen, deny what has been taught to them from birth and shed their former youthful façades? Do they turn on their mothers? In Sharon Olds’ poem, “The Possessive,” the reader is finally introduced to the female version of the popular coming-of-age theme as a simple haircut becomes a symbol for the growing breach between mother and daughter through the use of striking images and specific word choice.
It is a way to crucially engage oneself in setting the stage for new interventions and connections. She also emphasized that she personally viewed poetry as the embodiment of one’s personal experiences, and she challenged what the white, European males have imbued in society, as she declared, “I speak here of poetry as the revelation or distillation of experience, not the sterile word play that, too often, the white fathers distorted the word poetry to mean — in order to cover their desperate wish for imagination without insight.”
The submission of women is demonstrated in the text through the symbolic colors of the couple’s bedroom. Indeed, as the young woman’s husband is asleep, the wife remains wide-awake, trying her best to provide the man with comfort, while enjoying her newlywed life. As she opens her eyes to contemplate “the blue of the brand-new curtains, instead of the apricot-pink through which the first light of day [filters] into the room where she [has]
The poem starts with the line, “This girlchild was born as usual,” which suggests that as soon as a girl is born, society already expects her to learn the role she will soon play in when she hits puberty (1). Thus, showing why we are given dolls as little girls to illustrate how we should act and appear according to society. After we learn all the roles we will soon take part in, “the magic of puberty,” hits and girls immediately begin applying the ideals to their own lives (5). As if this attempt to conform is not enough we have other people telling us we are not to perfect. “You have a great big nose and fat legs,” says a classmate to the girl (6). This type of pressure can slowly but surely destroy even the little confidence women do have in themselves.
As the women narrate the harm caused by men, they lose track of the beings that they once were and become different people in order to cause a reaction in others. These women are hurt in ways that cause them to change their way of living. The Lady in Blue becomes afraid of what others will think of her because a man impregnated her: “i cdnt have people [/] lookin at me [/] pregnant [/] I cdnt have my friends see this” (Shange, Abortion Cycle # 1 Lines 14- 16). Instead of worrying about the life of her child, she worries about how her...
This creates a despair, of hopelessness and of downheartedness. The woman, on multiple occasions, wrote down, “And what can one do?” This lets the reader know that women as a whole were very oppressed in ...
Throughout history society has been controlled by men, and because of this women were exposed to some very demanding expectations. A woman was expected to be a wife, a mother, a cook, a maid, and sexually obedient to men. As a form of patriarchal silencing any woman who deviated from these expectations was often a victim of physical, emotional, and social beatings. Creativity and individuality were dirty, sinful and very inappropriate for a respectful woman. By taking away women’s voices, men were able to remove any power that they might have had. In both Alice Walker’s “The Color Purple” and Kate Chopin’s “The Awakening”, we see that there are two types of women who arise from the demands of these expectations. The first is the obedient women, the one who has buckled and succumbed to become an empty emotionless shell. In men’s eyes this type of woman was a sort of “angel” perfect in that she did and acted exactly as what was expected of her. The second type of woman is the “rebel”, the woman who is willing to fight in order to keep her creativity and passion. Patriarchal silencing inspires a bond between those women who are forced into submission and/or those who are too submissive to maintain their individuality, and those women who are able and willing to fight for the ability to be unique.
Although “Araby” is a fairly short story, author James Joyce does a remarkable job of discussing some very deep issues within it. On the surface it appears to be a story of a boy's trip to the market to get a gift for the girl he has a crush on. Yet deeper down it is about a lonely boy who makes a pilgrimage to an eastern-styled bazaar in hopes that it will somehow alleviate his miserable life. James Joyce’s uses the boy in “Araby” to expose a story of isolation and lack of control. These themes of alienation and control are ultimately linked because it will be seen that the source of the boy's emotional distance is his lack of control over his life.
In “Araby”, author James Joyce presents a male adolescent who becomes infatuated with an idealized version of a schoolgirl, and explores the consequences which result from the disillusionment of his dreams. While living with his uncle and aunt, the main character acts a joyous presence in an otherwise depressing neighborhood. In Katherine Mansfield’s, The Garden Party, Mansfield’s depicts a young woman, Laura Sherridan, as she struggles through confusion, enlightenment, and the complication of class distinctions on her path to adulthood. Both James Joyce and Katherine Mansfield expertly use the literary elements of characterization to illustrate the journey of self-discovery while both main characters recognize that reality is not what they previously conceptualized it as.
America’s Involvement with Vietnam began in the World War II era when the US gave military help to them in order to defeat Japan. By the end of this war, California was the best state in America with a military- industrial complexes and aircraft providers in military bases throughout the land. California was known as the “exaggerated version of the American experience (Wollenberg 14),” due to the state’s location on the Pacific Ocean, that quote was especially true during the time of the Vietnam War. California was so greatly affected by the war because of it’s liberal tendencies such as grass- roots conservatism, counter-cultural activities, and politics. The Vietnam War shaped California in many different ways such as organizing many protests,
She only allows her to see her worth in having a clean home and a satisfied man. She never once tells the girl to follow her dreams or even talk about what they are. The mother only keeps on instructing her on even the simplest things like smiling : “...this is how you smile to someone you don 't like too much;this is how you smile at someone you don 't like at all;this is how you smile to someone you like completely...” this poem is filled with the phrases “this is how”. “ don’t do this”, and “ be sure to..” the speaker does not even give the girl a chance to speak her mind or form her own thoughts. The young girl was only able to get one sentence out the whole poem : “...but what if the baker won 't let me feel the bread?”
In the second stanza, the poet says that women are the cause that make her write poems because of the stereotypes against them, which give her a strong desire to challenge. Therefore, she takes women’s stories and writes them in poetry. She describes herself as a “seamstress” and without the dresses of women, she would be a seamstress without work, but her friends give her their dresses (their stori...
This, in fact, is an example of “dynamic decomposition” of which the speaker claims she understands nothing. The ironic contradiction of form and content underlines the contradiction between the women’s presentation of her outer self and that of her inner self. The poem concludes with the line “’Let us go home she is tired and wants to go to bed.’” which is a statement made by the man. Hence, it “appears to give the last word to the men” but, in reality, it mirrors the poem’s opening lines and emphasises the role the woman assumes on the outside as well as her inner awareness and criticism. This echoes Loy’s proclamation in her “Feminist Manifesto” in which she states that women should “[l]eave off looking to men to find out what [they] are not [but] seek within [themselves] to find out what [they] are”. Therefore, the poem presents a “new woman” confined in the traditional social order but resisting it as she is aware and critical of
In many cultures, childhood is considered a carefree time, with none of the worries and constraints of the “real world.” In “Araby,” Joyce presents a story in which the central themes are frustration, the longing for adventure and escape, and the awakening and confusing passion experienced by a boy on the brink of adulthood. The author uses a single narrator, a somber setting, and symbolism, in a minimalist style, to remind the reader of the struggles and disappointments we all face, even during a time that is supposed to be carefree.