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Essay on shel silverstein
Literary criticism of shel silverstein
Shel silverstein literary criticism
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Shel Silverstein is highly regarded as one of the best poets and authors of the 20th century. As a child, Silverstein had no poetic role model, hence he created his own form of writing; Free Verse. Although, he had no basic knowledge of poetry and his foundation was based purely on free verse, he later quickly became an outstanding poet and even a song composer. “Silverstein grew up in Chicago, and began writing and drawing at a young age” (poets.org). During his military career, Mr. Silverstein began making cartoons for the military’s magazine: Stars and stripes. Later on his early life, Shel Silverstein began to work for Playboy, where his poetry career started to blossom (Shel Silverstein: Biography). Mr. Silverstein made many poems and then was introduced to children’s writing. Here Silverstein’s popularity grew and became well recognized. The Giving Tree was an outstanding innovation of his and is still one of the best books to this day (Biography Channel). His creativity didn’t stop there, he began to compose songs. One exquisite song of Shel Silverstein is The Boy Named Sue. Silverstein even got Johnny Cash to sing it (Shel Silverstein: Biography). Even to an old age, Shel Silverstein continued to write poems and songs; increasing his popularity. Since Shel Silverstein was was a master of free verse, he made poems that equated to most people and became a favorite poet to America and to the World. Though a master of free verse, Silverstein’s diverse talents are evident is his expertise in writing poems, such as the poem, “Where the Sidewalk Ends”
The poignant book known as The Giving Tree, is loved by many people of all ages. “Silverstein was born on September 25, 1930 in Chicago, Illinois and began writing and drawing a...
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8.Silverstein, Shel. "Where the Sidewalk Ends." Where the Sidewalk Ends. N.p., n.d. Web. 07 Feb. 2014.
9.Silverstein, Shel. "Sick." Poets.org. Academy of American Poets, n.d. Web. 09 Feb. 2014.
10.Silverstein, Shel. "Mr. Grumpledump's Song." Poets.org. Academy of American Poets, n.d. Web. 09 Feb. 2014.
11.Silverstein, Shel. "Ticklish Tom." Ticklish Tom. N.p., n.d. Web. 07 Feb. 2014.
12."Using Shel Silverstein in the Classroom: "I Must Remember," From "Where The Sidewalk Ends."" Yahoo Contributor Network. N.p., n.d. Web. 09 Feb. 2014
13."Using Books and Poems to Teach Personification." Yahoo Contributor Network. N.p., n.d. Web. 09 Feb. 2014.
14.Shmoop Editorial Team. "Where the Sidewalk Ends." Shmoop.com. Shmoop University, Inc., 11 Nov. 2008. Web. 08 Feb. 2014.
15."TEACHERS." Scholastic Teachers. N.p., n.d. Web. 09 Feb. 2014.
"The Urban Portal." Urban Portal Issues RSS. N.p., 25 Dec. 2011. Web. 9 Dec. 2013.
The sidewalk is a social structure for the people who work and live in it. They are mentors for each other. They play the same role of self-direction and psychological fulfillment of a formal job or family for example; where the society is shrunken on that one sidewalk. They form an informal social organization and social control so they can survive against the outer social system; meanwhile, this social organization organizes property rights and division of labor. Although their life seems deviant, they still practice conventional social practices and norms. Although it might seem that these men are engaged in random behavior, yet there is an organized interaction of norms and goals, and a shared collective self-consciousness from having a shared common history.
Michael Gray’s analysis of Dylan’s lyrics being a contrast between hackneyed expressions and “beautifully done” are exemplified in the song “Just Like a Woman.” Dylan’s lyrics “she aches just like a woman but she breaks just like a little girl” is given the harsh description of “maudlin platitude” and deemed to be a “non-statement.” If Dylan’s lyrics cannot uphold against meaningful music of the same category, how can they be expected to stand against literature written for a different field. John Lennon had his own critiques of Dylan’s works, calling out how the abstract nature of his lyrics, having loose definition, never achieved an actual point. Lennon’s definition of “poetry” referred to “stick[ing] a few images together” and “thread[ing] them” in order to create something meaningful. It once again boils down to the fact that Dylan’s music that was written and intended to be received as a live performance. The acknowledgement that “…you have to hear Dylan doing it” is a recognition of his composition’s failure to come across as a normal literary work. It’s all part of a “good game.” This in itself should disqualify Dylan as a possible candidate for the Nobel Prize.
Skloot, Floyd. “In the Shadow of Memory.” Intersections: An Introduction to the Liberal Arts. Ed. Peggy Fitch. Littleton, MA: Tapestry, 2011. 79-84. Print.
Poetry, Drama, and the Essay. Ed. Joseph Terry. New York: Addison-Wesley Educational Publishers Inc, 2001. 123-154.
...Literature. Vol.1. Ed. Rossi, Patricia. Addison Wesley Educational Publishers Inc. New York: Copyright 1999. 2655-57.
American poetry, unlike other nations’ poetry, is still in the nascent stage because of the absence of a history in comparison to other nations’ poetry humming with matured voices. Nevertheless, in the past century, American poetry has received the recognition it deserves from the creative poetic compositions of Walt Whitman, who has been called “the father of American poetry.” His dynamic style and uncommon content is well exhibited in his famous poem “Song of Myself,” giving a direction to the American writers of posterity. In addition, his distinct use of the line and breath has had a huge impression on the compositions of a number of poets, especially on the works of the present-day poet Allen Ginsberg, whose debatable poem “Howl” reverberates with the traits of Whitman’s poetry. Nevertheless, while the form and content of “Howl” may have been impressed by “Song of Myself,” Ginsberg’s poem expresses a change from Whitman’s use of the line, his first-person recital, and his vision of America. As Whitman’s seamless lines are open-ended, speaking the voice of a universal speaker presenting a positive outlook of America, Ginsberg’s poem, on the contrary, uses long lines that end inward to present the uneasiness and madness that feature the vision of America that Ginsberg exhibits through the voice of a prophetic speaker.
Dobbs, Jeannine. “Viciousness in the Kitchen” Modern Language Studies, Vol 7, No 2. Modern Language Studies Autumn, 1977, pp.11-25. 6. What is the difference between a'smart' and a'smart'?
Frost, Robert. “The Road Not Taken.” Literature and the Writing Process. Ed. Elizabeth McMahan et al. 8th ed. Upper Saddle River: Pearson, 2007. 695-696. Print.
What is the difference between a'smart' and a'smart'? Detroit: Gale, 2005. http://www.detriot.com/detriot/detriot/ Literature Resource Center -. Web. The Web.
Frost, Robert. "Mending Wall." Responding to Literature. 2nd Ed. Ed. Judith A. Stanford. Mountain View, California: Mayfield Publishing Co. 1996. 1212-1213.
That is truly an amazing feat; he would just walk around looking at things and a poem would come into his head. He would write these entire inspirational poems in his head and didn’t even think that it was unusual. The best poet of the 20th century did not write rough drafts!
Frost, Robert. “The Road Not Taken.” Mountain Interval. Mountain Interval, n.d. Web. 5 March 2014.
Kearns, Katherine. “On ‘The Road Not Taken’.” Modern American Poetry. University of Illinois. Web. 24 Feb. 2014.
Frost, Robert. New Enlarged Anthology of Robert Frost's Poems. New York: Washington Square Press, 1971.