Tuesday, December 14, 2010
Creating Purpose - Rachel
One reads poetry in order to gain an appreciation for the written word; ultimately poetry is an art form that serves to both entertain and make the reader think. However, there has been a split in genres between entertainment and analysis, slam and page. Though both forms strive for the same goals, I believe that there are strengths of both slam and page that separate the genres. Specifically, slam poetry has the primary motivation to entertain an audience. Critics argue that is this quality of slam poetry that neglects the role the author and self-expression, therefore eliminates slam poetry as a true poetry art form. There is also criticism against slam because there is also a competitive aspect to a poetry slam. Because slam poets must make an immediate connection with their audiences, poems become simpler, due to the fact that they must be comprehensible on their first read. Additionally, the slam poet must beware the danger of delivering a formulaic performance. In an attempt to give emphasis to the piece, a poet may begin to speed through or increase the volume of their performance. Yet, when one simply reads poetry there is still a common poetic structure to escalate the tone of the piece. Word choice may become more vigorous; the internal rhythm may speed up. But it is up to the reader to correctly interpret the specific emotion that the author intends. In contrast to slam poetry, written poetry requires some degree of analysis from the reader. While there has been a recent effort to balance the literary quality and performance aspects of slam poetry, the true differentiation between written and spoken word is the critical analysis by the reader to interpret the overall purpose of the poem.
Monday, December 13, 2010
Creating Purpose - Sydni
There are two different types of purpose that make a poem: the purpose for which the author writes and the purpose that the reader finds in the poem. Neither are easy to identify seeing as it’s very seldom that we know the exact thoughts a poet is experiencing when they write a piece and because a poem can reach millions of people, all of whom can have just as many ideas about the one poem. Just the other day I mentioned my thoughts on Regina Spektor’s song “Reading Time with Pickle” to a friend who is a huge Spektor fanatic. I believe the whole song is symbolism for sex and masturbation while my friend vehemently disagrees and I have yet to find anything of Regina confirming or denying the meaning of her lyrics. Already one piece of art has three interpretations, three purposes: mine, my friend’s and the author’s.
In a themed poem or one with a strong outline, such as Mark Nowak’s Coal Mountain Elementary or Patricia Smith’s Blood Dazzler, it’s hard to miss the artists’ obvious purposes for his or her work. Poetry with such strong convictions is made to inform and persuade, to offer a completely different viewpoint on an idea or occurrence or to present it in a new way. Nowak contrasts the stories of Chinese miners with one story from America and a classroom instruction to show differences in safety and technology and comparisons in heartache; Smith gives a hurricane a voice, depicts simple stories of people running from a disaster. Their purposes aren’t hard to miss though on a case by case basis several readers can still come up with several ideas to such theme driven works of poetry.
But what of poetry that is more metaphorical than straightforward. Having written an essay on how Walt Whitman used poetry as a means of revealing himself as a homosexual, I know that there is poetry with a variety of lenses a reader can adopt. It’s these sorts of poems that allow for a laundry list of interpretations and blur the line between the author’s purpose and a reader’s. Whitman’s poetry specifically allows for broad interpretation; though a majority of his poems are stories or concentrate on nature, many deal with emotional responses in metaphorical ways that allow for unique interpretations and give readers a different sense of purpose. Applying emotions, observations and morals from writing can occur in many ways, one example being The Bible: there are people who interpret it in many different ways or who don’t find it credible at all. Each reader gives it and whatever else they read its own purpose by applying the idea to his life based on his preexisting morals and standards.
The existence of the two types of purpose is usually my main argument for analyzing poetry: even if the author is attempting to write about a specific subject and with a specific reason, our own interpretations are the ones that matter because we apply it to ourselves. But without this freedom to express our own ideas, we would be at a loss for poetry and no one would be writing. We all write for a purpose that is entirely our own, though it may overlap and coincide with the purposes of others and we can interpret our own purpose in writings, share our ideas and agree or disagree.
In a themed poem or one with a strong outline, such as Mark Nowak’s Coal Mountain Elementary or Patricia Smith’s Blood Dazzler, it’s hard to miss the artists’ obvious purposes for his or her work. Poetry with such strong convictions is made to inform and persuade, to offer a completely different viewpoint on an idea or occurrence or to present it in a new way. Nowak contrasts the stories of Chinese miners with one story from America and a classroom instruction to show differences in safety and technology and comparisons in heartache; Smith gives a hurricane a voice, depicts simple stories of people running from a disaster. Their purposes aren’t hard to miss though on a case by case basis several readers can still come up with several ideas to such theme driven works of poetry.
But what of poetry that is more metaphorical than straightforward. Having written an essay on how Walt Whitman used poetry as a means of revealing himself as a homosexual, I know that there is poetry with a variety of lenses a reader can adopt. It’s these sorts of poems that allow for a laundry list of interpretations and blur the line between the author’s purpose and a reader’s. Whitman’s poetry specifically allows for broad interpretation; though a majority of his poems are stories or concentrate on nature, many deal with emotional responses in metaphorical ways that allow for unique interpretations and give readers a different sense of purpose. Applying emotions, observations and morals from writing can occur in many ways, one example being The Bible: there are people who interpret it in many different ways or who don’t find it credible at all. Each reader gives it and whatever else they read its own purpose by applying the idea to his life based on his preexisting morals and standards.
The existence of the two types of purpose is usually my main argument for analyzing poetry: even if the author is attempting to write about a specific subject and with a specific reason, our own interpretations are the ones that matter because we apply it to ourselves. But without this freedom to express our own ideas, we would be at a loss for poetry and no one would be writing. We all write for a purpose that is entirely our own, though it may overlap and coincide with the purposes of others and we can interpret our own purpose in writings, share our ideas and agree or disagree.
Creating Purpose - Marina
When working with poetry, there is definitely more than one way to create purpose, especially when one considers whether it is the reader or the writer who is creating said purpose. If the poet is the one generating purpose, he has a couple ways to go about it- through diction as well as syntax. The reader creates purpose for himself while reading poetry by implementing the words in their life experiences and applying it to what they know already.
In their poetry, its authors have the ability to mold the poem into what they want it to be using words, punctuation, and even original things like shaping poems into different formations to add to intended meaning, it is ultimately up to the reader to take what they read and create a purpose for themselves, be it the same or different from what the writer intended. There is comfort in the idea that nothing is necessarily a wrong interpretation. In analyzing poetry, one finds that most poetry, if not all of it, is up for discussion and interpretation. While one may read a poem in one way, it is quite likely that based on a variety of factors, anyone else could take the poem in a completely different direction. Readers stress different ideas or words when reading, and this may be something they do based on a relationship with a certain word or phrase or simply random. Poems often have the ability to take on different meanings if read at different hours, days, or even times in one’s life. A prose example of this idea would be reading the infamous book by Saint-Exupery, “The Little Prince.” While the book can be read by most, considering its lower reading level, the meaning has a different depth at every age. Poetry is fully capable of having this power as well.
In their poetry, its authors have the ability to mold the poem into what they want it to be using words, punctuation, and even original things like shaping poems into different formations to add to intended meaning, it is ultimately up to the reader to take what they read and create a purpose for themselves, be it the same or different from what the writer intended. There is comfort in the idea that nothing is necessarily a wrong interpretation. In analyzing poetry, one finds that most poetry, if not all of it, is up for discussion and interpretation. While one may read a poem in one way, it is quite likely that based on a variety of factors, anyone else could take the poem in a completely different direction. Readers stress different ideas or words when reading, and this may be something they do based on a relationship with a certain word or phrase or simply random. Poems often have the ability to take on different meanings if read at different hours, days, or even times in one’s life. A prose example of this idea would be reading the infamous book by Saint-Exupery, “The Little Prince.” While the book can be read by most, considering its lower reading level, the meaning has a different depth at every age. Poetry is fully capable of having this power as well.
Reading Poetry - Kendal
Fundamentally, poetry is a form of art. Like all art, poetry is an expression of the poet. The entire reason someone writes a poem is to express something. Therefore, expression is the primary purpose of poetry. Through poetry, people can express a variety of ideas. They can critique a social or political issue, paint an image, convey emotions, or even simply entertain a child. In each case, the poem is written to achieve the goal of expressing the intended sentiment. Here are several examples to help illustrate this point:
In my research for the final reflective paper, I read several poems concerning postcolonialism. When analyzing poems as research for a paper, an important first step is to ask what the poem is trying to do. Once the purpose of the poem is determined, it is easier to contextualize it and build an argument around it. The poems I analyzed had varying themes and varying purposes. Some were a call to action. Others were to educate the reader. Many of them relied on an emotional response from the reader. With the purpose identified, it was possible to evaluate the argument within each poem.
One poem whose purpose was central to its meaning dealt with language. Ugandan poet Okot p’Bitek considered the quandary of language in his postcolonial poem, “Song of Ocol.” He writes, “Tell the world / In English or in French / Talk about / The African foundation / On which we are / Building the new nations / Of Africa” (1-7). Although an initial reading of this poem may suggest it is innocuous, consideration of its purpose underscores its significance. The purpose of this poem is to argue a point through the use of irony. The idea that Africans would voice their triumphs since independence in a language that is not their own ironically questions those claimed accomplishments. Furthermore, that English and French are direct remnants of imperialism and symbols of oppression, a corollary to the poem’s purpose is that it asserts dependency theory by discrediting Africa’s complete independence. With this detailed understanding of the poem’s purpose, the reader is able to appreciate the poem’s worth. It now takes on a whole new significance. Therefore, with the poem’s purpose established, it is possible to incorporate it into a research paper.
In a similar manner, in researching poems for my paper, I read each poem initially looking for its purpose. Once I recognized the author’s purpose for the poem, I saw aspects of the poem, such as diction and tone that now had a new significance in supporting the purpose. Through these particular aspects of the poem, I was able to better analyze the poem. This analysis was then incorporated into my paper as evidence for my thesis.
Fundamentally, every poem is created to have some function. By recognizing the purpose of the poem, the reader can see the poem as it was intended. Only through an understanding of that function can a reader fully appreciate the poem.
p’Bitek, Okot. “Song of Ocol.” 1984 Postcolonial Poetry in English. Rajeev S. Patke.
New York: Oxford University Press, 2006. 127. Print.
In my research for the final reflective paper, I read several poems concerning postcolonialism. When analyzing poems as research for a paper, an important first step is to ask what the poem is trying to do. Once the purpose of the poem is determined, it is easier to contextualize it and build an argument around it. The poems I analyzed had varying themes and varying purposes. Some were a call to action. Others were to educate the reader. Many of them relied on an emotional response from the reader. With the purpose identified, it was possible to evaluate the argument within each poem.
One poem whose purpose was central to its meaning dealt with language. Ugandan poet Okot p’Bitek considered the quandary of language in his postcolonial poem, “Song of Ocol.” He writes, “Tell the world / In English or in French / Talk about / The African foundation / On which we are / Building the new nations / Of Africa” (1-7). Although an initial reading of this poem may suggest it is innocuous, consideration of its purpose underscores its significance. The purpose of this poem is to argue a point through the use of irony. The idea that Africans would voice their triumphs since independence in a language that is not their own ironically questions those claimed accomplishments. Furthermore, that English and French are direct remnants of imperialism and symbols of oppression, a corollary to the poem’s purpose is that it asserts dependency theory by discrediting Africa’s complete independence. With this detailed understanding of the poem’s purpose, the reader is able to appreciate the poem’s worth. It now takes on a whole new significance. Therefore, with the poem’s purpose established, it is possible to incorporate it into a research paper.
In a similar manner, in researching poems for my paper, I read each poem initially looking for its purpose. Once I recognized the author’s purpose for the poem, I saw aspects of the poem, such as diction and tone that now had a new significance in supporting the purpose. Through these particular aspects of the poem, I was able to better analyze the poem. This analysis was then incorporated into my paper as evidence for my thesis.
Fundamentally, every poem is created to have some function. By recognizing the purpose of the poem, the reader can see the poem as it was intended. Only through an understanding of that function can a reader fully appreciate the poem.
p’Bitek, Okot. “Song of Ocol.” 1984 Postcolonial Poetry in English. Rajeev S. Patke.
New York: Oxford University Press, 2006. 127. Print.
Thursday, December 2, 2010
DC Poetry - Collin
I’ve really enjoyed being exposed to DC poetry and what it has to offer. The style of DC poetry is a unique one that I have not seen before. My perception of poetry has changed a lot since reading the works of DC poets, especially after reading the D.C. Poets Against the War anthology and Joseph Ross’s Darfur poems. I’ve noticed poetry in DC is influenced a great deal by politics and social events today. Being in the nation’s capital, one would expect politics to play a large role in writing. I have also noticed many DC poets are extremely passionate about their work. Poets are passionate to provoke their readers to respond in a deep and emotional manner. My DC community engagement project was to interview local DC poets. So far, I have spoken to Joseph Ross in an email interview. Joseph Ross believes his goal of poetry is “to help the reader feel something or see something—perhaps in a new way” and “that can ‘change the world’ simply because when we feel something, or think of something in a new way, we tend to act on what we now feel.” DC poetry tends to force its reader to move to respond to what they are reading and actually contemplate about how they feel. Other poetry I have read has not made me feel that sense of emotional meditation.
As a young writer it is my responsibility to give credit to those who are established writers. Establishing credibility for myself requires me to do thorough research and correct citations and references. Even though I have to give credit to other scholars, I myself must not lose my own voice or opinion in my writing. I am fully capable of forming and creating my own ideas and opinions about poetry and writing, and I have to share my own thoughts in my work. By doing this, it makes me credible and gives me a sense of ownership of my writing. Throughout this year in University Writing I have been challenged to expand my ideas and thoughts as a writer. This is an interesting topic to me, especially since my final paper is about who is credible to write about disaster poetry. While researching and writing, I have asked myself am I even credible to write about this subject as an amateur writer? Young writers do not have the same authority or credibility as experienced and established scholars, but young writers must push themselves to establish credibility in their own mind to become a confident writer. When I have confidence in my argument and the way I present it, I feel my credibility as a young writer at the best it can be. My goal in writing is to present a clear, well structured, and convincing argument by using multiple scholars and thorough research. That is the best I can do as an amateur writer.
As a young writer it is my responsibility to give credit to those who are established writers. Establishing credibility for myself requires me to do thorough research and correct citations and references. Even though I have to give credit to other scholars, I myself must not lose my own voice or opinion in my writing. I am fully capable of forming and creating my own ideas and opinions about poetry and writing, and I have to share my own thoughts in my work. By doing this, it makes me credible and gives me a sense of ownership of my writing. Throughout this year in University Writing I have been challenged to expand my ideas and thoughts as a writer. This is an interesting topic to me, especially since my final paper is about who is credible to write about disaster poetry. While researching and writing, I have asked myself am I even credible to write about this subject as an amateur writer? Young writers do not have the same authority or credibility as experienced and established scholars, but young writers must push themselves to establish credibility in their own mind to become a confident writer. When I have confidence in my argument and the way I present it, I feel my credibility as a young writer at the best it can be. My goal in writing is to present a clear, well structured, and convincing argument by using multiple scholars and thorough research. That is the best I can do as an amateur writer.
Wednesday, December 1, 2010
Dc Poetry Community - Allie
Washington D.C. has a rich poetic history stemming from the Civil War. In 1862, Walt Whitman traveled to Washington to take care of his brother who had been wounded during the war. Whitman decided to stay and work as a clerk for the Department of the Interior after witnessing all of the soldiers who were suffering in D.C. There, Whitman created some of his most famous writings including “O Captain! My Captain!” and “When Lilacs in the Dooryard Bloom’d”. Langston Hughes also got his start in D.C. while working as a busboy at the Wardman Park Hotel, in which he left a piece of his poetry on a table, which was later discovered by Vachel Lindsay (Poets.org). Although these poets thrived many years ago, Washington D.C. is still a place with a flourishing poetry community.
Not only does Washington D.C. have a plethora of literary journals including Street Sense, but it also has a large community of slam poets who perform readings and also enjoy meeting with students and fans to further discuss their art. D.C. poetry is alive and well in Street Sense, which I read and analyzed in my Reflective Essay. This journal is extremely interesting because it showcases D.C.’s unique ability to discover, aid, and broaden the poetry community, especially those who have do not have any formal education in poetry or have never been published before. Their mission is to “offer economic opportunities for people experiencing homelessness in our community through a newspaper that elevates voices and encourages debate on poverty and injustice” (Streetsense.org).
In addition to the broad array of literary journals, D.C. also has many poetry readings open to the public. These readings also help to broaden the poetic audience in D.C. and spread this form of art throughout the district. There are many different readings and literary festivals including the Folger Poetry Series, Lannan Literary Programs, and Parkmont Poetry Festival (Poets.org). The Parkmont Poetry Festival is distinctively important to the D.C. poetry community because it helps to foster the artistic talents of the Parkmont School’s middle and secondary school students. This age group is especially important in the poetry community because they are at the age at which exposure to art and poetry is extremely important. With this public event, D.C. showcases its growing population of enthusiastic poetry community members.
One can clearly see that the prosperous poetry community in D.C. is not nearly new, but rather has been cultivated since before the early nineteenth century. The society of poets is still going strong and utilizes the wide array of poetic endeavors occurring in D.C, such as the thriving group of poets who perform public readings and are free to communicate with fans and students, and the superfluity of literary and poetry journals.
Not only does Washington D.C. have a plethora of literary journals including Street Sense, but it also has a large community of slam poets who perform readings and also enjoy meeting with students and fans to further discuss their art. D.C. poetry is alive and well in Street Sense, which I read and analyzed in my Reflective Essay. This journal is extremely interesting because it showcases D.C.’s unique ability to discover, aid, and broaden the poetry community, especially those who have do not have any formal education in poetry or have never been published before. Their mission is to “offer economic opportunities for people experiencing homelessness in our community through a newspaper that elevates voices and encourages debate on poverty and injustice” (Streetsense.org).
In addition to the broad array of literary journals, D.C. also has many poetry readings open to the public. These readings also help to broaden the poetic audience in D.C. and spread this form of art throughout the district. There are many different readings and literary festivals including the Folger Poetry Series, Lannan Literary Programs, and Parkmont Poetry Festival (Poets.org). The Parkmont Poetry Festival is distinctively important to the D.C. poetry community because it helps to foster the artistic talents of the Parkmont School’s middle and secondary school students. This age group is especially important in the poetry community because they are at the age at which exposure to art and poetry is extremely important. With this public event, D.C. showcases its growing population of enthusiastic poetry community members.
One can clearly see that the prosperous poetry community in D.C. is not nearly new, but rather has been cultivated since before the early nineteenth century. The society of poets is still going strong and utilizes the wide array of poetic endeavors occurring in D.C, such as the thriving group of poets who perform public readings and are free to communicate with fans and students, and the superfluity of literary and poetry journals.
DC Poetry Community - McKenzie
Some critics would lead you to believe that poetry now longer is a credible art form or that it has fallen through the cracks into a realm of obscurity and disenchantment with the populace. In a country where a national poetry month is celebrated, a poet laureate is elected and is home to some of the greatest contemporary poets it is hard to believe that some people believe that poetry no longer “matters” or no longer is an art form. Poetry exists in so many different capacities that it seems almost absurd to question poetry as credible or art. The sad fact of the matter for me however, is that for a majority of my life I have held the jaded, cynical view of some of poetry’s critics. My distaste for poetry most assuredly stems directly from my high school experiences, where poetry was force feed to unwilling students by teachers and where lines of Shakespeare for seared into our memories.
Coming to Washington DC, has changed m view on poetry and reignited a previously smoldering passion. The poetry community of DC is vibrant and seems to encompass numerous different aspects of DC residents lives. Poetry in this city emerges in so many forms from the anthology of poetry written by the homeless (entitled street sense), to poetry slams at such places as Bus Boys and Poets, to poetry readings at such venues as the Folger Shakespeare Theater. Coming from an environment in which people cringed at the thought of reading poetry it is invigorating to see poetry as such an integral part of the DC community.
My own personal experience with the DC poetry community comes directly from a poetry reading at the Folger Theater. I went to see an acclaimed Russian Poet Vera Pavlova perform her newest works. Upon arrival at the theater I fully expected to be in the company of a wholly academic community. That was exactly the opposite; in the lobby of the theater was an eclectic mix of people seemingly from all walks of life and all age groups.. The vibrancy of the DC poetry community has continued to astound me, whether it is the College students who buy copies of Street Sense on the Corner, or my friends who were excited to attend a poetry reading with me, or the fliers that are plastered on my schools walls proclaiming the newest poet to be visiting the city.
Maybe, since DC is a much larger city than I am used to living in, the poetic culture is much larger or maybe DC is a more “cultured city” and more people wish to perform poetry in DC. But I think the vibrancy of DC poetry is not determined by the poets or the poetry itself but rather by the individuals who live in DC. The residents of this city seem to have a genuine desire to engage in the poetry community, almost an eagerness to attend poetry readings or read poetry anthologies. This could all be a masquerade for people to seem culture but I don’t think so. When I was sitting in the Folger Theater listening to Vera Pavlova, I was immersed in a community that was excited to be in the presence of poetry. At the end of the reading instead of filling out of the theater to go home to proclaim how “cultured” they were to their friends, they stayed not because they had to but because they wanted to meet, engage and interact with the poet. Not out of a desire to be considered “artsy” or “cultured” but rather out of a genuine desire to learn about and engage in the large and vibrant poetry community of Washington DC.
Coming to Washington DC, has changed m view on poetry and reignited a previously smoldering passion. The poetry community of DC is vibrant and seems to encompass numerous different aspects of DC residents lives. Poetry in this city emerges in so many forms from the anthology of poetry written by the homeless (entitled street sense), to poetry slams at such places as Bus Boys and Poets, to poetry readings at such venues as the Folger Shakespeare Theater. Coming from an environment in which people cringed at the thought of reading poetry it is invigorating to see poetry as such an integral part of the DC community.
My own personal experience with the DC poetry community comes directly from a poetry reading at the Folger Theater. I went to see an acclaimed Russian Poet Vera Pavlova perform her newest works. Upon arrival at the theater I fully expected to be in the company of a wholly academic community. That was exactly the opposite; in the lobby of the theater was an eclectic mix of people seemingly from all walks of life and all age groups.. The vibrancy of the DC poetry community has continued to astound me, whether it is the College students who buy copies of Street Sense on the Corner, or my friends who were excited to attend a poetry reading with me, or the fliers that are plastered on my schools walls proclaiming the newest poet to be visiting the city.
Maybe, since DC is a much larger city than I am used to living in, the poetic culture is much larger or maybe DC is a more “cultured city” and more people wish to perform poetry in DC. But I think the vibrancy of DC poetry is not determined by the poets or the poetry itself but rather by the individuals who live in DC. The residents of this city seem to have a genuine desire to engage in the poetry community, almost an eagerness to attend poetry readings or read poetry anthologies. This could all be a masquerade for people to seem culture but I don’t think so. When I was sitting in the Folger Theater listening to Vera Pavlova, I was immersed in a community that was excited to be in the presence of poetry. At the end of the reading instead of filling out of the theater to go home to proclaim how “cultured” they were to their friends, they stayed not because they had to but because they wanted to meet, engage and interact with the poet. Not out of a desire to be considered “artsy” or “cultured” but rather out of a genuine desire to learn about and engage in the large and vibrant poetry community of Washington DC.
Monday, November 29, 2010
Poetry of Peace - Monique
What constitutes peace poetry, is it similar to anti war poetry? The two separate entities do overlap in many ways however there are major differences. Anti-war poetry does go against the concept of war and the upheaval that it brings like peace poetry. Although anti-war poetry often just grazes the issue, and does not tend to offer a solution for a lasting peace. Peace poetry draws from many themes in anti-war poetry however it goes a few steps forward, it often focuses on Utopian ideals, and offers resolve to growing global instability and strife.
In his article Poems for Peace Philip Metres states that peace poetry can be divided into three different sections, sorrows, resistances, and alternative visions. Anti-war poetry does deal with sorrows and resistances but rarely ever gives alternative visions. Metres details how the American society is marred by the image of war. He states that the American society perpetuates the culture of war and is in a constant state of preparation for war or “pure war”. So how then can poets pass this cultural stranglehold, does peace have to be imagined or understood in order for poems and society to achieve this grand gesture? In Metres article Denise Levertov denounces this by stating that peace is not palpable to our minds eye, that peace is not just an interim between wars but a positive condition of society. This mirrors the words of Miriam Rukeyser where she states that peace is not just a lack of war but also the positivity of a society.
What then should the discourse community be composed of? Philip Metres article introduced a collection of poets and authors. He revels on the idea of a shelve which grew into a bookstore filled with peace poetry. He imagines the local community should be the active audience, students and teachers. In Metres article he states that Rukeyser protests with action, she creates poetry and “never protests without making something.” Through Metres article I find that he does not only focus on one author or idea he uses a collection of works and ideas in order to make his point and enable the reader to understand the message. Therefore peace poetry is a genre where the audience and poets actively build on each others ideas and goals in order to lead the world into a better more positive future.
In his article Poems for Peace Philip Metres states that peace poetry can be divided into three different sections, sorrows, resistances, and alternative visions. Anti-war poetry does deal with sorrows and resistances but rarely ever gives alternative visions. Metres details how the American society is marred by the image of war. He states that the American society perpetuates the culture of war and is in a constant state of preparation for war or “pure war”. So how then can poets pass this cultural stranglehold, does peace have to be imagined or understood in order for poems and society to achieve this grand gesture? In Metres article Denise Levertov denounces this by stating that peace is not palpable to our minds eye, that peace is not just an interim between wars but a positive condition of society. This mirrors the words of Miriam Rukeyser where she states that peace is not just a lack of war but also the positivity of a society.
What then should the discourse community be composed of? Philip Metres article introduced a collection of poets and authors. He revels on the idea of a shelve which grew into a bookstore filled with peace poetry. He imagines the local community should be the active audience, students and teachers. In Metres article he states that Rukeyser protests with action, she creates poetry and “never protests without making something.” Through Metres article I find that he does not only focus on one author or idea he uses a collection of works and ideas in order to make his point and enable the reader to understand the message. Therefore peace poetry is a genre where the audience and poets actively build on each others ideas and goals in order to lead the world into a better more positive future.
Tuesday, November 23, 2010
Peace Poetry: What does it mean? How does it relate to war poetry? - Jim
Muriel Rukeyser stated in her book, The Life of Poetry, that peace should mean more than the lack of war; it should be something fierce and positive. Rukeyser believed that peace, in contemporary definitions, wasn’t ideal, and that people should push for a better future. Poets are responsible for the task of spreading ideas to people, providing them with their perspectives through their poetry. Since poetry has the potential to have a great effect on society, it should be used as a medium to spread ideas about peace and prosperity thereby changing the way people view the word “peace.”
Peace poetry does exactly this. It delivers messages of idealism and utopianism, and seeks to present just and peaceful societies within its context. However, the scope of peace poetry is wide, and seems too idealistic to be able to relate directly to its readers. Since it is the poets’ job to present their perspectives so that other people can relate to them, in order for peace poetry to be effective it must envision something attainable and realistic. In the article, “Poems for Peace,” Philip Metres speaks of peace in American society as meaning a “preparation of war.” Unfortunately, that is true to some extent. People generally view “peace” as meaning merely a lack of violence. This can be seen in the war poem, “2,000 Pounds,” where in the aftermath of a tragic event, the only peace was that of dying souls and people whispering to their beloveds. In the midst of such tragedy and violence, it is reasonable to think that most people would consider peace to simply mean a lack of war.
Denise Levertov, an anti-war poet, argued in her article, “Poetry and Peace: Some Broader Dimensions,” that the definition of peace as something positive instead of just an interim between wars was something which was almost unperceivable in modern society. By saying this she is acknowledging that the definition of peace does not hold up to Rukeyser’s dreams. However, Levertov proposed that peace poetry at this point should not jump into visions of prosperity and advancement, since that would be far too outlandish for society to fully grasp. Instead, peace poets should focus on writing about the preparation for peace, thereby easing society into the belief that peace should mean something more than a lack of war.
Peace poems have the potential to advocate peace even in the midst of war. Muriel Rukeyser’s “Poem,” William Stafford’s “Peace Walk,” and Denise Levertov’s “Making Peace” all talk about seeking to better oneself even in the midst of violence and turmoil. These peace poems reference words and phrases like “love,” “reach beyond ourselves,” and “energy field more intense than war” to convey the feeling that the poets believed that they could overcome the obstacles of conflict through peace and end up in a more positive situation.
The difference between peace poetry and war poetry is that peace poetry isn’t as indirect about its goals like war poetry is. Peace poetry isn’t afraid to mention the presence of conflict, and then depicts peace through images of happiness and progress. War poetry wants to affect the reader through imagery and emotions in order to convey the idea of anti-war. Peace poetry seeks to tell the reader that peace should mean something positive, and has the potential to overcome war.
Peace poetry does exactly this. It delivers messages of idealism and utopianism, and seeks to present just and peaceful societies within its context. However, the scope of peace poetry is wide, and seems too idealistic to be able to relate directly to its readers. Since it is the poets’ job to present their perspectives so that other people can relate to them, in order for peace poetry to be effective it must envision something attainable and realistic. In the article, “Poems for Peace,” Philip Metres speaks of peace in American society as meaning a “preparation of war.” Unfortunately, that is true to some extent. People generally view “peace” as meaning merely a lack of violence. This can be seen in the war poem, “2,000 Pounds,” where in the aftermath of a tragic event, the only peace was that of dying souls and people whispering to their beloveds. In the midst of such tragedy and violence, it is reasonable to think that most people would consider peace to simply mean a lack of war.
Denise Levertov, an anti-war poet, argued in her article, “Poetry and Peace: Some Broader Dimensions,” that the definition of peace as something positive instead of just an interim between wars was something which was almost unperceivable in modern society. By saying this she is acknowledging that the definition of peace does not hold up to Rukeyser’s dreams. However, Levertov proposed that peace poetry at this point should not jump into visions of prosperity and advancement, since that would be far too outlandish for society to fully grasp. Instead, peace poets should focus on writing about the preparation for peace, thereby easing society into the belief that peace should mean something more than a lack of war.
Peace poems have the potential to advocate peace even in the midst of war. Muriel Rukeyser’s “Poem,” William Stafford’s “Peace Walk,” and Denise Levertov’s “Making Peace” all talk about seeking to better oneself even in the midst of violence and turmoil. These peace poems reference words and phrases like “love,” “reach beyond ourselves,” and “energy field more intense than war” to convey the feeling that the poets believed that they could overcome the obstacles of conflict through peace and end up in a more positive situation.
The difference between peace poetry and war poetry is that peace poetry isn’t as indirect about its goals like war poetry is. Peace poetry isn’t afraid to mention the presence of conflict, and then depicts peace through images of happiness and progress. War poetry wants to affect the reader through imagery and emotions in order to convey the idea of anti-war. Peace poetry seeks to tell the reader that peace should mean something positive, and has the potential to overcome war.
Combating War with Peace: A look into how poetry is used to present the themes of War and Peace - Miles
Many people clearly identify “War Poetry” when they read it. Peace poetry however is different. The topic of peace, although practically very rare in our world, is very popular among writers. Poetry has had many usages over its thousand-plus year existence, but many would agree that it has always been an art from that allows its writers therapy and the ability of self expression. Much of what poetry is, is soft and peaceful, yet there are some large collections of more harsh and raw poetry. Luckily however because poetry is such a fluent and light art form, we can read about things like war and death in a manner that is more feasible then graphic art, photography, overwhelming music, ballads, or explicit diary entries and confessionals. Poets convey both war and peace in different ways but overall both themes are very popular. Many people argue over the discrepancy between “peace poetry” and “peaceful poetry.” I see “peace poetry” as being a response to war. I experience it as something that is created to present a very real argument against the cruelties of war. On the other hand I see “peaceful poetry” as something that makes no reference to war, a style that is soft and lighthearted.
Concerning war, most of what I have read in past years has had a modern war theme, mainly talking about Vietnam, The World Wars, and The Cold War. Some of my learning included reading, “The Things They Carried,” By Tim O’Brien, “Apocalypse Now,” Directed by Francis Ford Coppola, and Joseph Conrad’s Novel, “The Heart of Darkness.” Each one of these sources provided a raw look into the life of war. Each one of these examples presents a different strategy to go about presenting war. “The Things They Carried,” uses a journal/testimonial type way of depicting lives of soldiers. O’Brien examines the actual things the soldiers carried in a way that describes their situation. In “The Heart of Darkness,” Conrad takes symbolic and introspective themes and creates a vividly deep story that appeals quite heavily to one’s emotions. Apocalypse now is a movie created using the themes in Conrad’s Heart of Darkness. Coppala uses the book to formulate an equally powerful movie that quite graphically depicts war and insanity. These methods display war in a very raw way, and are easily in the category of “War Poetry.” War poetry engages its readers in a way that no other poetry can. It really pulls people to think with their emotions and feel every line, every gunshot.
Some of the poetry that we’re reading now is somewhat different then what I’ve experienced before, it is apart of a fairly new genre for me: “Peace Poetry.” It approaches describing war in a different way. “2000 lbs” by Brian Turner introduces new perspectives on war; he shows the view from the terrorists and innocent bystanders. This strategy really expands the perspective of war; it approaches it in a quite peaceful way. Unlike the usual soldiers perspective, it presents the views of civilians largely affected by war. His style opens our minds to new ideas and concepts in a way that isn’t overwhelming to our senses, and mainly peaceful to our short-term emotions. We also read “Monday Morning” by DJ Renegade. He does a really nice job at exemplifying how unnecessary death is. He dives into the real product of death and how irrelevant it is to the final outcome. This is a really powerful point. With war as such an everyday aspect of our lives in the 21st century, we often forget to think about these things. These two examples represent what I would call “Peace Poetry.” These poets describe war in a sense that promotes not only peace, but a look at war from a much different and more critical perspective then usually portrayed by “War Poetry.”
Concerning war, most of what I have read in past years has had a modern war theme, mainly talking about Vietnam, The World Wars, and The Cold War. Some of my learning included reading, “The Things They Carried,” By Tim O’Brien, “Apocalypse Now,” Directed by Francis Ford Coppola, and Joseph Conrad’s Novel, “The Heart of Darkness.” Each one of these sources provided a raw look into the life of war. Each one of these examples presents a different strategy to go about presenting war. “The Things They Carried,” uses a journal/testimonial type way of depicting lives of soldiers. O’Brien examines the actual things the soldiers carried in a way that describes their situation. In “The Heart of Darkness,” Conrad takes symbolic and introspective themes and creates a vividly deep story that appeals quite heavily to one’s emotions. Apocalypse now is a movie created using the themes in Conrad’s Heart of Darkness. Coppala uses the book to formulate an equally powerful movie that quite graphically depicts war and insanity. These methods display war in a very raw way, and are easily in the category of “War Poetry.” War poetry engages its readers in a way that no other poetry can. It really pulls people to think with their emotions and feel every line, every gunshot.
Some of the poetry that we’re reading now is somewhat different then what I’ve experienced before, it is apart of a fairly new genre for me: “Peace Poetry.” It approaches describing war in a different way. “2000 lbs” by Brian Turner introduces new perspectives on war; he shows the view from the terrorists and innocent bystanders. This strategy really expands the perspective of war; it approaches it in a quite peaceful way. Unlike the usual soldiers perspective, it presents the views of civilians largely affected by war. His style opens our minds to new ideas and concepts in a way that isn’t overwhelming to our senses, and mainly peaceful to our short-term emotions. We also read “Monday Morning” by DJ Renegade. He does a really nice job at exemplifying how unnecessary death is. He dives into the real product of death and how irrelevant it is to the final outcome. This is a really powerful point. With war as such an everyday aspect of our lives in the 21st century, we often forget to think about these things. These two examples represent what I would call “Peace Poetry.” These poets describe war in a sense that promotes not only peace, but a look at war from a much different and more critical perspective then usually portrayed by “War Poetry.”
Poetry of Peace - Kiera
When discussing peace and anti-war poetry, I find that the themes, focus, and goals of these types of poetry are very different. What the authors are trying to portray in each of these poems varies because they both do not relate to war. Peace poetry does not necessary deal or express emotions about war and battle because there are many aspects relating to serenity and non-violence. Peace exists in other aspects of life besides conflicts between countries or people; it is a total separate type of idea that does not always have to be categorized with war. Many audiences often correlate peace with war because leaders strive for no confrontation or conflict, then citizens follow their lead, they forget that peace can be settled in their states, communities and even homes. The end result is what peace poetry focuses on in context. Authors create stories or describe acts depicting advancement, so that the resolution shows effectiveness. Poems about peace advocate something more in depth than resolving conflict between two hostile groups; ideas are established through feelings of hopefulness and imagination.
On the other hand, anti-war poetry content is still about ceasing worldwide confrontation. The resistance between people is addressed in anti-war poems because authors want the audience to react in specific ways. When the author writes his or her poem in a violent tone, they can expect that the reader will get worked up and then possibly act in an aggressive manner. The readers think they are getting involved for the benefit of their country or community, yet their actions could still be somewhat forceful. In “Poems for Peace,” Philip Metres talks about how specifically the United States has come to “unwittingly [glorify] and [perpetuate] a culture of war.” The other side of poetry, peace poetry, should be revealed because it expresses other ways of “dealing with conflict, oppression, and injustice and how it may advance our thinking into what a future without war might look like” (Metres). Fighting is what anti-war poetry is against, however it is not always written in a peaceful tone; peace is something much more fragile and it written with harmony not discord.
As a part of a community, our class, it is pretty evident that peace is more conclusive to a group of people. In order for us to enter into a discourse community, we set ourselves up to ‘argue’ amongst one another because we all have different viewpoints. Except we are not arguing to prove one another wrong, we share our perspectives to build off of one another’s ideas. We talk about our disagreements by bringing up evidence from a text or poem, and giving our opinions of the context. The class in interested in progress, we share ideas to get different outlooks on what we are studying. Peace is very goal oriented, and that is what we want to achieve as a community, and we have come to realize that various ideas results in progress, leading us to a final conclusion.
On the other hand, anti-war poetry content is still about ceasing worldwide confrontation. The resistance between people is addressed in anti-war poems because authors want the audience to react in specific ways. When the author writes his or her poem in a violent tone, they can expect that the reader will get worked up and then possibly act in an aggressive manner. The readers think they are getting involved for the benefit of their country or community, yet their actions could still be somewhat forceful. In “Poems for Peace,” Philip Metres talks about how specifically the United States has come to “unwittingly [glorify] and [perpetuate] a culture of war.” The other side of poetry, peace poetry, should be revealed because it expresses other ways of “dealing with conflict, oppression, and injustice and how it may advance our thinking into what a future without war might look like” (Metres). Fighting is what anti-war poetry is against, however it is not always written in a peaceful tone; peace is something much more fragile and it written with harmony not discord.
As a part of a community, our class, it is pretty evident that peace is more conclusive to a group of people. In order for us to enter into a discourse community, we set ourselves up to ‘argue’ amongst one another because we all have different viewpoints. Except we are not arguing to prove one another wrong, we share our perspectives to build off of one another’s ideas. We talk about our disagreements by bringing up evidence from a text or poem, and giving our opinions of the context. The class in interested in progress, we share ideas to get different outlooks on what we are studying. Peace is very goal oriented, and that is what we want to achieve as a community, and we have come to realize that various ideas results in progress, leading us to a final conclusion.
Monday, November 15, 2010
The Fighting about War Poetry - Neal
Poetry, much like its literary counterpart prose, is a section of literature that is wide-reaching, encompassing a cornucopia of different subcategories and subgenres which can be generally classified under an umbrella term, “poetry”. But one of the most confusing and debated categories of poetry is war poetry. Ranging from the obvious to the near-incomprehensible, war poems can relate to virtually anything about war: being in war, on the front lines, in combat, being active in support of or opposition to war, the aftermath of war, the death correlated to war, the effects on the home front, etc. Essentially anything conflict-related can be and often is classified under the war genre of poetry. Nearly anything could be a war poem, as generally as it seems to be categorized. This has made many readers of war poetry either confused or skeptical, or as was with my case, both. Why, many ask, why is war poetry such a large and looming category, why does it have so many qualities that allow poems of ranging diversities fall under its title? I was one of those very skeptics who questioned this definition and sub-categorization, and after contemplation and dialogue, this is my conclusion to the enigma of war poetry.
Obviously enough, “war poetry” suggests that the poems classified as such are about war. The problem then lies in what war involves, for war poetry is a vast concept and one would expect some correlation, perhaps. Indeed, this is the case with war and its subgenre of poetry. War incorporates many things, ranging from abstract and intangible ideas such as victory or defeat and freedom or oppression to very tangible, and often sensory concepts such as pain, fatigue, and death. So it then becomes reasonable to assume that poems encompassing such concepts could arguably be categorized as poems of war.
Furthermore, if one considers the term “war” by itself, and if one detaches from the term any connotations to the word and then breaks it down to its most integral and basic core, it becomes evident that “war” could be about pretty much any conflict in existence, tangible or intangible, exterior or interior. The “wars” on terror, racism, sexism, poverty, and domestic abuse are all examples of this view on what war really is. It is fairly unreasonable to consider having armed soldiers attempting to fight intangible ideas, and while it is more possible it is also more ridiculous to consider having such soldiers battle the physical advocates of those concepts such as terrorists, members of the KKK, bigots, rich people, and abusers in a “conventional war”. So one of two things have happened: either the term “war” is essentially misused nine times out of ten when it is used at all, or the term “war” no longer only means prolonged physical detrimental conflict.
Going off of this more modernized and broader definition of “war”, it hence becomes more reasonable to categorize poems dealing with such concepts as terror, racism, etc., as “war poetry”. Using the definition of “war” that I have given, the war on terror is just as much a war as the Iraq War or the Persian Gulf War, and the “war on poverty” throughout the 1950s, ‘60s, and ‘70s was no less a war than the Korean and Vietnamese wars. Even in a sense, possibly a facetious one but one nonetheless, there is a “war” of language, denotation, and connotation, and I’ve presented that idea in this blog post. In conclusion to all of this, I would say that “war”, in correlation to “war poetry”, is a vast and vague term and it is suitable for its subgenre of poetry to follow along the same path. As they say, all is fair in love and war, so why not?
Obviously enough, “war poetry” suggests that the poems classified as such are about war. The problem then lies in what war involves, for war poetry is a vast concept and one would expect some correlation, perhaps. Indeed, this is the case with war and its subgenre of poetry. War incorporates many things, ranging from abstract and intangible ideas such as victory or defeat and freedom or oppression to very tangible, and often sensory concepts such as pain, fatigue, and death. So it then becomes reasonable to assume that poems encompassing such concepts could arguably be categorized as poems of war.
Furthermore, if one considers the term “war” by itself, and if one detaches from the term any connotations to the word and then breaks it down to its most integral and basic core, it becomes evident that “war” could be about pretty much any conflict in existence, tangible or intangible, exterior or interior. The “wars” on terror, racism, sexism, poverty, and domestic abuse are all examples of this view on what war really is. It is fairly unreasonable to consider having armed soldiers attempting to fight intangible ideas, and while it is more possible it is also more ridiculous to consider having such soldiers battle the physical advocates of those concepts such as terrorists, members of the KKK, bigots, rich people, and abusers in a “conventional war”. So one of two things have happened: either the term “war” is essentially misused nine times out of ten when it is used at all, or the term “war” no longer only means prolonged physical detrimental conflict.
Going off of this more modernized and broader definition of “war”, it hence becomes more reasonable to categorize poems dealing with such concepts as terror, racism, etc., as “war poetry”. Using the definition of “war” that I have given, the war on terror is just as much a war as the Iraq War or the Persian Gulf War, and the “war on poverty” throughout the 1950s, ‘60s, and ‘70s was no less a war than the Korean and Vietnamese wars. Even in a sense, possibly a facetious one but one nonetheless, there is a “war” of language, denotation, and connotation, and I’ve presented that idea in this blog post. In conclusion to all of this, I would say that “war”, in correlation to “war poetry”, is a vast and vague term and it is suitable for its subgenre of poetry to follow along the same path. As they say, all is fair in love and war, so why not?
War Poetry - Chelsea
Though poetry can be perceived as a form of art that brings beauty and happiness to our world, James Logenbach has said about war poetry that “no poem stands apart in happy oblivion.” War poetry is an interesting category of poetry that is defined as poetry that deals specifically with war. However, a common question that might arise in response to this definition is how do we define war? Though one could argue that war can be defined by the numerous conflicts observed from day to day, such as the warring emotions that can exist in an individual, or the warring ideas of separate institutions, the war that war poetry deals with is most typically the violent conflict of combat between two opposing sides.
However, war poetry itself does not have to dwell on the specificities of this definition and only comment on battle at the front lines or a specific war. War poetry deals with war in a more complex way than simply observing what can be seen (that is typically what we have the History Channel for). War poetry commonly deals with the emotion that is aroused as a response to the war itself. Whether it speaks directly about a specific war or battle, about the action of the war, or the aftermath of the war, or the impact of the war, war poetry does exactly what it sounds like it does-- speaks about warfare.
In class, we were exposed to various examples of war poetry that all had distinct characteristics responsible for qualifying them as “war poems.” Turner’s “Here, Bullet,” is a personal response to the act of getting shot in combat. The speakers speaks directly to the bullet as it careens through his body and takes his life. The poem can be interpreted as a zoomed-in view of war as a physical conflict that occurs within the human body between the bullet, and the flesh and bones of the human.
“Sunday Morning,” by Steven Wallace is also a war poem, but in a much more indirect manner. At first, it may not be obvious that the poem is talking about war, but through some allusions and metaphors that are more complex and obscure than the content of “Here, Bullet,” we could see that in fact, Wallace’s poem was a war poem because it was reacting to World War I. Wallace’s approach to the war he dealt with was to comment on the nature of life and death and the afterlife as an emotional response to the impact of the war. He questions what comes after death, and says that death and life are a part of the circle of life, and there is beauty in death.
DJ Renegade responds directly to Steven Wallace’s statement of “death [being] the mother of beauty” in his poem “Monday Morning.” DJ Renegade’s poem speaks about violence and death, and responds to Wallace’s war poem, but “Monday Morning” is a war poem because it comments on differing attitudes towards the idea of unnatural death, which is a consequence of war. The speaker in “Monday Morning” questions Wallace’s belief that there can be beauty in death because he (the speaker of “Monday Morning”) has seen the death of a loved one firsthand. Though the death he has experienced was not necessarily death due to war (although it very well could have been a product of a gang war), it was a death not caused by natural causes, life taken away from an individual by another individual, and in “Monday Morning,” the speaker claims it is the attitude that there can be beauty extracted from the act of murder that brought about the atomic warfare of Vietnam.
Classifying a genre of poetry as “war poetry” may seem like a very specific corner of poetry, however, as demonstrated by the poems we read in class, there are still many different ways in which a poem can be considered a war poem because there are many different ways individuals choose to deal with war. Because war can be such a complex notion to understand, war poetry lends itself to the emotional responses of individuals who are coping with the impact of war, whether the poems aim to resolve a conflict, or just express and release an emotion.
However, war poetry itself does not have to dwell on the specificities of this definition and only comment on battle at the front lines or a specific war. War poetry deals with war in a more complex way than simply observing what can be seen (that is typically what we have the History Channel for). War poetry commonly deals with the emotion that is aroused as a response to the war itself. Whether it speaks directly about a specific war or battle, about the action of the war, or the aftermath of the war, or the impact of the war, war poetry does exactly what it sounds like it does-- speaks about warfare.
In class, we were exposed to various examples of war poetry that all had distinct characteristics responsible for qualifying them as “war poems.” Turner’s “Here, Bullet,” is a personal response to the act of getting shot in combat. The speakers speaks directly to the bullet as it careens through his body and takes his life. The poem can be interpreted as a zoomed-in view of war as a physical conflict that occurs within the human body between the bullet, and the flesh and bones of the human.
“Sunday Morning,” by Steven Wallace is also a war poem, but in a much more indirect manner. At first, it may not be obvious that the poem is talking about war, but through some allusions and metaphors that are more complex and obscure than the content of “Here, Bullet,” we could see that in fact, Wallace’s poem was a war poem because it was reacting to World War I. Wallace’s approach to the war he dealt with was to comment on the nature of life and death and the afterlife as an emotional response to the impact of the war. He questions what comes after death, and says that death and life are a part of the circle of life, and there is beauty in death.
DJ Renegade responds directly to Steven Wallace’s statement of “death [being] the mother of beauty” in his poem “Monday Morning.” DJ Renegade’s poem speaks about violence and death, and responds to Wallace’s war poem, but “Monday Morning” is a war poem because it comments on differing attitudes towards the idea of unnatural death, which is a consequence of war. The speaker in “Monday Morning” questions Wallace’s belief that there can be beauty in death because he (the speaker of “Monday Morning”) has seen the death of a loved one firsthand. Though the death he has experienced was not necessarily death due to war (although it very well could have been a product of a gang war), it was a death not caused by natural causes, life taken away from an individual by another individual, and in “Monday Morning,” the speaker claims it is the attitude that there can be beauty extracted from the act of murder that brought about the atomic warfare of Vietnam.
Classifying a genre of poetry as “war poetry” may seem like a very specific corner of poetry, however, as demonstrated by the poems we read in class, there are still many different ways in which a poem can be considered a war poem because there are many different ways individuals choose to deal with war. Because war can be such a complex notion to understand, war poetry lends itself to the emotional responses of individuals who are coping with the impact of war, whether the poems aim to resolve a conflict, or just express and release an emotion.
War Poetry - Morgan
One of the things that is harder to figure out than I thought it would be is to figure out what is a war poem and what is not. War poems are not as straight forward about soldiers on the front lines of battle as I imagined they would be. But after reading more war poetry I have started to understand true war poetry. It is not always about a straightforward description of a battle or even a reflection of a battle by a soldier but it can be about anything that was written in a time of war even if the war is not mentioned.
The poem 2000 lbs. is definitely a war poem. It is a war poem because of the emotion and the descriptions of the people in the poem during the “event” described in this poem. The beginning of the poem is all about the emotions and feelings that different people from different situations are feeling during a rough time in their lives. One person is remembering “summer 1974,” he is remembering the girl he loves and regretting how fast time goes past and previous decisions he has made. The next couple of people in this poem start to describe an explosion as the even that has taken place.
The skeptical reader after the first couple of sections of the poem wonders how these descriptions, memories, and feelings have anything to do with a war and war poetry. These feelings and stories have nothing to do with a war that we know of. As the poem progresses the reader gains a better understanding of what is going on but still wonders how all these compounded stories have anything to do with one another, how do they tie together. It is not until they are all put together, rather than looked at separately, and the time that the poem was written is taken to account that the war starts to stick out.
2000 lbs. is written during the Iraq war and is a description of a suicide bombing told from the perspectives of Iraqis, American soldiers, and the bomber himself. This poem was written during a time of war and the war and the event in particular was the inspiration of this poem. Knowing this even the skeptical reader then realizes that when they read about an old woman cradling her grandson, whispering, rocking him on her knees it is not only a description of a moment shared by a woman and her grandson but it plays a part in the bigger picture. The reader realizes that the war that the poem is talking about is directly affecting these people who are involved in this event. All of the people are, from the ones remembering the good times to the bomber himself. A war poem is anything written during a time of war, this poem more than some mentions the war tat is occurring but there is also still room for a little skepticism. After re-reading this poem and the discussions in class I am no longer a skeptical reader and believe that this is a war poem
The poem 2000 lbs. is definitely a war poem. It is a war poem because of the emotion and the descriptions of the people in the poem during the “event” described in this poem. The beginning of the poem is all about the emotions and feelings that different people from different situations are feeling during a rough time in their lives. One person is remembering “summer 1974,” he is remembering the girl he loves and regretting how fast time goes past and previous decisions he has made. The next couple of people in this poem start to describe an explosion as the even that has taken place.
The skeptical reader after the first couple of sections of the poem wonders how these descriptions, memories, and feelings have anything to do with a war and war poetry. These feelings and stories have nothing to do with a war that we know of. As the poem progresses the reader gains a better understanding of what is going on but still wonders how all these compounded stories have anything to do with one another, how do they tie together. It is not until they are all put together, rather than looked at separately, and the time that the poem was written is taken to account that the war starts to stick out.
2000 lbs. is written during the Iraq war and is a description of a suicide bombing told from the perspectives of Iraqis, American soldiers, and the bomber himself. This poem was written during a time of war and the war and the event in particular was the inspiration of this poem. Knowing this even the skeptical reader then realizes that when they read about an old woman cradling her grandson, whispering, rocking him on her knees it is not only a description of a moment shared by a woman and her grandson but it plays a part in the bigger picture. The reader realizes that the war that the poem is talking about is directly affecting these people who are involved in this event. All of the people are, from the ones remembering the good times to the bomber himself. A war poem is anything written during a time of war, this poem more than some mentions the war tat is occurring but there is also still room for a little skepticism. After re-reading this poem and the discussions in class I am no longer a skeptical reader and believe that this is a war poem
War Poetry - Mollie
The scope of war poetry is wider then I originally perceived it to be. I had little knowledge of what this genre of poetry is and therefore would’ve previously considered my self a skeptical reader. War poetry is often a misunderstood genre of poetry; this often leads the audience to be more skeptical in classifying poetry as “war Poetry.” In order to understand the tendency for readers to be skeptical of war poetry we must first understand its wide scope and variety in subject matter. When you approach the following poems: “Monday Poem” by DJ Renegade and “Sunday Morning” by Wallace Stevens. The poems differ greatly in not only their approach but also subject matter and yet they are both considered to be apart of the war poetry genre. Through this differences the skeptical readers begin to raise their objections.
The poem “Sunday Morning” has been determined to be an allusion to World War I where “Monday Poem” is seen as a response or an almost counter Wallace Steven’s poem. The skeptical reader may view “Monday Poem” as a commentary on our society rather than a war, however the poem speaks directly to Steven’s and his poem, “wonder if Wallace Stevens ever held a gunshot friend and watched his eyes leak light”(Renegade). Skeptical readers could view this in various ways thus creating the confusion that is widespread throughout what defines war poetry. Often people do not understand what war poetry truly is, they view it as only poetry regarding battles or other significant wartime events this causes them to be skeptical to deem other works as war poetry.
What makes “Monday Poem” a war poem then? There are many different ways it can be classified as a war poem in whatever way a skeptical reader would approach it. The poem can be viewed as a commentary on inner community violence, and gang wars. A reference to community or gang violence is made within the line, “carnations taped to the stop sign/ or the empty wine bottles arranged around it”(Renegade). The skeptical reader may claim that gang violence or intercommunity violence is not defined as a war but when you understand all that war poetry can represent, for example conflict and all the emotions that are connected to it. These can be contextualized within poetry and thus defined as War Poetry.
Furthermore while the skeptical reader may continue to claim that the poem cannot be categorized as war poetry because it does not depict a specific battle it can be argued the term “death” within both war and battles is the same within this poem. In war we often deal with unfair, or unnecessary deaths, the same can be seen within DJ Renegades poem as well. The deaths they seem to commentary on were unnecessary and maybe viewed as they would be in wars seen in the line, “I remember Ronald shot on his front steps…and say the same logic which produced that poem/produced the mushroom cloud over Nagasaki”(Renegade). The skeptical readers claim can be countered with this argument that the deaths of the people in the community are parallel to that of the deaths during Japan in World War II, almost senseless and unnecessary.
The skeptical readers come from having a limited knowledge on the extent and scope of war poetry and all that it can be. When we look at it through a wide lens and draw parallels between themes within the poems the objections can easily be countered.
The poem “Sunday Morning” has been determined to be an allusion to World War I where “Monday Poem” is seen as a response or an almost counter Wallace Steven’s poem. The skeptical reader may view “Monday Poem” as a commentary on our society rather than a war, however the poem speaks directly to Steven’s and his poem, “wonder if Wallace Stevens ever held a gunshot friend and watched his eyes leak light”(Renegade). Skeptical readers could view this in various ways thus creating the confusion that is widespread throughout what defines war poetry. Often people do not understand what war poetry truly is, they view it as only poetry regarding battles or other significant wartime events this causes them to be skeptical to deem other works as war poetry.
What makes “Monday Poem” a war poem then? There are many different ways it can be classified as a war poem in whatever way a skeptical reader would approach it. The poem can be viewed as a commentary on inner community violence, and gang wars. A reference to community or gang violence is made within the line, “carnations taped to the stop sign/ or the empty wine bottles arranged around it”(Renegade). The skeptical reader may claim that gang violence or intercommunity violence is not defined as a war but when you understand all that war poetry can represent, for example conflict and all the emotions that are connected to it. These can be contextualized within poetry and thus defined as War Poetry.
Furthermore while the skeptical reader may continue to claim that the poem cannot be categorized as war poetry because it does not depict a specific battle it can be argued the term “death” within both war and battles is the same within this poem. In war we often deal with unfair, or unnecessary deaths, the same can be seen within DJ Renegades poem as well. The deaths they seem to commentary on were unnecessary and maybe viewed as they would be in wars seen in the line, “I remember Ronald shot on his front steps…and say the same logic which produced that poem/produced the mushroom cloud over Nagasaki”(Renegade). The skeptical readers claim can be countered with this argument that the deaths of the people in the community are parallel to that of the deaths during Japan in World War II, almost senseless and unnecessary.
The skeptical readers come from having a limited knowledge on the extent and scope of war poetry and all that it can be. When we look at it through a wide lens and draw parallels between themes within the poems the objections can easily be countered.
Monday, November 1, 2010
Responding to Lorde - Kendal
Language is undoubtedly a powerful tool in communication. Audre Lorde considers language to be the bridge between dreams and action (37). Language helps convey what we think into what we do or share with others. Without language, human interaction would be changed irrevocably. Specific to language is vocabulary. If language is a tool of communication, then vocabulary is a tool of language. The choice of words provides a desired specificity to language. The specific use of words can lend itself to communicative elements ranging from repetition to hyperbole. In each case, the particular use words convey the desired effect. In her essay entitled “Poetry Is Not a Luxury,” Audre Lorde employs a specific vocabulary to create the effect of contrast.
Throughout the article, there is a repetition of “light” and related terms. There is also a repetition of “dark” and related terms. This contrast between light and dark is one of the fundamental literary elements of the essay. She uses these two specific terms to underscore her theme. In the essay, Lorde describes poetry as an essential, rather than a luxury. She considers it to be one of the primary sources of communication when she writes, “[p]oetry is the way we help give name to the nameless so it can be thought” (37). Also, she argues poetry to be that bridge between internal ideas and external expression. To contrast this internality and externality, Lorde describes the internal as dark and the external as light. She says “there is a dark place within” (36) each person that is the source of ideas and thoughts. Poetry, then, is “the quality of light” (37) that transfers these internal ideas into external “tangible action.” Thus, the specific use of light and dark vocabulary helps convey Lorde’s message by relating her concept of internality and externality to visually recognizable references. The vocabulary made her message more understandable and therefore more powerful.
Another example of Lorde’s deliberate use of specific vocabulary can be seen in the repetition of “dreams.” With the repetition of “dream” or “dreams” fourteen times in the essay, Lorde emphasizes this term. Throughout the essay, Lorde refers to dreams in the familiar sense of dreaming during sleep. However, she also uses the term in the amiable light of ideas. In these instances, there is a positive connotation of dreams meaning hopeful ideas. She says everyone has these hopes and dreams, and that they are simply a result of living (38).
Overall, this emphasis on dreams supports Lorde’s argument of the necessity of poetry. She states poetry is a tool by which people express their “hopes and dreams” (37). In conjunction with the concept of internal ideas and external communication, dreams constitute internal ideas while poetry represents the external expression of those ideas. Also, she avers poetry itself is a dream (38). In this instance, the term is in reference to creative imagination and a vision for the future. To Lorde, poetry is the expression of creativity that is unique to each person.
Lorde, Audre. “Poetry Is Not a Luxury.” Sister Outsider. The Crossing Press, 1984. 36-39. Print.
Throughout the article, there is a repetition of “light” and related terms. There is also a repetition of “dark” and related terms. This contrast between light and dark is one of the fundamental literary elements of the essay. She uses these two specific terms to underscore her theme. In the essay, Lorde describes poetry as an essential, rather than a luxury. She considers it to be one of the primary sources of communication when she writes, “[p]oetry is the way we help give name to the nameless so it can be thought” (37). Also, she argues poetry to be that bridge between internal ideas and external expression. To contrast this internality and externality, Lorde describes the internal as dark and the external as light. She says “there is a dark place within” (36) each person that is the source of ideas and thoughts. Poetry, then, is “the quality of light” (37) that transfers these internal ideas into external “tangible action.” Thus, the specific use of light and dark vocabulary helps convey Lorde’s message by relating her concept of internality and externality to visually recognizable references. The vocabulary made her message more understandable and therefore more powerful.
Another example of Lorde’s deliberate use of specific vocabulary can be seen in the repetition of “dreams.” With the repetition of “dream” or “dreams” fourteen times in the essay, Lorde emphasizes this term. Throughout the essay, Lorde refers to dreams in the familiar sense of dreaming during sleep. However, she also uses the term in the amiable light of ideas. In these instances, there is a positive connotation of dreams meaning hopeful ideas. She says everyone has these hopes and dreams, and that they are simply a result of living (38).
Overall, this emphasis on dreams supports Lorde’s argument of the necessity of poetry. She states poetry is a tool by which people express their “hopes and dreams” (37). In conjunction with the concept of internal ideas and external communication, dreams constitute internal ideas while poetry represents the external expression of those ideas. Also, she avers poetry itself is a dream (38). In this instance, the term is in reference to creative imagination and a vision for the future. To Lorde, poetry is the expression of creativity that is unique to each person.
Lorde, Audre. “Poetry Is Not a Luxury.” Sister Outsider. The Crossing Press, 1984. 36-39. Print.
Responding to Lorde - Rachel
In her essay, “Poetry is not a Luxury”, Audre Lorde uses specific word choice to emphasize the importance of poetry, specifically to a women. Lorde begins the essay as equating poetry with illumination, this motif of light and dark resonates throughout the rest of the essay and moves on to a racial undertone between black and white. Lorde explains that within each woman there is a dark place of possibility, thus stating that dark is not negative but an ambiguous potential. Later she says, “[Poetry] forms the quality of light within which we predicate our hopes and dreams toward survival and change”. Poetry is what brings to women the illumination of sustainability. Women need poetry to survive due to the ways in which the white man “distorted” poetry, therefore limited them. Lorde often discusses “white fathers” and the “european mode” perhaps to emphasize her own identity as an African American woman. Lorde does not outright criticize the “white fathers”, but comments on their perspective as being more analytical, whereas poetry is not. Women rely more on their feelings and what cannot be seen, while men are more rational. Descartes famous quote, “I think, therefore I am”, is what Lorde chooses to describe the male way of thinking. Lorde’s approach to describing poetry is very abstract; she defines the art of poetry as essentially, “naming the nameless”. Poetry explains the feelings that we do not know how to directly to define. Lorde also refers to poetry in terms of anatomical qualities; poetry is a “skeleton” and a vital necessity for women. Evidently, Lorde emphasizes her own passion for poetry as an empowering force that all women have the capability to use.
Responding to Lorde - Marina
It is often stressed how important the chosen vocabulary is in a work of literature. Audre Lorde is a black, lesbian, feminist writer whose choice in words only helps to accentuate the importance of specific diction. She believed that the experience of a white woman was different from that of a black woman, and especially of a black lesbian. She, like many others, expressed her experience as a woman through poetry.
All together, the word choice in her piece about the importance of writing to women writers, “Poetry is Not a Luxury,” is clearly picked meticulously, with each word having exactly the meaning she wanted in order to make up the whole piece. First, she has interesting positions referring to light and dark. In her terms, she flips the definitions typically used for the opposites and makes them something unexpected to the reader saying that the real, raw poetry written by women comes through our darkest parts inside of us. Typically, as humans we like to believe that there is light shining through us, deep from our souls, etcetera. Audre avoids the whole cliché and negates it completely. The darkness is not given a negative connotation in the piece, however. By saying to the reader that her respective power comes from ancient traditions, she adds legitimacy because things that are ancient typically come with power and importance.
Next, Lorde uses very specific diction to show the absolute necessity for expression through poetry in the life of women. First, the section is where the chapter title gets its name. She describes what poetry is and also what it is not, and then moves on to a section that is more based on ideas than facts. Audre telling about dreams and ideas that innately seem more airy and feminine because they are not concrete characterizes the end. This word usage is ultimately what I believe causes her audience to be drawn in (and for others to be lost)- fewer men are going to be willing to read about a woman who discusses how poetry comes from our souls and allows us to share our dreams with the world.
All together, the word choice in her piece about the importance of writing to women writers, “Poetry is Not a Luxury,” is clearly picked meticulously, with each word having exactly the meaning she wanted in order to make up the whole piece. First, she has interesting positions referring to light and dark. In her terms, she flips the definitions typically used for the opposites and makes them something unexpected to the reader saying that the real, raw poetry written by women comes through our darkest parts inside of us. Typically, as humans we like to believe that there is light shining through us, deep from our souls, etcetera. Audre avoids the whole cliché and negates it completely. The darkness is not given a negative connotation in the piece, however. By saying to the reader that her respective power comes from ancient traditions, she adds legitimacy because things that are ancient typically come with power and importance.
Next, Lorde uses very specific diction to show the absolute necessity for expression through poetry in the life of women. First, the section is where the chapter title gets its name. She describes what poetry is and also what it is not, and then moves on to a section that is more based on ideas than facts. Audre telling about dreams and ideas that innately seem more airy and feminine because they are not concrete characterizes the end. This word usage is ultimately what I believe causes her audience to be drawn in (and for others to be lost)- fewer men are going to be willing to read about a woman who discusses how poetry comes from our souls and allows us to share our dreams with the world.
Responding to Lorde - Sydni
From the start of “Poetry Is Not a Luxury”, Audre Lorde is including herself in her audience by using the word ‘we’: “we scrutinize… we form… we learn.” She’s narrowing down her audience by her language; if a reader doesn’t have anything in common with Lorde, then you’re already not her intended audience. So we ask ourselves who her intended audience is and she answers it right away: “us as women.” Again using one word, Lorde has specified her audience as women and, throughout the passage, she continues to speak of women, to speak of us and we. She only refers to herself as “I” in three simple sentences; this omission of referring to herself alone connects her to the audience and gives them a sense of who they should be: a woman, maybe black, and maybe a lesbian (all like Lorde).
Lorde uses imagery of light and dark throughout the passage in order to better narrow down her overall intended audience: black women. She equates the idea of being a poet, what she wants a reader to become, by calling the poet within each of us the “Black mother”. This further narrows her audience: to be a mother, you must be a woman, and to have that Black mother within you, you are black. One may argue against that idea, but Lorde says that the Black mother “whispers in our dreams”; this use of our again shows how she encompasses herself in the audience, and since she is a black woman, she is reaching out to the readers that are also black women. This shows us how Lorde has gone from the general audience, people, to one specific, women, to another, black women. She is rallying the women like her, those that she knows are being oppressed because she is living that same life, to live out their dreams in poetry and “feel… [to] be free.”
Lorde uses imagery of light and dark throughout the passage in order to better narrow down her overall intended audience: black women. She equates the idea of being a poet, what she wants a reader to become, by calling the poet within each of us the “Black mother”. This further narrows her audience: to be a mother, you must be a woman, and to have that Black mother within you, you are black. One may argue against that idea, but Lorde says that the Black mother “whispers in our dreams”; this use of our again shows how she encompasses herself in the audience, and since she is a black woman, she is reaching out to the readers that are also black women. This shows us how Lorde has gone from the general audience, people, to one specific, women, to another, black women. She is rallying the women like her, those that she knows are being oppressed because she is living that same life, to live out their dreams in poetry and “feel… [to] be free.”
Monday, October 18, 2010
Responding to Smith - McKenzie
Fiery, bold and poignant are but a few words that can be used to describe the compiled works of Patricia Smith in Blood Dazzler. Through her beautiful verses we are provided with images of New Orleans before, during and after the disaster of Hurricane Katrina. Smith chronologically follows the path of the “Mistress of Destruction” as she sweeps across the Louisiana Delta and over the lives of so many of the New Orleans residents. She gives voices to the multitudes of people that we witnessed struggling through bacteria infected flood waters and huddling under the protective concrete roof of the superdome. In some pieces Patricia Smith speaks from the vantage point of Katrina herself, in others the voodoo spirits, a dog named Luther B, a drag queen, a dying grandmother, nursing home inhabitants and the then President George W. Bush. Compared with the beauty and elegance of her prose her message is a dark reminder of the ferocity of the storm and its devastating aftermath. In a world where everything is mater-a-factley shown on the news it is easy to feel apathetic towards the plight of the inhabitants of New Orleans but Patricia Smith through her mastery of prose and use of intense imagery brings the true feeling of despair and darkness home to the reader. The horrific, gritty, harsh and tragic details of Hurricane Katrina have been lain out for us by Ms. Smith, not in the form of an abstract television report but rather as tangible facts. It’s through these facts that Ms. Smith conveys the tremendous despair invoked by “the Mistress of Destruction” and connects the reader to the plight of her victims.
The tonality of Blood Dazzler is what sets it apart from other similar works. Patricia Smith evokes the true emotion of the storm through dark and often unsettling tones to push the reader past their comfort zones and into a world where emotions are lain bare for all to examine and experience. Among other things Ms. Smith portrays death, rape, starvation, a menacing storm, looting, abandonment and just pure destruction. Understandably when writing about such things Ms. Smith naturally must use dark tones and imagery. It’s these dark tones in her work connect the reader on a much deeper level to the despair of which she is writing about. Patricia Smith doesn’t merely state that Katrina was a bad storm or bad things happened as a result of Katrina, but rather she takes the reader on a journey with her through the darkness that was the storm, and its affect on individual lives and the city of New Orleans. We are transported from the unemotional television descriptions of Katrina into a world of horrific pain, death, suffering, loss and despair all portrayed by the tone of irreconcilable darkness. Without the tones of darkness this collection is just another news story saying Katrina was a bad storm, but by using these dark tones Patricia Smith takes the reader on a journey through the despair and destruction that was Katrina and provides the reader with a deeper understanding of the affects and ramifications attributed to this terrible storm. Patricia Smith provides the uncensored facts of the true darkness of the Mistress of Destruction and her storms aftermath.
The tonality of Blood Dazzler is what sets it apart from other similar works. Patricia Smith evokes the true emotion of the storm through dark and often unsettling tones to push the reader past their comfort zones and into a world where emotions are lain bare for all to examine and experience. Among other things Ms. Smith portrays death, rape, starvation, a menacing storm, looting, abandonment and just pure destruction. Understandably when writing about such things Ms. Smith naturally must use dark tones and imagery. It’s these dark tones in her work connect the reader on a much deeper level to the despair of which she is writing about. Patricia Smith doesn’t merely state that Katrina was a bad storm or bad things happened as a result of Katrina, but rather she takes the reader on a journey with her through the darkness that was the storm, and its affect on individual lives and the city of New Orleans. We are transported from the unemotional television descriptions of Katrina into a world of horrific pain, death, suffering, loss and despair all portrayed by the tone of irreconcilable darkness. Without the tones of darkness this collection is just another news story saying Katrina was a bad storm, but by using these dark tones Patricia Smith takes the reader on a journey through the despair and destruction that was Katrina and provides the reader with a deeper understanding of the affects and ramifications attributed to this terrible storm. Patricia Smith provides the uncensored facts of the true darkness of the Mistress of Destruction and her storms aftermath.
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