From three of the four assigned poems other than Angelou's poem, explicate a word or short phrase (n

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From three of the four assigned poems other than Angelou's poem, explicate a word or short phrase (no longer than one line) regarding its intense meaning relative to the poet's interpretation of the challenges faced by disadvantaged or non-conformist groups to achieve the American Dream.

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America By Tony Hoagland Then one of the students with blue hair and a tongue stud Says that America is for him a maximum-security prison Whose walls are made of RadioShacks and Burger Kings, and MTV episodes Where you can’t tell the show from the commercials, And as I consider how to express how full of shit I think he is, He says that even when he’s driving to the mall in his Isuzu Trooper with a gang of his friends, letting rap music pour over them Like a boiling Jacuzzi full of ballpeen hammers, even then he feels Buried alive, captured and suffocated in the folds Of the thick satin quilt of America And I wonder if this is a legitimate category of pain, or whether he is just spin doctoring a better grade, And then I remember that when I stabbed my father in the dream last night, It was not blood but money That gushed out of him, bright green hundred-dollar bills Spilling from his wounds, and—this is the weird part—, He gasped “Thank god—those Ben Franklins were Clogging up my heart— And so I perish happily, Freed from that which kept me from my liberty”— Which was when I knew it was a dream, since my dad Would never speak in rhymed couplets, And I look at the student with his acne and cell phone and phony ghetto clothes And I think, “I am asleep in America too, And I don’t know how to wake myself either,” And I remember what Marx said near the end of his life: “I was listening to the cries of the past, When I should have been listening to the cries of the future.” But how could he have imagined 100 channels of 24-hour cable Or what kind of nightmare it might be When each day you watch rivers of bright merchandise run past you And you are floating in your pleasure boat upon this river Even while others are drowning underneath you And you see their faces twisting in the surface of the waters And yet it seems to be your own hand Which turns the volume higher? Source: What Narcissism Means to Me, by Tony Hoagland American Sonnet By Billy Collins We do not speak like Petrarch or wear a hat like Spenser and it is not fourteen lines like furrows in a small, carefully plowed field but the picture postcard, a poem on vacation, that forces us to sing our songs in little rooms or pour our sentiments into measuring cups. We write on the back of a waterfall or lake, adding to the view a caption as conventional as an Elizabethan woman's heliocentric eyes. We locate an adjective for the weather. We announce that we are having a wonderful time. We express the wish that you were here and hide the wish that we were where you are, walking back from the mailbox, your head lowered as you read and turn the thin message in your hands. A slice of this place, a length of white beach, a piazza or carved spires of a cathedral will pierce the familiar place where you remain, and you will toss on the table this reversible display: a few square inches of where we have strayed and a compression of what we feel. Source: Sailing Alone Around the Room: New and Selected Poems, by Billy Collins How I Got That Name an essay on assimilation By Marilyn Chin I am Marilyn Mei Ling Chin Oh, how I love the resoluteness of that first person singular followed by that stalwart indicative of “be," without the uncertain i-n-g of “becoming.” Of course, the name had been changed somewhere between Angel Island and the sea, when my father the paperson in the late 1950s obsessed with a bombshell blond transliterated “Mei Ling” to “Marilyn.” And nobody dared question his initial impulse—for we all know lust drove men to greatness, not goodness, not decency. And there I was, a wayward pink baby, named after some tragic white woman swollen with gin and Nembutal. My mother couldn’t pronounce the “r.” She dubbed me “Numba one female offshoot” for brevity: henceforth, she will live and die in sublime ignorance, flanked by loving children and the “kitchen deity.” While my father dithers, a tomcat in Hong Kong trash— a gambler, a petty thug, who bought a chain of chopsuey joints in Piss River, Oregon, with bootlegged Gucci cash. Nobody dared question his integrity given his nice, devout daughters and his bright, industrious sons as if filial piety were the standard by which all earthly men are measured. * Oh, how trustworthy our daughters, how thrifty our sons! How we’ve managed to fool the experts in education, statistic and demography— We’re not very creative but not adverse to rote-learning. Indeed, they can use us. But the “Model Minority” is a tease. We know you are watching now, so we refuse to give you any! Oh, bamboo shoots, bamboo shoots! The further west we go, we’ll hit east; the deeper down we dig, we’ll find China. History has turned its stomach on a black polluted beach— where life doesn’t hinge on that red, red wheelbarrow, but whether or not our new lover in the final episode of “Santa Barbara” will lean over a scented candle and call us a “bitch.” Oh God, where have we gone wrong? We have no inner resources! * Then, one redolent spring morning the Great Patriarch Chin peered down from his kiosk in heaven and saw that his descendants were ugly. One had a squarish head and a nose without a bridge Another’s profile—long and knobbed as a gourd. A third, the sad, brutish one may never, never marry. And I, his least favorite— “not quite boiled, not quite cooked," a plump pomfret simmering in my juices— too listless to fight for my people’s destiny. “To kill without resistance is not slaughter” says the proverb. So, I wait for imminent death. The fact that this death is also metaphorical is testament to my lethargy. * So here lies Marilyn Mei Ling Chin, married once, twice to so-and-so, a Lee and a Wong, granddaughter of Jack “the patriarch” and the brooding Suilin Fong, daughter of the virtuous Yuet Kuen Wong and G.G. Chin the infamous, sister of a dozen, cousin of a million, survived by everbody and forgotten by all. She was neither black nor white, neither cherished nor vanquished, just another squatter in her own bamboo grove minding her poetry— when one day heaven was unmerciful, and a chasm opened where she stood. Like the jowls of a mighty white whale, or the jaws of a metaphysical Godzilla, it swallowed her whole. She did not flinch nor writhe, nor fret about the afterlife, but stayed! Solid as wood, happily a little gnawed, tattered, mesmerized by all that was lavished upon her and all that was taken away! Source: The Phoenix Gone, The Terrace Empty, by Marilyn Chin One Today By Richard Blanco One sun rose on us today, kindled over our shores, peeking over the Smokies, greeting the faces of the Great Lakes, spreading a simple truth across the Great Plains, then charging across the Rockies. One light, waking up rooftops, under each one, a story told by our silent gestures moving behind windows. My face, your face, millions of faces in morning’s mirrors, each one yawning to life, crescendoing into our day: pencil-yellow school buses, the rhythm of traffic lights, fruit stands: apples, limes, and oranges arrayed like rainbows begging our praise. Silver trucks heavy with oil or paper— bricks or milk, teeming over highways alongside us, on our way to clean tables, read ledgers, or save lives— to teach geometry, or ring-up groceries as my mother did for twenty years, so I could write this poem. All of us as vital as the one light we move through, the same light on blackboards with lessons for the day: equations to solve, history to question, or atoms imagined, the “I have a dream” we keep dreaming, or the impossible vocabulary of sorrow that won’t explain the empty desks of twenty children marked absent today, and forever. Many prayers, but one light breathing color into stained glass windows, life into the faces of bronze statues, warmth onto the steps of our museums and park benches 2 as mothers watch children slide into the day. One ground. Our ground, rooting us to every stalk of corn, every head of wheat sown by sweat and hands, hands gleaning coal or planting windmills in deserts and hilltops that keep us warm, hands digging trenches, routing pipes and cables, hands as worn as my father’s cutting sugarcane so my brother and I could have books and shoes. The dust of farms and deserts, cities and plains mingled by one wind—our breath. Breathe. Hear it through the day’s gorgeous din of honking cabs, buses launching down avenues, the symphony of footsteps, guitars, and screeching subways, the unexpected song bird on your clothes line. Hear: squeaky playground swings, trains whistling, or whispers across café tables, Hear: the doors we open for each other all day, saying: hello| shalom, buon giorno |howdy |namaste |or buenos días in the language my mother taught me—in every language spoken into one wind carrying our lives without prejudice, as these words break from my lips. One sky: since the Appalachians and Sierras claimed their majesty, and the Mississippi and Colorado worked their way to the sea. Thank the work of our hands: weaving steel into bridges, finishing one more report for the boss on time, stitching another wound 3 or uniform, the first brush stroke on a portrait, or the last floor on the Freedom Tower jutting into a sky that yields to our resilience. One sky, toward which we sometimes lift our eyes tired from work: some days guessing at the weather of our lives, some days giving thanks for a love that loves you back, sometimes praising a mother who knew how to give, or forgiving a father who couldn’t give what you wanted. We head home: through the gloss of rain or weight of snow, or the plum blush of dusk, but always—home, always under one sky, our sky. And always one moon like a silent drum tapping on every rooftop and every window, of one country—all of us— facing the stars hope—a new constellation waiting for us to map it, waiting for us to name it—together Written for the 57th Presidential Inauguration, January 21, 2013
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Running head: POEM ANALYSIS

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Poem Analysis
Name
Institution

POEM ANALYSIS

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Poem Analysis

One Today By Richard Blanco
In Blanco & Pilkey (2015), the most dominant phrase in the poem is “Millions of faces in
morning mirrors.” The poem talks about the struggles that every individual has to go through
every morning to put bread on the table regardless of the occupation.
The poet uses the word millions to show that entirely the whole population has to wake
up every morning to report to their workplaces. The faces looking in morning mirrors imply that
people take their time to prepare before reporting to work. The fact that most of the people
reporting to work take their time to look in th...


Anonymous
Just what I was looking for! Super helpful.

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