I really enjoyed the selected poems by E.E. Cummings that we were assigned to read. Not to sound like a freak or anything, but I love to read sex poems (especially when they’re tasteful). In my opinion, Cummings is the great at doing this—that is, writing poems that are overtly sexual but not quite Playboy or King Pen poems.
E. E. Cummings’ use of form in these poems definitely adds to the meaning of them—specifically the hypersexual tones in them. In “She Being Brand” Cummings divides his stanzas in a way that reflects the speed of the actions in the poem. For example, if he is describing something that is happening at a slower pace, he places that section of the poem in a single line, thus forcing the reader to actually slow down in reading the poem. This extraction of the poem illustrates this.
“slipped the
clutch(and then somehow got into reverse she
kicked what
the hell)next
minute i was back in neutral tried and
again slow-ly;bare,ly nudg. ing(my
lev-er Right-oh and her gears being inA 1 shape passed
from low throughsecond-in-to-high like
greasedlightning)just as we turned the corner of Divinity.”
Cummings also uses form in “I Like My Body When it is with Yours” in order to add to the meaning of the poem. The final two lines being separated from the rest of the poem really emphasizes the point that this is definitely about having enjoying the sexual company of the poem’s subject. When reading this aloud, the breaks also make the reader slow down in reading, thus also hinting at the sexual context of his words. The bulk of the poem is a relatively subtle expression of how wonderful the speaker feels when his body is with the subject’s body and this is all in one stanza with no breaks. The final two lines are separated with breaks, reading “and possibly I like the thrill/ of under me you so quite new,” causing the reader to speak slower and put emphasis on the sexual climax of the poem.
Wednesday, February 21, 2007
Wednesday, February 14, 2007
ENGL200 Blog #1
What is the relationship between Hughes's "I, Too" and Whitman's "I Hear America Singing"? How does Hughes respond to Whitman's conception of America?
1.) Langston Hughes’ poem “Dream Deferred” has always been one of my favorites. Reading this poem gives me a sense of pride in, and connectedness to, African-Americans living during the Harlem Renaissance (and African slaves in America). I do not get the same sense of inspiration and awe from the Whitman poem. Though aesthetically pleasing, “I Hear America Singing” is boring and unrealistic.
2.) The most obvious relationship between the Hughes’ “Dream Deferred” and Whitman’s “I Hear America Singing” is of a contrasting nature. Langston Hughes and Walt Whitman were in two very different positions in life; they therefore wrote poems from two very contrasting perspectives. Whitman wrote “I Hear America Singing” with the opinion that people in America are generally content, have realized their potential, and are living their dreams. The characters in this poem represent men and women from all walks of life singing, in a sense expressing their satisfaction with the American experience.
Hughes is on the opposite side of the spectrum. He expresses the iniquity that embodies the living experience of many Americans. While the men and women in Whitman’s poem were living happily, “each singing what belongs to him or her and to none else…with open mouths their strong melodious songs,” those living in Hughes’ poem were forced to wait on their unrealized dreams and potential. Walt Whitman describes the condition of American citizens as ideal; however, Hughes goes up against this notion of the “Protestant work ethic” by presenting the reader with his version of the story, one that includes struggle and opposition to a dream.
In addition to this contrast, Hughes also presents a different perspective on work in America. He alludes to festering sores, sagging heavy loads, drying up in the sun…all of which could very well be references to the experience that many field hands (specifically African slaves) would have been experiencing during Hughes’ lifetime. Walt Whitman didn’t mention those aspects of work, only the singing that took place (which according to Hughes and those who were experiencing the same thing was a false and unrealistic expression of complacency).
1.) Langston Hughes’ poem “Dream Deferred” has always been one of my favorites. Reading this poem gives me a sense of pride in, and connectedness to, African-Americans living during the Harlem Renaissance (and African slaves in America). I do not get the same sense of inspiration and awe from the Whitman poem. Though aesthetically pleasing, “I Hear America Singing” is boring and unrealistic.
2.) The most obvious relationship between the Hughes’ “Dream Deferred” and Whitman’s “I Hear America Singing” is of a contrasting nature. Langston Hughes and Walt Whitman were in two very different positions in life; they therefore wrote poems from two very contrasting perspectives. Whitman wrote “I Hear America Singing” with the opinion that people in America are generally content, have realized their potential, and are living their dreams. The characters in this poem represent men and women from all walks of life singing, in a sense expressing their satisfaction with the American experience.
Hughes is on the opposite side of the spectrum. He expresses the iniquity that embodies the living experience of many Americans. While the men and women in Whitman’s poem were living happily, “each singing what belongs to him or her and to none else…with open mouths their strong melodious songs,” those living in Hughes’ poem were forced to wait on their unrealized dreams and potential. Walt Whitman describes the condition of American citizens as ideal; however, Hughes goes up against this notion of the “Protestant work ethic” by presenting the reader with his version of the story, one that includes struggle and opposition to a dream.
In addition to this contrast, Hughes also presents a different perspective on work in America. He alludes to festering sores, sagging heavy loads, drying up in the sun…all of which could very well be references to the experience that many field hands (specifically African slaves) would have been experiencing during Hughes’ lifetime. Walt Whitman didn’t mention those aspects of work, only the singing that took place (which according to Hughes and those who were experiencing the same thing was a false and unrealistic expression of complacency).
Monday, February 12, 2007
The “other” texts that I suggest we read are writings that originate with the ancient African slaves’ tradition of storytelling. The tales of the slave trickster (and the history of them) is very intriguing. African American folktales that originated during slavery in America speak volumes of the resiliency and wittiness of the captive slaves. These would be very relevant due to the unmistakable impact that literature that originated in West Africa has had on American literature (specifically that which has been historically contributed by African Americans.”One popular folktale from this era is called “The Tar Baby.” Another is “Why Mosquitoes Buzz in Peoples’ Ears,” and there is also “Anansi, the Spider.” These folktales will probably be familiar to many in the class, but I think that their significance (both modern-day and historical relevance) will be something new to the most in the class. Also, I think that it would be interesting to engage in this reading in a manner that is native to the West African custom.
“Many of the folk tales have musical participation by the audience that adds much to the tale. It is common for the audience to answer questions aloud, to clap their hands in rhythm to word repetition (chorus), and to join in the chorus….Some of the tales have a repetitive quality to them (such as, the same chorus may be used repeatedly) because the audience wants to enjoy the story and participate in the experience for as long as possible.”
I would be interested in adding music to this and having the entire class participate in this in some way. There are many other stories of African trickster tales that became part of the American slaves’ oral tradition and eventually part of present-day mainstream America.
“Many of the folk tales have musical participation by the audience that adds much to the tale. It is common for the audience to answer questions aloud, to clap their hands in rhythm to word repetition (chorus), and to join in the chorus….Some of the tales have a repetitive quality to them (such as, the same chorus may be used repeatedly) because the audience wants to enjoy the story and participate in the experience for as long as possible.”
I would be interested in adding music to this and having the entire class participate in this in some way. There are many other stories of African trickster tales that became part of the American slaves’ oral tradition and eventually part of present-day mainstream America.
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