Analysis Of The Poem ' Taps Upon The Grass '

I have lived in only one location my entire life: Edwardsville, Illinois. A peripheral suburb of St. Louis, it stands as the rare oasis of people in a desert of corn, pinned in its own personal bubble. Due to this blend of time and isolation, I developed a natural familiarity with my hometown. But, throughout my childhood, I longed to break free from the confines of the bubble and venture outward. However, this changed last summer, as I walked through Richards Brickyard, our family heirloom, that my great-grandfather, Benjamin Richards, founded over 120 years ago. I felt these childlike sentiments slip away. The bubble that had surrounded me for so long began to vanish, and the picture that it had been obscuring was slowly revealed.

As you walk down the streets of Arcadia, Nebraska, you look from side to side and see nothing more than a quiet little town. What you probably aren’t aware of is the history behind this “little town”. Arcadia is built off of determination, character, and distinctiveness. As you make your way down Main Street, you start to grasp a glimpse of the past. Arcadia, Nebraska is a village with quite a story to tell. Not many people know how Arcadia was founded or even how it came to be. Arcadia has dealt with struggles and overcome tragedies, whereas most towns simply would have died away. In addition to the charm of Arcadia’s perseverance, there are also many fun

In this context, I believe that the fruit being cut down symbolizes that Ha is leaving South Vietnam too soon, before she is ready, just as the papaya is cut down before it is ready. I believe this because in the poem “Wet and Crying,” Ha says, “My biggest papaya is light yellow, still flecked with green.” This shows that the papaya is not quite ripe and ready to be picked, just like Ha is not yet ready to leave her home country. Furthermore, in the same poem, Ha says “Brother Vu chops; the head falls; a silver blade slices.” I believe that, judging from the word choice that the author uses, Ha thinks of this as an execution of sorts. I believe this because of the words the author uses such as “Chop” and “The head falls.” This shows that Ha

W.E.B. Du Bois has contributed greatly to contemporary sociological thinking because he began a conversation of what it means to be “other” in this American Society. In his conversation of what it means to be other he constructed and included three major concepts that continue to resonate till this day. His concepts include “the color-line”, “the veil”, and the “double consciousness” (Appelrouth and Edles, 269). Together, these concepts not only described past experiences of blacks in American society (e.g., slavery) but also continue to remind us that the relation of whites and people of color remains complex. In Du Bois’s own words, “the Nation has not yet found peace from its sins” (273).

Most of the local people had a story or two to tell about their experiences with

In the essay “Just Walk on By”, by Brent Staples, Staples makes the generalized claim that both caucasians and african americans, including Staples himself, contribute to the stereotyping of black men, as all around shady characters, in their own way, however, not all black men fit the stereotype.

Humanity is but a facet of the sublime macrocosm that is the world’s landscapes. In the relationship between man and landscape, nature is perpetually authoritarian. In her free-verse poems, The Hawthorn Hedge, (1945) and Flame-Tree in a Quarry (1949), Judith Wright illustrates the how refusal to engage with this environment is detrimental to one’s sense of self, and the relentless endurance of the Australian landscape. This overwhelming force of nature is mirrored in JMW Turner’s Romantic artwork, Fishermen at Sea (1796). Both Wright and Turner utilise their respective texts to allegorise the unequal relationship between people and the unforgiving landscape.

Out in the yard of an old married couple, there grew a peach tree that flourished with fruit every year, and every year the routine was the same. When summer arrived, each day the old couple would walk outside to pick the ripest peaches on their tree. Some days, they would walk home proudly with a basket full of ripe peaches, giddy with excitement for what they might bake with their prized fruit. But every once in a while, they would come home with very few peaches, allowing them to solemnly eat their fresh fruit instead of a concocted sweet treat.

Death is inescapable. In the same way, life is inescapable. The Appalachian short story, “Jake Pond”, portrays this inevitable cycle through the depiction of a young boy enjoying nature. Lou Crabtree writes of the many inner workings of life through symbolism. While some would say this story is a literal telling of a boy and his surroundings, it does, in fact, include a plethora of metaphors to display the complexities of life through figurative language (Crabtree). In Lou Crabtree’s “Jake Pond” symbols such as the young boy, black snakes, pond, hollytree, and other natural entities portray themes of life and death, while detailing multiple aspects of change.

A true libertine of the Restoration Era, John Wilmot, Second Earl of Rochester – better known as his literary persona Rochester – is recognized for his poetry that often breaks barriers and social conventions in obscene ways. One such poem that is particularly explicit, some might even say pornographic, is entitled “A Ramble in St. James’s Park.” Including the sex, alcohol, and debauchery that is so characteristic of Rochester, this poem creates a unique balance between depravity of content and elegance of literary form. While there is much evidence that Rochester represents sex explicitly with obscene and shocking language in “A Ramble in St. James’s Park” for the purpose of satirizing both himself and contemporary love poems, I will argue that in doing so, he also makes a broader statement regarding the tension between the public and private spheres of sexuality, specifically representing female sexuality in the public sphere and erotic female bodies as communal property; finally, the lewd language hints at an anxiety about the power of the feminine over men, thus queering gender roles by becoming the abject feminine.

The Battle of Prairie Grove was on 1862, northwestern Arkansas and southwestern Missouri. The Union when a force called for General James G.Blunt holds off a force of Confederates under General Thomas Hindman. Hindman joined in force at Fort Smith, Arkansas, to make an attempt to recapture territory lost during the Pea Ridge campaign of early 1862. When Hindman sent an advance detachment of cavalry under John Marmaduke in a minor engagement at Cane Hill. After Cane Hill, Hindman marched his 11,000-man army across the Boston Mountains and Approached Blunt’s 5,000 Troops. Hindman prepared to attack, but it was surprised by the approach of Union reinforcements from Missouri. Union General Francis Herron had marched 7,000

The people are very visible in the community. They were observed running, jogging, walking, skate boarding, sitting on park benches, congregating in the front of convenient store smoking and drinking beers what I believed to be beers because the containers are in a paper bag.

In the first stanza of the poem, Swells, Ammons makes a connection between swell and memories. Swell is the vehicle and is use as a way to describe the substance of a particular memory. Memory plays a role as the tenor. The speaker believes there is a correlation in terms of the size of the “Swell in the ocean” with the importance or impact of the memory; as the swell increase in size, so will the memory significance. The stanza then goes on to create an image for readers with the words, “Information of actions summarized (surface peaks and dribbles.” One possible reason the lines are written in this way is because the words create an imagery of contours and functions of a human brain. Certain sections the human brain can retain information and condense data into its most useful aspects.

The two short stories “Black Swan Green” written by David Mitchell and “Letters To A Young Poet” by Rainer Maria Rilke both share a common central idea. In both stories, there is a mentee looking for advice from their mentors. The mentees have a passion for poetry and are aspiring poets. The mentors inform their mentees that someone who wants to be a poet should get their motivation from natural aspects. For one thing, It’s your natural beauty that makes you who you are as a person and a poet. Poetry is for yourself, your thoughts and ideas, not an audience.

Etty Hillesum was a young, Jewish woman who resided in Holland during World War II. She was a progressive woman, “Defying the gender stereotypes of her time and place, she had worked steadily for years and years to cultivate the sort of richly faceted identity that few women of her time achieved” (64). And despite coming from a Jewish lineage, she never closely observed the religion instead, chose to forge her own religious path. She began writing diaries documenting her daily life as a part of her recommended treatment plan by psychoanalyst friend, Julius Spiers. Throughout her works, she began pondering many of life’s questions. She came to believe that thoughts of anger, sadness, fear, and grief were not a good use of precious time. “One must not cling to moments of malaise and prolong them needlessly, because in so doing one may prevent the birth of a richer moment” (38). She appeared to become more enlightened as her diaries continued. “All disasters stem from us. Why is there a war? Perhaps because now and then I might be inclined to snap at my neighbor. Because I and my neighbor and everyone else do not have enough love” (39). During her time going back and forth between Amsterdam and Westerbork, “She became the ‘Thinking Heart of the Barracks’ because she had acquired the strength to take the most wrenching truths and yet remain certain that life is full of meaning and beauty” (58). As what looked to be the end for her and her people, she learned not to be afraid of