Maxine Kumin's Poem 'Woodchucks'

An (Inter) textual Analysis of Two Poems from Nikky Finney’s Head off & Split (2011)

“civil war,” and that she had “temporarily left the field of battle.” She continues to allude the

Sinclair’s use of imagery further enriches her poem by using sensory details that insert readers into the world created in the poem. “This smashed archipelago. Our wild sea grape kingdom” (line 30) depicts the speaker, mother, and setting to be shrunken by the ocean that surrounds and sustains them. Throughout Hands, the imagery depicts objects, actions, and ideas to appeal to the readers physical senses. Sinclair’s vibrant imagery injects inanimate objects, like the ocean and kingdom with soul and stirs them to life.

In Woodchucks, a poem by Maxine Kumin, a gardener is having problems with woodchucks invading her garden. She attempts to kill the woodchucks with cyanide gas, but the Woodchucks wouldn’t die. The pacifist gardener, resorts to violence and shoots the woodchucks with a rifle. She was hoping for an easy solution but ended up going against her peace loving ways and turned violent. Throughout the poem, Maxine Kumin slowly reveals the underlying meaning of her writing. Kumin emphasizes that there are violent thoughts and tendencies in every individual by referencing real life events, by escalading the tone of the poem, and by using a series of literary devices.

In the poem “Woodchucks” by Maxine Kumin, the speaker is in her garden and is annoyed with some woodchucks that are eating and destroying the produce in the garden. The speaker in turn tries to remove the woodchucks by using humane gas to kill them and when that is unsuccessful, she resorts to more violent means. This poem uses the annoying woodchucks to signify the Jewish people during the Holocaust by the Nazi Party.

The poem suddenly becomes much darker in the last stanza and a Billy Collins explains how teachers, students or general readers of poetry ‘torture’ a poem by being what he believes is cruelly analytical. He says, “all they want to do is tie the poem to a chair with rope and torture a confession out of it”. Here, the poem is being personified yet again and this brings about an almost human connection between the reader and the poem. This use of personification is effective as it makes the

At an early age, Stephen Kuusisto discovered his love of literature. He speaks of two saints in his life, the first being Mrs. Edinger who taught him how to read. It is evident, in Kuusisto’s writing, that literature was a safe place for him. As the book goes on lines of poetry are written after a story or thought is stated. It was intriguing to read little bits of poems as though it was exactly what was going through Kuusisto’s mind at that very moment. Personally, it seemed as though Kuusisto associated all of his feelings and emotions with poetry. Furthermore, the poetry he quotes is not necessarily

In the poem “Thou Blind Man’s Mark” by Sir Philip Sidney, the speaker is struggling with his desire for someone or something. They are fighting this feeling for control over his thoughts and mind. It is shown that both the speaker and desire are constantly fighting, with neither fully able to take control. This fact is evident through Sidney’s use of violent diction, personification of desire, and oxymorons.

Through my studies of this poem, I was unable to find any documentation of the poet, Jim Stevens; therefore I was unable to assess his life and his reasoning behind writing this poem. Because of this I have had to make my own assumption that Jim Stevens might be writing this poem about himself. His lack of publication leaves a

A deeper level is achieved in the mind of the narrator when she acknowledges her own mental state and that she is eager to leave her sad mood. While the man is described as animal-like and savage, she stands “In moody sadness, on the giddy brink” (9) full of contemplation and reflection on her own worldview. The poet is quite self-aware while the lunatic is not, and through her intelligent banter, the reader can see the extreme difference in personality. The poet’s own self-conception, however, is ironic in that she is wishing for ignorance that can only be achieved by lack of a self-concept. The catch-22 she experiences is perplexing, both to her and the reader.

Finally, the reader is introduced to the character around whom the story is centered, the accursed murderess, Mrs. Wright. She is depicted to be a person of great life and vitality in her younger years, yet her life as Mrs. Wright is portrayed as one of grim sameness, maintaining a humorless daily grind, devoid of life as one regards it in a normal social sense. Although it is clear to the reader that Mrs. Wright is indeed the culprit, she is portrayed sympathetically because of that very lack of normalcy in her daily routine. Where she was once a girl of fun and laughter, it is clear that over the years she has been forced into a reclusive shell by a marriage to a man who has been singularly oppressive. It is equally clear that she finally was brought to her personal breaking point, dealing with her situation in a manner that was at once final and yet inconclusive, depending on the outcome of the legal investigation. It is notable that regardless of the outcome, Mrs. Wright had finally realized a state of peace within herself, a state which had been denied her for the duration of her relationship with the deceased.

As explained by William Hawk in his essay “Pacifism: Reclaiming the Moral Presumption”, the pacifist is a person that refuses to participate in war for in any circumstance for two reasons; the grounding belief that war is wrong, and the belief that human life is sacred and invaluable. Many pacifist

This poem opens with an extreme and vivid simile, “The bright wire rolls like a porpoise” (line 1). This beginning not only grasps the attention of the audience, but the image intensifying language that Kooser has chosen

“The relationship between the energies of the inquiring mind that an intelligent reader brings to the poem and the poem’s refusal to yield a single comprehensive interpretation enacts vividly the everlasting intercourse between the human mind, with its instinct to organise and harmonise, and the baffling powers of the universe about it.”

Stevens makes this fact apparent from the beginning of the poem, when he notes not only “human revery” but also “the sexual myth” and the “poem of death” (1). Therefore, these defined formulations are only categories of a greater whole, which remains unmentioned in the poem. In deliberating on Stevens’s poems, we can come to understand this encompassing whole as the imagination, which impels an individual to make “eccentric propositions” about his or her life and fate (4-5, 10).