The Similarities Between Hanging Fire 'And Two Kinds' By Audrey Lorde

One thing that the author was trying to get across is that people have to fight for what they want. Nothing is simply handed to anyone. In “Many Rivers to Cross”, she goes through a lot of adversity. The divorce with her husband was one, but the main one was her mother’s suicide. Usually after someone dies in a person’s life, a whole new window is opened. The young woman realized a lot after her mother’s death. The effect of her mother’s death was that she knew from then on that she had to live her life the best way she can. She was so tired of letting everyone down. This was her revelation, “And it was to honor my mother that I did fight with my father, that man who could not tell the living from the dead,” she said, “And really it is to honor Mrs. Hazel Griffin and my cousin Valerie all the woman that I love” (Jordan, 68-71). The struggles that the character in “Two Kinds” goes through is continuously disappointing her mother. What was most difficult for her was that she lives in a foreign family, a Chinese family, which most people know that they can be really strict people. Every time her mother set her up to do something that she did not want to do, she failed at it and that made her mother upset. The author is showing the reader the effects of that through the emotion of the child. But she did come to a revelation with herself. She knew that her mother could only do so much

She says that the "child" had been by her side until "snatched from thence by friends, less wise than true" (line 3). Basically she is saying a trusted person “snatched” her work from her without permission to take them to England to be printed. Had it not been for her brother-in-law taking her work back to England and getting them printed they may have never been known. The intimacy and feeling she shares with her work is like that of a mother and child and that bond was infringed upon when her work was "exposed to public view" (line 4). The intrusion of her brother-in-law getting her work printed is the cause of feeling that follow. Ironically the next thing she talks is the shame she has been thrust upon her by not being able to perfect the work before it was published. This is illustrated in line five where she writes, “Made thee in rags,” as to say her work is like a child dressed in rags.

The poem, “Hanging Fire,” by Audre Lorde was a very relatable and enjoying poem to read.

The difference lye within their characteristics; the author Wes’s mother was a strong, independent, educated woman that served her family relentlessly. “My mother slept in the living room to stand guard, she said. She didn’t want me and my sisters to be the first people a trespasser ran into if they entered the house. She was determined to protect us (Moore36).” Later she realized she was losing her grip and needed the assistance only her parents could provide, and they did.

The confessional mode of poetry delves into the inner struggles of the persona as she seeks creative independence, free from the constraints of her role as mother and daughter. The juxtaposition between the two settings, “the lit house and the town,” symbolises the persona’s desire for isolation as she contemplates her filial responsibilities relative to an innate desire for solitude, “wanting to be myself alone.” Dobson’s biblical allusion to Peter’s betrayal of Jesus in “Three times I took that lonely stretch,/ Three times the dark trees closed me round” utilises anaphora to indicate her prolonged attempts to embrace her creative potential. Writing in a period of social and gender re-evaluation during the 1960s, Dobson gives us insight into the way women were struggling to balance career against the patriarchal expectations of motherhood. The night, free from daily pressures metaphorically “absolves me of my bonds” creating a lighter sense of being, which is reinforced in the synecdoche “only my footsteps held the ground.” However, the use of conduplicatio in “One life behind and one before” represents her feeling of entrapment, as he remains in a conflicted state. The emotive language in “cut off… from love that grows about the bone” captures the confronting nature of her discovery by examining the

Plath starts her poem out negatively, ‘barely daring to breathe or Achoo’, with a distinct repetition of the ‘oo’ sounds in ‘Achoo’, ‘do’, ‘shoe’ and ‘du’ creating a childlike, nursery rhyme style of delivery that contrasts greatly with the violent and dark themes. Harwood begins on a significantly more positive if wistful note, ‘forgive me the wisdom I would not learn from you’ positioning her mother as a wise and positive influence. The tones of the poems are very different, as shaped by the poet’s experiences with their parents, with Harwood creating an affirmative, loving description of her relationship with her mother while Plath develops a much darker and sinister view s.

In many stories and novels, parents play a huge role in them. Sometimes the viewpoints of the parents cause a lot of tension between characters. In the stories “Two Kinds” and West Side Story the characters are influenced by parental involvement. West Side Story by Arthur Laurents, is basically a modern Romeo and Juliet, and “Two Kinds” by Amy Tan. Two Kinds is a story of a little girl who’s mom is so into her thought that her daughter could also be a prodigy at something if she tried hard enough, and urged her to try many different types of talents, especially piano.

The mother in “Two Kinds”, is culturally accustomed to raising a child to be obedient and expects her daughter to bare her extreme parenting measures. With the daughter’s mother coming from China she

"Two Kinds" by Amy Tan is about the intricacies and complexities in the relationship between a mother and daughter. Throughout the story, the mother imposes upon her daughter, Jing Mei, her hopes and dreams for her. Jing Mei chooses not what her mother wants of her but only what she wants for herself. She states, "For, unlike my mother, I did not believe I could be anything I wanted to be. I could be only me" (Tan 1). Thus this "battle of wills" between mother and daughter sets the conflict of the story.

"You think because I am her mother I have a key, or that in some way you could use me as a key? She has lived for nineteen years. Over and over, we are told of the limitations on choice--"it was the only way"; "They persuaded me" and verbs of necessity recur for descriptions of both the mother's and Emily's behavior. " In such statements as "my wisdom ! came too late," the story verges on becoming an analysis of parental guilt. With the narrator, we construct an image of the mother's own development: her difficulties as a young mother alone with her daughter and barely surviving during the early years of the depression; her painful months of enforced separation from her daughter; her gradual and partial relaxation in response to a new husband and a new family as more children follow; her increasingly complex anxieties about her first child; and finally her sense of family balance which surrounds but does not quite include the early memories of herself and Emily in the grips of survival needs. In doing so she has neither trivialized nor romanticized the experience of motherhood; she has indicated the wealth of experience yet to be explored in the story’s possibilities of experiences, like motherhood, which have rarely been granted serious literary consideration. Rather she is searching for

In the story Two Kinds by Amy Tan it tells the tale of conflict between a mother Suyuan and her daughter Jing-mei over piano lessons. Two Kinds deals with a clash between a mother’s belief of hard work and persistance and a daughter's belief that being a prodigy is unachievable. Amy Tan shows generational differences among immigrant families negotiating the mythology of the American Dream.

The last two lines of the poem are a timid reflection on what might happen “Had I the Art to stun myself/ With Bolts—of Melody!” (23-24). The idea that creation is a power that can get loose and injure even the creator illuminates why in this poem the artist positions herself firmly as a mere spectator. In these first two poems, we meet a Dickinson who is not entirely familiar to us—even though we are accustomed to her strong desire for privacy, these poems can be startling in the way they reveal the intensity of Dickinson’s fears. She is, after all, shrinking from what is dearest to her—nature, one of her favorite subjects, becomes a harsh judge, and poetry, her favored medium of communication, can suddenly render the reader “impotent” and the writer “stun[ned]” (19, 23). The extremity of her positions in shrinking from the small and beautiful things she loves creates the sense that this is just the beginning of a journey by leaving so much room for change.

Another useful tool in analyzing a poem is to identify poetic devices, meter, and a rhyme scheme. Through her deft use of extended metaphor, Bradstreet weaves an intricate web of parallels between parent and author and between child and book--both relationships of creator to creation. This use of metaphor allows the reader to relate emotionally to Bradstreet’s situation. In line seven, we see the uses of litotes, “At thy return my blushing was not small,” to express the depth of her embarrassment. She also uses metonymy in line eight to express her pain more clearly, “My rambling brat (in print) should mother call.” The simile used in line nine stresses her objection to the published work, “I cast thee by as one unfit for light.” Then in line 19, the poetic device of consonance is used which provides emphasis on her warning, “In this array ‘mongst vulgars may’st thou roam.” In this poem, through the use of personification and apostrophe Bradstreet conveys her feelings and emotions. Anne Bradstreet ensures her poem’s success by linking the triumph and tragedy of authorship with the pain and pleasure of creating and nurturing human life. The meter used is

Another poem titled “The Author to Her Book” gives the reader the image of a baby being born. Bradstreet critics her works again and again seemingly portraying her works are not good enough. She refers to the “child” having blemishes and crippling handicaps that represents the deep faults and shortcomings in her work. Washing the child, rubbing off a blemish, and stretching its joints but failing to improve his imperfections all contribute to an image of Bradstreet rewriting her book. Dreadfully trying to increase the quality and standards in her work, the more imperfections she found. Towards the end of the poem Bradstreet talks about how she would give her ugly “child” new clothes and it just appears that her real life actions contradict her poem. She is actually very poor in life and could not afford new clothes thus sending her children away from the house.

While Lizzie cheerily attends her chores, Laura longs for the night. Suspense ensues. When “at length slow evening came” (l. 215; italics mine), Laura is compared to a “leaping flame”(l.218) as she loiters in anticipation of