Wind In A Box Poem

The following passage is an excerpt from Katherine Anne Porter’s short story “The Jilting of Granny Weatherall.” Read the passage carefully. Then write an essay in which you analyze how such choices as figurative language, imagery, and dialogue develop the complex emotions the character is feeling.

In this excerpt from Ann Petry’s 1946 novel, The Street, the wind is portrayed as a force that tests one’s perseverance. The relationship between Lutie Johnson and the urban setting is established with the use of imagery, personification, and selection of detail. In her novel, Petry gives the “cold November wind” human-like qualities to portray the wind as the central antagonist. Petry developed the relationship by opening with a description of the actions of the wind as “violent assaults”. Although the wind had created a hostile environment, Lutie Johnson was able to persist through the obstacles it had thrown at her.

The Divine Wind, written by Garry Disher, is a novel in which not only shows and describes the struggle of characters during World War II in Broome, Australia, but also the many aspects of prejudice which affect namingly Ida Penrose, Mitsy Sennosuke, and Magistrate Killian.

Terrance Hayes is an American poet who published his first poetry in 1999. His poetry was a big hit from the time that he published it. Terrance Hayes won an award for his first poem book that was published in the nineties. After achieving this award, he continued to publish poems that took the world by storm. Terrance Hayes has maintained his status among the elite poets that are still walking this earth. He eventually published more poetry books that also won an array of awards for various different reasons including the best book for 2006. The way that Terrance Hayes sculpts each one of his poems into a magnificent piece of art is like no other poet. Contained in his latest work, “What it Look Like,” Terrance Hayes use of style, cultural context, symbolism and his use of stereotypes makes this poem one of his most elegant pieces, that can reach communities with the amount meaning that it includes.

This is particularly evident within drifters were a families sense of identity is continuously hampered by their nomadic lifestyle with they must embrace as itinerant workers. Throughout the poem, the blackberry bush is constantly referred to as a symbol of hope that the family would settle into one location “when they came here, she held out her hand bright with berries”. The use of such a symbol brings to light the similarity between the drifter’s erratic life journey and the blackberry bush. As the family move into a town they begin to embrace there environment, only to end the experience as quickly as it began similarly to the blackberry bushes cycle of growth and ‘bright berries’ only to wither and die. This ultimately displays the emotional obstacles within a physical journey that reinforces our inner strength. Furthermore, the negative and positive aspects of the journey of life experienced by the characters are highlighted through the juxtaposing of the girls reaction to the decision to move, “the oldest girl was close to tear/ the youngest girl was beaming”. The positive element of the a family being an individual’s sense of support and identity is vaguely portrayed, however the overwhelming negative sense that such a family provides and undesirable predetermined script of one’s life is emphasised as in this instance it has impeded on the girls growth. This ultimately increases the responder’s awareness of the underlying emotional journey within every physical journey, increasing the inner strength of those that choose to take such

Also, ‘the sun threw a bright dust-laden bar through one of the side windows’, this represents that the little hope in the bunk house only helps to further illuminate the darkness and harshness of society. In a setting, such as the ranch, where dreams are suppressed and suffocated, they take on a greater importance and significance to the mens lives, they rely on the dreams to get by.

In life and in literary text hidden meanings are quite common. There is basic level of understanding by the majority and a concealed meaning that requires a deeper level of critical thinking and analysis. Terrance Hayes provides a “poetic style that resist style” which proves hard to interpret, but I conclude he provides a common theme many might mistake for just an element of poetry (Fabu 1). A common theme present within two of his poems “Lighthead’s Guide to Galaxy” and “Antebellum House Party” as well as ”Mausoleum” from his signature book Wind in a Box is the idea of symbolism and underlying meanings within itself and how individuals tend to look for something more in things even in life instead of being as it is.

The play Inherit the wind by Jerome Lawrence and Robert Edwin Lee contains many abstract symbols that give the story a timeless essence. We see these symbols through the ongoing conflict between evolutionism and creationism. While exploring the conflict the reader gains insight into how exactly ones right to think freely is forbidden through the town itself “ Heavenly Hillsboro”. The idea that ones right to think freely relates to another symbol, the golden dancer. Through the wooden play horse the reader learns that nothing is as it seems and sometimes one must look beyond the horizon.

The use of symbolism and imagery is beautifully orchestrated in a magnificent dance of emotion that is resonated throughout the poem. The two main ideas that are keen to resurface are that of personal growth and freedom. Furthermore, at first glimpse this can be seen as a simple poem about a women’s struggle with her counterpart. However, this meaning can be interpreted more profoundly than just the causality of a bad relationship.

The narrator’s feelings of inferiority and powerlessness parallels the female figure she sees trapped behind the pattern in the wall-paper adorning her room. She gradually withdraws from both John and reality by locking herself in the room and ultimately merging with the figure. Through the changing image of the pattern from a “fait figure” (Gilman 46) to a “woman stooping” (Gilman 46) behind the paper and “shaking the bars” (Gilman 46) as if she wanted “to get out” (Gilman 46), we can see her becoming one with the figure: “I pulled and she shook, I shook and she pulled, and before morning we had peeled off yards of that paper.”(51) Her collapse into madness as reflected in her behavior with the “bedstead [that] is fairly gnawed” (Gilman 51) and her “creeping all around” (Gilman 50) is a direct result of her passive submissiveness to John’s control of her life.

The concept of the malign nature of the tenement is developed throughout the first stanza with Crichton Smith exploring his own role in his mother 's confinement. He tells the reader that whilst he drove away, his mother would 'wave from the window. ' Again the poet successfully employs alliterative words to draw our attention - this time to the image of his frail mother still lovingly 'waving ' from her prison 'window '. This notion is supported by Crichton Smith comparing himself to

Wordsworth uses imagery to convey positive images of confined spaces. The first instance of this is in the introduction of the poem, “Nuns fret not at their convent’s narrow room” (Wordsworth 78). A nun is not unhappy with her small room because she is able to find peace there. This is where nuns are able to connect with god. The connections that they feel there helps to provide them with comfort. Even though it may be a small room, it is what they are familiar with and have grown accustomed to. Over time they probably haven’t noticed the small space of the convent because it has been over shadowed by the positive memories formed within the building. Imagery is used throughout the poem to continually convey the theme. All of the images that Wordsworth portrays lead to the same conclusion. Each image that Wordsworth creates in the poem is of a confined space. However, the subject of the image is never trying to flee from this place. In many instances they are drawn towards these compact spaces. All because of the same general reasons, it is comfortable, safe, and familiar.

Through structure, Dickenson and Wright express their holistic views through both critiquing and celebrating life. Dickenson’s poem, ‘187’, reflects the life of a domesticated woman. The poet directly addresses the audience when she suggests, “Stroke the cool forehead – hot so often”. Through inclusive language, in addition to hyphenation, the audience are made to feel involved, hence understand how the woman is now at peace after having worked laboriously her whole life. The last line of the poem, “Indolent Housewife – in Daisies – lain!”, further enforces that the woman is at peace through the personification of daisies and the exclamation mark emphasising that her life was so hard-working that in death she can finally relax. Wright also employs a similar idea in her poem, ‘Metho-Drinker’. Like Dickenson, Wright utilises personification when she states, “who cried to Nothing and the terrible night”. Through personifying “Nothing” the audience understands that this man’s life was lonely and hopeless, hence through death, he became “safe in the house of Nothing”. A gentle

Gerard Manley Hopkins, “The Windhover,” has been described as one of the most challenging poems to explicate, so with my limited knowledge I will attempt to do this correctly and disagree with professors who have studied this poem far longer than I have.

Judith Wright extensively uses the structure of her poems to convey many ideas and themes. The structure of a poem is crucial to delivering its key message as it determines both the tone and how the poem is read. She shows the reader throughout the poem how the dust, which is symbolic of the barren emptiness that has “overtaken… dreams” of beauty and comfort as well as financial dependence, will consume the earth if the current environment is not conserved and protected. Wright’s use of title emphasizes this point in the clearest way she can and re-enforces her major concept to the audience. Another example of how structure is used in this poem is juxtaposition. The first and second stanzas are strategically placed next to each other because of their greatly opposing descriptions. In stanza one, the new world of dust and wind, many negative adjectives are used, such as “harsh”, “grief” and “steel-shocked”. Stanza two, which talks about the past, contains a wide range of positive adjectives such as “good”, “kinder” and “beautiful”.