Showing 31 - 40 of 483 annotations in the genre "Poem"
This long poem is divided into 48 segments, each a meditation on the narrator's struggle to live with emphysema. Some sections consist of only one line (10: "How alone can you get?"), others are more lengthy; for example, section 37 is a primer on inhalers, "puffers, " how to use them and what happens if you don't.
Every observation in this poem is from a literate poet's point of view, one here focused on emphysema, and so the breath, the body, and the daily rituals of living become primary. The whole world breathes--even the computer, which "sighs" when it is turned off (section 34)--but the poet cannot catch his breath. Reading the poem, even silently, the reader becomes short of breath too, physically aware of the patient's limitations.
In section 24, Carruth laments that he cannot even negotiate the 500 yards up hill to his son's house; in section 29, he writes that even the dog seems "reproachful" when his owner is unable "to play" and throw the blue ball. The accumulated limitations of these taken-for-granted actions makes the author both "pissed and sorry" for the dog, for the man, for the world.
In spite of the physical rebellion of the lungs, the narrator continues to smoke, as many patients with chronic obstructive pulmonary disease (COPD) do, adding another dimension to this poem. Even facing death, the patient's addiction to tobacco is overwhelming; in section 11, the narrator says, "Now I am dying. Now I am afraid. Please give me a cigarette." In section 45, Carruth laments this "nonsense of misery."
Skunk Hour is the penultimate poem in Lowell’s 1959 volume of poetry, Life Studies. It is composed of 8 sestets with an internal rhyming scheme in each sestet that can only be called irregular from sestet to sestet. The poem moves slowly, beginning with a descriptive tone that is somber ("she buys up all / the eyesores facing her shore, / and lets them fall."), progresses to frankly pessimistic ("the season’s ill") and ultimately becomes confessional and egoistically relational ("I watched for love-cars. Lights turned down, / they lay together, hull to hull, / where the graveyard shelves on the town. . . . / My mind’s not right.")
The poem opens with a series of portraits of people and phenomena that comprise the poet’s current landscape: "Nautilus Island’s hermit heiress" who is "in her dotage"; the "summer millionaire" whose nine-knot yawl / was auctioned off to lobstermen"; the decorator who brightens his shop but appears as hopeless as the narrator, who draws yet another contrast between appearance and reality, remarking that the decorator knows "there is no money in his work, / he’d rather marry."
The fifth sestet marks a turning point and, to signal it, Lowell takes as his first line the famous "Una noche oscura" of St. John of the Cross, another dour poet/mystic: "One dark night". (In a collection of essays cited on the Internet (reference 1) Lowell writes, "Then all comes alive in stanzas V and VI. This is the dark night. I hoped my readers would remember St. John of the Cross’s poem. My night is not gracious, but secular, puritan, and agnostical. An Existentialist night.") This line begins the first of two consecutive sestets that are concerned with corporal love, bracketing a middle line that announces, to no reader’s surprise, "My mind’s not right."
The second of these sestets moves from a maudlin song refrain to a frankly depressive, almost suicidal pose: "I hear / my ill-spirit sob in each blood cell, / as if my hand were at its throat. . . ." and ends with "I myself am hell; / nobody’s here --", which, as James E. B. Breslin reminds us, is a quotation from Satan in Book IV of Paradise Lost. (ref.1)
Enter the titular skunks: as a parenthetical predicate to the final line of the preceding sestet ("nobody’s here --"), the poet corrects the apparently psychological meaning of "nobody’s here --" to refer to physical presence, noting that in fact there is someone here, namely a family of skunks.
The final two sestets are among the most visually powerful images in poetry with the paradoxically high drama one would not expect from skunks. The hungry skunks "march on their soles up Main Street" in search of food with fiery red eyes as the poet, in response to their upward march, stands "on top / of our back steps" and takes a deep breath of the "rich air", watching the mother skunk jab her head into a cup of sour cream--a mother skunk who, in a fitting yet curiously ambiguous final line, "will not scare."
reference 1. http://www.english.uiuc.edu/maps/poets/g_l/lowell/skunk.htm accessed January 5, 2005.
Summary:Twenty-one stanzas of couplets spin out stereotypes of Native Americans promulgated by white American culture. Among those stereotypes that Alexie develops: the tragic Indian; Indian women as sexual objects for white men; Indian men as secretly desirable to white women; Indians as violent, alcoholic, childlike, mystical, and members of a "horse culture." But in addition, Alexie emphasizes how American whites have co-opted Indian culture: "white people must carry an Indian deep inside themselves" until finally, "all of the white people will be Indians and all of the Indians will be ghosts."
Summary:The poem begins, "Somebody who should have been born / is gone" and this phrase is a refrain intercalated between two sets of three tercets, with a final closing tercet. Each tercet has a rhyme scheme of a, b, a. The speaker narrates a journey that takes her south to an abortionist in the mountains of Pennsylvania, and then, after the abortion, back home to the north. The situation and the speaker's perception of it are rendered in metaphors that draw on the natural environment through which the journey proceeds. At the beginning, the earth puffs buds, and the drive proceeds toward blue-green mountains -- metaphors of fecundity. The description of the mountains as "humps" might imply the sex act that initiated pregnancy.
The speaker, the "childless woman" of the poem, describes the way infertility has rendered her body aimless and horrible. Her womb, like a dried-out plant, "rattles its pod." Her body is a knot, lines turned back on themselves instead of leading to the future, making it unnatural, "Ungodly as a child’s shriek." All her body can produce is the blood of menstruation, which signifies her own death, and a surreal and horrifying landscape "gleaming with the mouths of corpses." (18 lines)
The poem expresses the devastation that parental abusiveness inflicts and the rationalizations its recipients adopt for emotional survival. In a perverse way, childhood mistreatment by her father meant the narrator was being given his attention. His death has guaranteed that the loving relationship which she had with him at the end of his life is safe from harm. So precarious did she believe his love to be that she feared even now to offend him: "he could / re-skew my life."
Nan Cohen's poem, Rope Bridge, from the collection of the same name, explores the intersections between science and art by lyrically describing a landmark psychological study on the attribution of emotion. The study, by Dutton and Aron in 1974, was based on the theories of Schacter and Singer from the previous decade. In one set of experiments, male volunteer subjects met a female assistant under two different circumstances - either in a benign setting or after braving the swaying Capilano Bridge. This bridge is suspended hundreds of feet above a river near Vancouver, British Columbia, Canada; subjects who met the assistant after crossing the suspension bridge were more likely to exhibit behaviors compatible with feelings of attraction to the woman.
The brilliance of Cohen's poem is the smooth interplay between scientific and poetic language. Imbedded in the poem are survey questions with lines ready for tick marks, as well as phrases such as "the attribution of a heightened state". The scientific language is not only juxtaposed, but intertwined with lyric flights: "Who would say: it is fear that takes my breath, / that wets my palms... / the fear that sleeps in me".
The poet beautifully captures the connection between a successful neurosurgical operation that restores "the jitterbug of impulses" of the brain, with the neighbors' "word of the cure." He likens the neighbors' conversations to "the way, in Montana prairie country, / the first telephones let the local secrets / and sorrows pour through the survey-staked / barbed-wire fences now doubling / as makeshift transmission lines."
In this poem, a young male patient receives stitches in an emergency room for a face wound from an alleyway knife fight. It seems the violence involved drugs, as a "broken syringe" is involved in the fight. However, more telling is the label that the ER doctor uses to describe the patient. The narrator of the poem, apparently an exhausted physician-in-training, is told by the ER doctor to quickly "Stitch up the faggot in bed 6."
The narrator meticulously sews his patient's wound, empathizing completely with him: "Each suture thrown reminded me I would never be safe / in that town." He too, could be ripped open "to see the dirty faggot inside." Furthermore, he ruminates that when the perpetrators of such violence themselves become victims, he would also stitch their wounds--silently, carefully, passively, "like an old woman."
Hicok begins the poem with a statement and jocular rhetorical question that set the tone and pace: "There are two kinds of people and five hundred / seventy-one thousand, three hundred / ninety-six species of beetle but who's / counting?" Immediately we wonder what are the two types of people and who would take the trouble to write out a species count while also joking about it.
The engagement with the poem continues as we learn about the narrator's platonic friend, an entomologist, freshly returned from the Amazon with a bottled beetle and a raging fever. The narrator, alarmed at her delusional state, rushes her to the hospital ("driving / in a way that proved you can be / in two places at the same time") and good medical care. After several days she has regained enough strength to say one word--jar--which refers to the jar containing her beetle specimen. The narrator restores the jar to her, she recovers and returns to the life she loves, a life in the treetops of the Amazon jungle.
Through the course of the poem, the poet plays with all manner of philosophy and religion. The beetle's body is likened to Michelangelo's image of the finger of God reaching towards Adam. The poet plays with numbers as well, rearranging the numbers of types of people and beetles (and throwing in the number of "delicatessens where you can get a fried- / tuna sandwich on waffles"). This lightness is a disarming way to shed light on the heart of the poem--the narrator's deep caring for the scientist and the scientist's deep caring for her work of discovery.