Analysis of All CSEC Poems, (2018-2023)
Created by Quelpr.com (JH)
Table of Contents
Orchids .............................................................................................................................................................................................................. 3
This is the Dark Time, My Love ..................................................................................................................................................... 7
Ol’ Higue ....................................................................................................................................................................................................... 10
Dulce et Decorum Est......................................................................................................................................................................... 15
Birdshooting Season ........................................................................................................................................................................... 20
My Parents .................................................................................................................................................................................................. 23
Little Boy Crying ..................................................................................................................................................................................... 27
God’s Grandeur ........................................................................................................................................................................................ 31
A Stone's Throw...................................................................................................................................................................................... 36
It is the Constant Image of Your Face .................................................................................................................................. 43
Dreaming Black Boy ........................................................................................................................................................................... 46
The Woman Speaks to the Man who has Employed her Son ........................................................................... 51
Test Match Sabina Park .................................................................................................................................................................... 59
South................................................................................................................................................................................................................ 63
Sonnet Composed Upon Westminister Bridge, September 3, 1802 ...........................................................69
West Indies, U.S.A. ................................................................................................................................................................................ 73
Once Upon a Time................................................................................................................................................................................ 79
An African Thunderstorm ...............................................................................................................................................................86
Mirror ............................................................................................................................................................................................................... 92
Theme for English B ............................................................................................................................................................................ 95
2
Orchids
Hazel Simmons-McDonald
I leave this house
box pieces of the five-week life I’ve gathered.
I’ll send them on
to fill spaces in my future life.
One thing is left
a spray of orchids someone gave
from a bouquet one who
makes a ritual of flower-giving sent.
The orchids have no fragrance
but purple petals draw you
to look at the purple heart.
I watered them once
when the blossoms were full blown
like polished poems.
I was sure they’d wilt
and I would toss them out with the five-week litter.
They were stubborn.
I starved them.
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They would not die.
This morning the bud at the stalk’s tip unfurled.
I think I’ll pluck the full-blown blooms
press them between pages of memory.
Perhaps in their thin dried transparency
I’ll discover their peculiar poetry.
Summary
The persona seems to be moving out of a house after renting it for a five-week period. Now,
all that remains in her space is an orchid in which she has found no value. This flower was
given to her by a friend who compulsively gives flowers as gifts, and thus, she doesn’t think
of the orchid as special in any way. So much so, in fact, that she only watered it once when it
had been in full bloom. She seems perplexed by its resilience and its refusal to wilt despite
only being watered once. She expected this orchid to be merely something she would
discard after her period of renting/living in her current house. Just like this ‘five-week life,’
she expects it to wither away and have no further meaning after becoming but an
insignificant memory. The orchid is stubborn, and does not die. Despite her initial
indifference to it, she is drawn to the orchid and its petals and decides to pluck the blooms
of the orchid and preserve it between the pages of a book, hoping to one day understand a
deeper meaning behind the orchids’ resilience. Note how the poem is written, broken up
into several stanzas with few lines. This reflects how the persona leads a somewhat
nomadic lifestyle, considering that she is leaving after only 5 weeks. Thus, her life, like the
structure of the poem is broken up into several shorter periods of living in different places.
The tone of the poem is reflective.
Analysis
“I leave this house box pieces of the five-week life I’ve gathered.”
The persona is evidently leaving a house in which she has spent 5 weeks. Over this time
period, she has gathered several aspects of a life; which is now packaged in boxes. The
poet uses a metaphor in ‘box pieces of the five-week life I’ve gathered.’ The boxes are
directly said to contain ‘pieces’ of the life she has gathered over five weeks. Thus, the
contents of the boxes are directly compared to fragments of her life.
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“I’ll send them on to fill spaces in my future life.”
The persona will now send these boxes to another home only to ‘fill spaces’ in another life a
few weeks in length. The diction here suggests that the things she gathers only serve to
take up spaces rather than serving sentimental value, as she seems to move often, defining
each move as a transition into another life.
“One thing is left a spray of orchids someone gave from a bouquet one who makes a
ritual of flower-giving sent.”
She has assembled everything and placed them into boxes, except for one final piece: a
spray of orchids. This plant was given to her by someone who apparently gifts flowers
ritually. The gift then seems vapid and in no way special- given only as a passing thought,
since the person so compulsively gives flowers.
“The orchids have no fragrance but purple petals draw you to look at the purple heart.”
What the orchids lack in fragrance (like other flowers would have) they make up for in a
sense of intrigue, as they demand your attention. The persona uses alliteration in ‘purple
petals’ to communicate the vibrant colour of the petals. The repetition of that bilabial
plosive ‘p’ sound reflects the striking nature of the petals in their ability to attract attention.
The persona says that these petals draw one to ‘look at the purple heart.’ This
communicates two things. Firstly, it relates the immediately recognizable structure at the
centre of the bloom of an orchid, which is sort of like a heart due to its centrality, and in this
case would be purple. Purple heart also alludes to a medal of honour given to US troops
who exhibit notable bravery during their service. Thus, the orchids are also given a
dimension/characteristic of bravery, which will be expounded upon in the later stanzas.
“I watered them once when the blossoms were full blown like polished poems. I was
sure they’d wilt and I would toss them out with the five-week litter.”
The persona says that she had only cared to water the orchids once during a period of their
full bloom. This conveys the indifference of the persona; the orchids are simply a passing
gift, which, to her, are only worth a single watering and nothing more. The poet utilizes an
alliteration encapsulated within a simile to relate the blossoms to poems in ‘when the
blossoms were full blown like polished poems.’ Thus, the pleasance and appeal of the
orchid’s blooms is related to the beauty and perfection in astute craft of polished poems.
The persona relates that she expected the orchids to wilt and die, and obviously would not
have cared in the slightest. Her plan was to simply discard of them along with the other
things she found no need for after her five-week sojourn. She held no expectation for its
survival, and thus saw it fit that it would be done away with once her need to stay there had
dissipated.
“They were stubborn. I starved them. They would not die.”
5
Despite her attempt at getting rid of the orchids through starvation and neglect, they
remained alive. They take on a dimension of strength and bravery in their survival, as they
seem to refuse to concede death so easily. The persona uses mostly monosyllabic
language here to communicate a form of confusion and surprise at their resilience. This
stanza also shows that she was intent on causing their death- her neglect of them was not
simply because she cared very little about their existence, but also because she wanted to
see them wilt and die to discard them, just like her five-week stay.
“This morning the bud at the stalk’s tip unfurled.”
Now, on her final morning (presumably) before leaving, the orchid has not only survived
neglect, but prospered. The sleeping bud has burst into bloom, unravelling the petals and
purple heart within. This realization of its resilience and quaint beauty triggers a change in
the persona’s view of the orchid, explored in the final lines.
“I think I’ll pluck the full-blown blooms press them between pages of memory.
The persona decides to take these open blooms and preserve them between pages, and
evidently in her memory as well. An alliteration is used here as well, ‘full blown blooms,’
communicating that these flowers truly have exploded and burst into the peak of their
beauty and radiance. The persona will preserve these flowers, keep them close in memory,
as she seems to have been impacted by the orchids. Unlike everything else, either in ‘box
pieces’ or in the ‘five-week litter,’ she places the flowers between pages to keep them, as
though a souvenir or keepsake.
“Perhaps in their thin dried transparency
I’ll discover their peculiar poetry.”
In preserving the flowers, she hopes to uncover a deeper meaning behind their resilience.
The poet utilizes alliteration in the final line, ‘peculiar poetry,’ conveying that these blooms
have a cryptic message that the persona intends to analyse and uncover.
6
This is the Dark Time, My Love
Martin Carter
This is the dark time, my love,
All round the land brown beetles crawl about.
The shining sun is hidden in the sky
Red flowers bend their heads in awful sorrow.
This is the dark time, my love,
It is the season of oppression, dark metal, and tears.
It is the festival of guns, the carnival of misery.
Everywhere the faces of men are strained and anxious.
Who comes walking in the dark night time?
Whose boot of steel tramps down the slender grass?
It is the man of death, my love, the strange invader
Watching you sleep and aiming at your dream.
Summary
This poem is written in the context of the pain and suffering associated with war, and
specifically the struggles of Guyana during British colonization in 1953. At that point, the
constitution had been suspended to allow Britain to send soldiers into Guyana to crush the
uprising of the people. It is likely that the ‘love’ spoken of by the persona is his country,
however it could also simply be a woman who he loves. The poet communicates a gloomy
atmosphere plagued with the sentiment of doom due to oppression by soldiers and
weapons of terror. Nature reflects this gloom, as seen in the absence of sunlight and
drooping flowers. The people of the country are all melancholy and anxiety-stricken, visibly
oppressed by the spoils of war. Death (and war) is personified as a man who tramples not
only nature, but the peace and dreams of the persona’s country underfoot. The mood of the
poem is dismal and gloomy. The tone is pessimistic and sad, and the themes include war,
conflict, doom, death and despair.
“This is the dark time, my love,”
7
The persona begins by declaring the dismal nature of their current time. This time is
characterized by darkness, and therefore a sentiment of impending doom and unfavourable
outcomes. The titular line conveys that the persona is speaking to someone, his ‘love,’ which
could simply be his lover, but could be better interpreted as being his country (like how the
persona of ‘It is the Constant Image of Your Face’ (Dennis Brutus) refers to his country as his
‘dearest love.’
“All round the land brown beetles crawl about.”
This refers to the British soldiers who occupied the country during this time. Note the use of
alliteration here in ‘brown beetles.’ The persona communicates a landscape filled with the
soldiers, corresponding to the atmosphere of war.
“The shining sun is hidden in the sky Red flowers bend their heads in awful sorrow.”
Now, nature seems to reflect the dismal mood, the ‘dark time’ if you well. The sun does not
shine in the sky, so it is not just dark in the sense of gloom, but also literally, with the
absence of sunlight. The sun, like any sign of positive outcome or optimism is hidden.
Reinforcing the mood, the poet personifies red flowers by saying that they ‘bend their
heads in awful sorrow.’ The flowers are given the quality of emotion and reflecting that
emotion. Thus, even the flowers are mourning the dark times of death and sorrow. They are
the colour red (the colour of blood), essentially the only colour mentioned in the poem.
“This is the dark time, my love, It is the season of oppression, dark metal, and tears.”
The persona describes this dark time as a season, characterized by endless oppression, the
dark metal of the machines of war and sadness. Note the repetition of the word ‘dark,’ which
communicates the pessimistic outlook and an atmosphere of terror. The ‘dark metal’ likely
refers to tankers and guns which oppress the people of the persona’s country.
“It is the festival of guns, the carnival of misery. Everywhere the faces of men are
strained and anxious.”
The poet utilizes two oxymorons here (two contradicting ideas in close succession). He
refers to this dark time of war as a festival (associated with joy and celebration) of guns
(machines of terror, oppression and violent death). Quite incompatible/contradictory terms.
He continues by describing it as a carnival (associated with fun and the joy of children) of
misery (a terrible emotion of helplessness and despair). The persona remarks the strained
emotions in the faces of everyone around him- including his own countrymen and the
soldiers.
“Who comes walking in the dark night time? Whose boot of steel tramps down the
slender grass?”
The poet uses rhetorical questions to lead into the reveal of a personification of war and
death. It hints at something being closely related to dark times such as these, who has a
‘boot of steel.’ This reflects the oppressive and abusive effect war has, pressing down on
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not only the environment, but on the people of the country as well. It tramples the grass
underfoot, showing blatant disregard for nature- opting instead to fulfil selfish goals through
needless death and suffering.
“It is the man of death, my love, the strange invader Watching you sleep and aiming at
your dream.”
The poet personifies death as a strange invader to the persona’s country. This man of death
is said to not only crush nature under his steel boot, but also watch the persona’s love sleep
and aim at destroying her dream. If the love he refers to truly is his country, then the man of
death aims to wreck any possibility of realization of the dream held by the country overallone of freedom and independence. The war and conflict spurred by the invasion of soldiers
to crush resistance and attempts at liberation directly intends to destroy the dreams and
optimism of the people of the country overall.
9
Ol’ Higue
Mark McWatt
You think I like all this stupidness
gallivanting all night without skin
burning myself out like cane –fire
To frighten the foolish?
And for what? A few drops of baby blood?
You think I wouldn’t rather
take my blood seasoned in fat
black-pudding, like everyone else?
And don’t even talk ‘bout the pain of salt
And having to bend these old bones down
To count a thousand grains of rice!
If only babies didn’t smell so nice!
And if I could only stop
Hearing the soft, soft call
Of that pure blood running in new veins,
Singing the sweet song of life
Tempting an old, dry-up woman who been
Holding her final note for years,
Afraid of the dying hum…
Then again, if I didn’t fly and come
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to that fresh pulse in the middle of the night,
how would you, mother,
name your ancient dread,
And who to blame
for the murder inside your head…?
Believe me –
As long as it have women giving birth
A poor ol’ higue like me can never dead.
Summary
The 'Ole Higue' is a supernatural character found in Caribbean folklore. This nocturnal being
is also called a jumbie, soucouyant and backoo as is a mixture of a vampire and a witch. In
Caribbean folklore the Ole Higue or Old Hag is an old woman. She sheds her skin at nights;
stores it in a mortar and turns into a ball of fire before going about to suck the blood of
babies.
In the poem, the Ole Higue appears bitter and unhappy with the circumstance she is in. She
defends the involuntary nature of her compulsive behaviour. She seems repulsed by the
mothers of young children, yet she believes she plays an important role in society by being
a scapegoat for the infanticidal tendencies of some mothers and the inexplicable. She
comes across as self-centered, but also clever and insightful.
The Ole Higue wishes that she didn't have such an affinity for children, however, she knows
that the myth of her existence can never die as long as mothers have children and need
something- or someone to blame for their deaths.
The mood of the poem is irritable, and somewhat smug and bitter. The tone is
argumentative and defensive, but also reflective and sensitive towards the end of the poem.
Analysis
"You think I like all this stupidness
gallivanting all night without skin
burning myself out like cane –fire
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To frighten the foolish?"
The Ole Higue begins with an explosive and argumentative first line. Note that the diction
(choice of words/language) is distinctly Caribbean, and reflective of her identity as an old,
irritable woman. She expresses great dissatisfaction with what she does- however she is
compelled to do so completely involuntarily. This alludes to an old wives’ tale told in the
Caribbean of a hag who sheds her skin at night, turns into a ball of fire and scares
superstitious people. She considers this act stupid, simply to 'frighten the foolish'
superstitious who believe in the myth. Note the alliteration here in 'frighten the foolish.'
"And for what? A few drops of baby blood?"
She reasons that the whole act of setting herself on fire without skin and flying around is far
more effort than it is worth. After all, a baby's body contains barely any blood, and for a
mythical creature to compulsively go through this routine for such a negligible quantity is
ludicrous to her- it is not rewarding at all.
"You think I wouldn’t rather
take my blood seasoned in fat
black-pudding, like everyone else?"
Instead of the bland blood of babies, the Ole Higue would much rather have her blood like
everyone else does- well-seasoned and in black-pudding. This shows again that she in no
way wants to do such an unrewarding task, but is forced to do this nonetheless.
"And don’t even talk ‘bout the pain of salt
And having to bend these old bones down
To count a thousand grains of rice!"
These lines are another allusion to the folklore of the Ole Higue. She must look out for salt,
as it can injure or kill her (which makes sense since she has no skin). When salt is placed into
the mortar with her skin in it, she can no longer put it on (does that sound familiar? There's a
similar tale in Breath, Eyes, Memory). People may also obstruct her from reaching her infant
victims by placing rice in front of their doors. Once an Ole Higue sees the rice she must
count every grain before she can gain access. The intention is to keep her counting until the
sun rises, making it impossible for her to enter the house and suck the baby’s blood. Thus,
the Ole Higue is often obstructed in trying to drink the blood of babies adding to her
seemingly endless misery.
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"If only babies didn’t smell so nice!
And if I could only stop
Hearing the soft, soft call
Of that pure blood running in new veins,
Singing the sweet song of life
Tempting an old, dry-up woman who been
Holding her final note for years,
Afraid of the dying hum…"
The Ole Higue is incredibly attracted to baby blood, and she presents this in a sort of
defence for killing them. The pure, untainted scent of babies' blood tempts her- she finds
their aroma irresistible. The alliteration in "singing the sweet song of life" conveys the
attractive quality of these infants' blood to the Ole Higue. The blood of the children
represent new life- life which she has been trying to hold on to for years. She knows that the
babies are at the beginning of the life cycle, and she is at the end; but she can alter the
passage of this natural cycle. She prolongs her aged existence by bringing the babies’ lives
to a premature end.
"Then again, if I didn’t fly and come
to that fresh pulse in the middle of the night,
how would you, mother,
name your ancient dread,"
Now, she identifies her own role in society. She also names to whom she speaks (when she
says 'you')- she refers to the mothers of these newborn children. It seems that the Ole Higue
is simply a mechanism by which these mothers may name the longstanding dread or fear of
the possible death of their babies. Without her, she contends that these mothers would
have no one to hold responsible for the death of their babies (even if it was just of natural
causes).
"And who to blame
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for the murder inside your head…?
Believe me –
As long as it have women giving birth
A poor ol’ higue like me can never dead."
She suggests something interesting through these cryptic lines- possibly that these
mothers blame the Ole Higue for the death of their children even in the event that they had
committed infanticide. However, it could also be that they need someone- like the Ole
Higue- to direct their murderous rage for the death of their baby towards. Nonetheless, she
knows that for as long as there are women giving birth to children, they will need a
scapegoat to blame for the plight that befalls their children. Thus, the myth of her existence
can never die.
14
Dulce et Decorum Est
Wilfred Owen
Bent double, like old beggars under sacks,
Knock-kneed, coughing like hags, we cursed through sludge,
Till on the haunting flares we turned our backs,
And towards our distant rest began to trudge.
Men marched asleep. Many had lost their boots,
But limped on, blood-shod. All went lame; all blind;
Drunk with fatigue; deaf even to the hoots
Of gas-shells dropping softly behind.
Gas! GAS! Quick, boys!—An ecstasy of fumbling
Fitting the clumsy helmets just in time,
But someone still was yelling out and stumbling
And flound’ring like a man in fire or lime.—
Dim through the misty panes and thick green light,
As under a green sea, I saw him drowning.
In all my dreams before my helpless sight,
He plunges at me, guttering, choking, drowning.
If in some smothering dreams, you too could pace
Behind the wagon that we flung him in,
And watch the white eyes writhing in his face,
15
His hanging face, like a devil’s sick of sin;
If you could hear, at every jolt, the blood
Come gargling from the froth-corrupted lungs,
Obscene as cancer, bitter as the cud
Of vile, incurable sores on innocent tongues—
My friend, you would not tell with such high zest
To children ardent for some desperate glory,
The old Lie: Dulce et decorum est
Pro patria mori.
Summary
The poem is written as a harsh, but ultimately fair criticism of the atrocities of war. The poet
wrote this whilst hospitalized after experiencing fighting in the trenches of Northern France
in World War I. The soldiers in a languid, drowsy state march slowly, shell-shocked by the
traumas of war and losing touch with their own senses. He recounts in graphic detail being
caught in the noxious gases of chemical warfare and watching one of his fellow soldiers
unable to fit the gas helmet on in time. This man, stumbling, yelling and screaming suffers a
slow painful death, choking in the cruel toxic gas. This image of the man dying before the
persona's eyes, with him unable to help, stays with him in his dreams. This graphic,
traumatic sight leads the persona to a blunt conclusion. Having seen this man die before his
eyes, his lungs corrupted by the chemicals, he finds no true glory or goodness in
martyrdom for one's country. The image of an innocent man needlessly killed in his
country's conflict drives the persona to rebuke the hackneyed maxim 'dulce et decorum est
pro patria mori.' He doesn't believe that any child searching for glory should ever be told
this; a shameful falsehood that death on the battlefield is 'sweet.' Owen does not hold back
in this criticism, and sincerely concludes the gruesome death of war is not sweet, nor are
these innocent lives lost in such traumatic ways reflective of a joy in patriotic martyrdom.
The themes of the poem include war, propaganda, patriotism, trauma and martyrdom. The
mood of the poem is pitiful, and the tone is both critical and pitiful.
Analysis
"Bent double, like old beggars under sacks,"
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The soldiers are slouched over, lacking energy and vivacity as though encumbered by a
literal weight. The poet uses a simile in "like old beggars under sacks," showing that just like
beggars weighed down by heavy sacks and unable to stand up straight due to old age, the
soldiers are bent over in their slow trudge, fatigued by the spoils of war.
"Knock-kneed, coughing like hags, we cursed through sludge, Till on the haunting flares
we turned our backs, And towards our distant rest began to trudge."
This line begins with an alliteration 'knock kneed' continuing a theme that progresses
throughout the poem- the description of the disfiguration of the soldiers. They definitely
didn't go to war looking like this, but they have been spent, and their bodies are reeling from
the deleterious effects of war. Another simile is used here 'coughing like hags' comparing
their dry, hacking coughing to that of an old woman (hag).
Now, they turn their backs on the 'haunting flares,' showing that they are leaving the
battlefield now, with its distressing explosions (flares) and gunshots. Finally, they can trudge
to their 'distant rest' away from the agonies of war.
"Men marched asleep. Many had lost their boots, But limped on, blood-shod."
The poet uses alliteration once again with the repetition of the 'm' sound: "men marched
asleep." The 'm' sound is often associated with the mindless humming of a person severely
tired or groggy. Thus, the drowsy way in which the men walked is communicated both with
the alliteration and the line itself, as their trudging makes it seem as though they are asleep
and merely sleepwalking.
Many men are said to have 'lost their boots,' which may be a euphemism for losing their
feet in explosions. Nonetheless, they limp onward 'blood-shod.' Shod here means to be fit
with a shoe (like a horse). So, having no boots (and maybe missing a foot), their feet are
instead covered with blood.
"All went lame; all blind; Drunk with fatigue; deaf even to the hoots Of gas-shells
dropping softly behind."
The soldiers are exhausted to such a point that they are losing their sense of touch, sight
and even hearing as they are intoxicated with enervation and fatigue. Their reactions and
senses dulled by tiresome battle on the frontlines, some are even unable to hear the gasshells thrown out behind them.
"Gas! GAS! Quick, boys!—An ecstasy of fumbling Fitting the clumsy helmets just in time,"
17
Toxic gas, the cruel weapon of chemical warfare used by countries during WWI, begins to
spew out of the shells, and they must fumble madly to fit their gas masks over their heads
to survive the gas attack. The poet uses 'ecstasy of fumbling' to communicate the frenzy the
soldiers are in to try get their helmets on.
"But someone still was yelling out and stumbling And flound’ring like a man in fire or
lime.—"
Not everyone is able to slimly avoid breathing the noxious gas by slipping on their helmetsone man still struggles amidst the toxic fumes. He is yelling, stumbling and floundering
about, showing distress and agony. The poet uses simile again here in 'flound'ring like a
man in fire' to compare his struggling, stumbling, plunging movements to that of a man
doused in flames.
"Dim through the misty panes and thick green light, As under a green sea, I saw him
drowning."
The poet uses vivid visual imagery to convey what the persona is seeing. Through the misty
panes of the eye-piece his gas mask and the thick green tint of the gas surrounding them,
he sees the struggling man stumbling about like he is drowning under a green sea. The
simile 'as under a green sea.' the thick green light around them is compared to a green sea.
In the same way the sea is a thick body of water surrounding the person submerged in it,
the gas has surrounded them and seems as thick as the water in the ocean.
"In all my dreams before my helpless sight, He plunges at me, guttering, choking,
drowning."
This graphic image seems to haunt the persona, as he speaks about it 'in all [his] dreams.'
The persona is helpless, unable to assist this man dying before him. He is guttering (tears
streaming down his face, a symptom of inhaling toxic gas), choking and drowning- the poet
paints a gloomy, disturbing image that communicates his critical view of war and its
casualties.
"If in some smothering dreams, you too could pace Behind the wagon that we flung him
in, And watch the white eyes writhing in his face, His hanging face, like a devil’s sick of
sin;"
The poet comes to the final stanza, where he intends to drive home his point. The horrific
image illustrated previously leads directly into the gloomy atmosphere created here. They
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throw the unfortunate man in a wagon, and the poet describes his eyes using a
personification: 'eyes writhing in his face.' His eyes are said to be writhing, moving
randomly, in the same way a human twists and squirms, contorting their body in pain.
A simile in 'his hanging face like a devil's sick of sin' compares the unnatural appearance of
his face to that of a devil horrified of its own evil.
"If you could hear, at every jolt, the blood Come gargling from the froth-corrupted lungs,
Obscene as cancer, bitter as the cud Of vile, incurable sores on innocent tongues—"
The poet continues the description of the horrific state of the man. Blood gargles from his
lungs, corrupted by froth from the noxious chemicals. It is described with a brief simile
'obscene as cancer,' comparing the obscenity and fatality of this blood emerging from his
lungs to that of cancer. He describes it now with another simile, comparing the blood to the
bitter, regurgitated, half-digested material cattle ruminate/chew on. The sores on his
tongue are incurable, and he is now victim to this lifelong affliction despite his innocence.
"My friend, you would not tell with such high zest To children ardent for some desperate
glory, The old Lie: Dulce et decorum est Pro patria mori."
The poet now concludes with the scathing remark that, if you were able to experience
those atrocities, the gruesome corruption of an innocent man's lungs drowning amidst the
sea of green noxious gas- you definitely would not tell children the hackneyed maxim
"dulce et decorum est Pro patria mori." This line is taken from the Odes (III.2.13) by the
Roman poet Horace. The line translates: "It is sweet and fitting to die for the homeland." The
poet sees no true glory or anything sweet in such a painful, excruciating death.
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Birdshooting Season
Olive Senior
Birdshooting season the men
make marriages with their guns
My father’s house turns macho
as from far the hunters gather
All night long contentless women
stir their brews: hot coffee
chocolata, cerassie
wrap pone and tie-leaf
for tomorrow’s sport. Tonight
the men drink white rum neat.
In darkness shouldering
their packs, their guns, they leave
We stand quietly on the
doorstep shivering. Little boys
longing to grow up birdhunters too
Little girls whispering:
Fly Birds Fly.
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Summary
The persona (likely a young girl due to their attention to the details of the women's
emotions) describes the beginning of birdshooting season. Men gather from far and wide to
the house of the persona's father, influencing an atmosphere of manliness and machismo.
The preparations of both the men and the women are described through the eyes of the
child. Women prepare tea and coffee for these hunters and make food for them as they set
forth on this seasonal exodus, with neither thanks nor acknowledgement. The little boys all
dream of becoming birdhunters like their fathers, while the little girls encourage the bids to
fly away, as though hoping that they themselves, like the birds will escape the fearsome
grasp of the birdhunting men and the resulting cycle. The themes include gender roles,
nature and childhood experiences. The mood is reflective.
Analysis
"Birdshooting season the men make marriages with their guns"
The poem begins with the titular phrase 'birdshooting season,' communicating a
yearly/seasonal time period during which men go out for shooting birds. The poet uses a
combination of alliteration and metaphor in "men make marriages with their guns." The
repetition of the deep, manly 'm' sound sets up birdshooting season as a time meant mostly
for the enjoyment of men and for them to display their male prowess. The metaphor 'make
marriages with their guns' conveys the care and attention they give to their guns, as though
actually marrying them. Thus, they prioritize the condition of their guns, doting on them like
in marriage- as they are they are the primary tools they need to work in union with for
birdshooting.
"My father’s house turns macho as from far the hunters gather"
The persona's father's house 'turns macho' with the influx of several men. To be 'macho' is
to be manly in an excessively aggressive or assertive way, so it appears that with the
flocking of men from far and wide to one home, their masculinity has built upon one
another's, becoming more and more assertive to the point of machismo.
"All night long contentless women stir their brews: hot coffee chocolata, cerassie wrap
pone and tie-leaf for tomorrow’s sport. Tonight the men drink white rum neat."
The women are describes here as 'contentless,' meaning they are dissatisfied or unhappy.
This is likely due to the fact that they must stay up all night preparing the beverages and
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food for these men without thanks, only for them to depart for a long period of time to shoot
birds. As the men have made marriages with their guns, they have neglected care for their
wives and children. The women must stock them up with food and drink year after year
without acknowledgement from their husbands. The poem alludes to a slew of traditional
Caribbean drinks and foods, and it is said that the men drink 'white rum neat,' meaning white
rum undiluted at full strength. This again communicates the assertive machismo of the men,
showing off their masculine resistance to strong alcohol.
"In darkness shouldering their packs, their guns, they leave"
The men now leave in the darkness of early morning carrying the guns they so dearly
cherish and the packs holding food and drink. There is no mention of acknowledging
anyone other than themselves.
"We stand quietly on the doorstep shivering. Little boys longing to grow up birdhunters
too Little girls whispering: Fly Birds Fly."
Shivering in the cold morning air, boys seem to idolize the birdhunting men, hoping to
become like them in the future. By contrast, the girls hope for the birds to fly away,
whispering encouragement for them to escape. This reflects a more empathetic and caring
sentiment that is contrary to the aggressive masculinity of the men. This could also be
because birdshooting takes their fathers away for a simple sport, and they can see
themselves in the birds, being grasped by an endless cycle surrounding a ritual of
birdshooting for the enjoyment of men.
22
My Parents
Stephen Spender
My parents kept me from children who were rough
Who threw words like stones and wore torn clothes
Their thighs showed through rags they ran in the street
And climbed cliffs and stripped by the country streams.
I feared more than tigers their muscles like iron
Their jerking hands and their knees tight on my arms
I feared the salt coarse pointing of those boys
Who copied my lisp behind me on the road.
They were lithe they sprang out behind hedges
Like dogs to bark at my world. They threw mud
While I looked the other way, pretending to smile.
I longed to forgive them but they never smiled.
Summary
In the poem, the persona recalls a childhood where his parents kept him from 'rough'
children. His parents hope to protect him from the derision and harassment of these
children, which, throughout the poem, is shown to be true. However, it becomes evident
that in keeping him from these children (likely of a lower social class than he is), his parents
greatly restrict his freedom, and he is jealous of the freedom that these rough children
possess. In titling the poem My Parents and then only mentioning his parents once before
speaking about bullying, the persona seems to both blame his parents for his lack of
freedom and him being the target of the children's abuse. But, he also seems to appreciate
their protection, as the rest of the poem essentially proves his parents right. They play in the
street and climb cliffs and swim in rivers with no constraint. He feared these children and
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their abrasive nature; their vituperative words and seemingly insurmountable strength. Even
in this fear though, there is an admiration of their strength that far surpasses his own.
Nonetheless, they would tease him constantly, mocking his lisp while pointing
reproachfully. The persona seems deeply troubled by their endless torment and abuse. He
pretends to smile, hoping to inspire some form of peace and fraternity, but to no avail. He
always longed to forgive them for their harassment, but is denied when they do not
reciprocate any desire for harmony. The persona and the children are of different
socioeconomic classes; the children, lower class and the persona, middle-to-upper class.
Thus, there is a divide between them, and their mockery of him is suggested to have a
separate motivation other than simple childish badinage- they are jealous of his privilege.
The persona himself is jealous of the rough children's freedom even though his social class
permits him far more privilege than they have. This is the implicit irony of the poem.
The mood of this poem is reflective. The themes include childhood experience, parental
influence and social segregation.
Analysis
"My parents kept me from children who were rough"
The persona begins with a somewhat accusatory phrase. His parents restrained him from
being near the 'children who were rough' as a preventative measure. They do not want him
to be teased and mocked for his disabilities, and the abrasive nature of these children
justifies their worry. Describing them as rough instantly creates a contrast between the
children and the persona himself, as his parents' effort to keep him from them means that
he himself is not like them. The use of the word 'kept' implies that sort of childish
resentment that the persona would have felt as a child, wanting to experience the same
freedom as these children but held back nonetheless.
"Who threw words like stones and wore torn clothes
Their thighs showed through rags they ran in the street
And climbed cliffs and stripped by the country streams."
The rough children are said to throw 'words like stones.' This simile gives the reader insight
into the character and behaviour of these children, as their use of words is compared to the
destructive act of throwing stones. Their words, therefore, are used with the intention to
harm emotionally in the same way stones are thrown with the intention of causing physical
destruction. The sharp, monosyllabic language used in the simile communicates a harsh
use of words without etiquette characteristic of the lower class.
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The children wear torn clothes, another indicator of their less than fortunate status. Despite
this suboptimal economic status, the children are able to explore and play uninhibited. They
run in the street, climb cliffs and swim in streams; all things that our dear persona could
never dream of doing. His overprotective parents keep him from both these children and
their carefree, unrestricted lifestyle. He is envious of them, and wishes to enjoy the same
wonders of freedom as they do. An alliteration is used here in 'climbed cliffs.' This shows
the agility of these children, and sort of portrays them in an animalistic and primitive light in
their scaling of natural landscapes. Their thighs are said to show 'through rags,' rags being a
symbol of poverty and communicating their poorer status in comparison to the persona.
"I feared more than tigers their muscles like iron
Their jerking hands and their knees tight on my arms"
Using hyperbole, the persona communicates how great his fear was of these boys. Tigers
are able rip a human limb from limb with sheer animalistic instinct and power, but he still
places his fear of their muscles above that (hence why it is an exaggerated expression).
Coupled with the use of simile to compare their muscles to the rigid strength of iron, the
persona conveys a very exaggerated fear along with a possible amount of admiration of
their strength. Being of a lower working class, they would perform more manual labour and
explore more, giving them physical strength far beyond the reach of the persona.
We also see the harassment he is subjected to, as he is pinned to the ground during some
sort of fight. He is made the victim of this torment, and it is possibly because of how
different he is from them. His superior social status is a likely cause, along with his disability
mentioned later on in the poem.
"I feared the salt coarse pointing of those boys
Who copied my lisp behind me on the road."
The persona now states that he feared their 'salt coarse pointing.' This metaphor directly
compares their pointing to the coarseness of salt. The use of coarse continues the
description of the children as rough, but it also gives a tangibility to the derision of the boys.
The persona feels their mockery to be coarse and harsh, inflicting a near-physical abrasion
that goes beyond some sort of friendly badinage. By saying salt coarse, it also alludes to a
common phrase 'rub salt into the wound.' Although it is a bit of a stretch, their mockery, on
top of forcing him into compromising positions in fights, is like rubbing salt into an open
wound, as he experiences the emotional fallout as well as the physical.
The boys copy his lisp behind him on the road, showing that his speech impediment is a
point which they use to mock him. His disability is therefore one of the things that make him
a prime target of these rough children.
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"They were lithe they sprang out behind hedges
Like dogs to bark at my world. They threw mud
While I looked the other way, pretending to smile."
The persona continues to describe their incessant harassment of him. They are lithe and
agile, and he is not. Using simile, he compares them to dogs, "springing out behind hedges
like dogs to bark at my world." Dogs usually bark to threaten intruders or those they think do
not belong. In the same way, like animals, the children jump out at him and threaten him
and his highly privileged world. Throughout their mud-throwing he would pretend to smile,
as though unperturbed by this torment. He hopes to inspire some form of friendliness
through this peaceable smiling.
"I longed to forgive them but they never smiled."
Even though he wants to forgive them for the torment they cause him, they never
reciprocate this desire, nor do they return a smile. The difference in their social classes
causes the children to envy his fortune while he envies their freedom. These strong societal
barriers of envy and jealousy create vitriol between them that cannot easily be overcome.
26
Little Boy Crying
Mervyn Morris
Your mouth contorting in brief spite and hurt,
your laughter metamorphosed into howls,
your frame so recently relaxed now tight
with three year old frustration, your bright eyes
swimming tears, splashing your bare feet,
you stand there angling for a moment’s hint
of guilt or sorrow for the quick slap struck.
The ogre towers above you, that grim giant,
empty of feeling, a colossal cruel,
soon victim of the tale’s conclusion, dead
at last. You hate him, you imagine
chopping clean the tree he’s scrambling down
or plotting deeper pits to trap him in.
You cannot understand, not yet,
the hurt your easy tears can scald him with,
nor guess the wavering hidden behind that mask.
This fierce man longs to lift you, curb your sadness
with piggy-back or bull fight, anything,
but dare not ruin the lessons you should learn.
You must not make a plaything of the rain.
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Summary
The poem is narrating an interaction between a father and his son, who he has punished for
playing in the rain. The little boy feels somewhat betrayed by his father, and finds no sign of
remorse in him. So, he sees him as evil figure, likening him to the evil giant from the fairy
tale of Jack and the Beanstalk. The poem accurately shows how the child feels in the
moment- a sudden emotion of cold hate and anger towards this 'colossal cruel' who has
harmed him. In the third stanza though, the poet introduces the perspective of the father,
who evidently cares for his son. Through the child's eyes, he is painted in a light of supreme
cruelty and callousness due to emotionally-caused exaggeration. The father is shown to be
caring because he feels guilt and remorse when he sees the tears of his son. But the
dilemma within is obvious- he doesn't enjoy making his son feel this way, but he must teach
him this lesson. He wants to comfort him and show his care; but he knows that he must
maintain his composure in order for his son to truly learn the lesson.
The poem is written from a third person omniscient perspective. The themes are parenting,
vulnerability and childhood experiences. The mood is tense.
Analysis
"Your mouth contorting in brief spite and hurt,"
This line begins to show the little boy starting to cry. His mouth twists (as shown with
'contorting'), showing not only his pain (emotional and physical) but also an attempt to spite
(deliberately annoy) his father.
"your laughter metamorphosed into howls,"
Contrast is introduced here, where the laughter of the child (happiness) metamorphoses (an
example of diction by the poet) into howls of pain and hurt. To metamorphose means to
change completely in form or nature- so, in the same way his laughter changes to howls,
his happiness changes to despair and pain.
"your frame so recently relaxed now tight with three year old frustration"
The poet continues to show contrast between his previous disposition and now- when his
frame has tightened as he contracts in beginning to cry. His frame tight with 'three year old
frustration,' which is sort of ironic considering that, being 3 years old, he would have very
little to be frustrated about, and the harsher more oppressive concept of frustration clashes
with the small non-threatening nature of a 3 year old.
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"your bright eyes swimming tears, splashing your bare feet,"
This is an example of hyperbole, where the poet suggests that the child's eyes are
'swimming tears' that splash his feet. Obviously a human's eyes can't produce enough tears
to literally splash upon their feet- but the poet uses this device to show the exaggerated
crying of the child. The phrase 'eyes swimming tears' suggests that the child's eyes are
completely submerged in tears.
"you stand there angling for a moment’s hint of guilt or sorrow for the quick slap struck."
Now the boy searches for any sign of remorse, empathy or guilt in this unnamed person
who has hit him. Alliteration (slap struck) is used along with monosyllabic language ('quick
slap struck,' each word is one syllable to convey the speed of the slap).
"The ogre towers above you, that grim giant, empty of feeling, a colossal cruel, soon
victim of the tale’s conclusion, dead at last."
In this stanza, the little boy is now likening the evil of this unnamed person the best way he
can- using fairly tales and mystical fictional evils. Using a metaphor, he refers to this person
as an ogre towering over him. Using alliteration, the boy calls this person a 'grim giant' who
is cold and unfeeling, and a 'colossal cruel.' This is, of course, a caricatured/exaggerated
description of this man by a teary-eyed and hurt child. He is so angered and frustrated in
this moment that he compares his abuser to a giant, an allusion to the fairy tale Jack and
the Beanstalk ('...that grim giant') and hopes for him to eventually end up just like the giant at
the end of the fairy tale- dead.
"You hate him, you imagine chopping clean the tree he’s scrambling down or plotting
deeper pits to trap him in."
The boy continues with sentiments exaggerated by momentary pain, frustration and anger.
The boy is said to hate this man, and imagines for him the same defeat as the giant in the
tale- chopping down the stalk he climbs down. These plots correspond to the child's
feelings of sadness and anger, he wants to defeat this person who has harmed him.
"You cannot understand, not yet, the hurt your easy tears can scald him with,"
The speaker now considers the perspective of the father. The child doesn't understand yet
what happens beyond the steely exterior of his father. He doesn't know that his tears really
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do harm him, and that he does truly feel remorse for hurting his son. The boy cries endlessly
and without restraint or difficulty, but he doesn't know that his father feels these tears and
they 'scald him' like acid or hot oil.
"nor guess the wavering hidden behind that mask."
Adding to the list of things the boy doesn't understand, he cannot guess the conflict within
his father that is hidden by an unfaltering facade. He doesn't want to hurt his son, but he
cannot show the hesitation.
"This fierce man longs to lift you, curb your sadness with piggy-back or bull fight,
anything, but dare not ruin the lessons you should learn."
The poet uses contrast again here, juxtaposing the description of this man as 'fierce' with
the description of this man as a vulnerable, loving, empathetic one who wants to curb the
boy's sadness. The father sees his son crying, and his natural reaction is to want to comfort
him- but he cannot, in order to ensure that he learns the lesson.
"You must not make a plaything of the rain."
This final line conveys what was likely the reason for the father punishing the child, he was
playing in the rain.
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God’s Grandeur
Gerard Manley-Hopkins
The world is charged with the grandeur of God.
It will flame out, like shining from shook foil;
It gathers to a greatness, like the ooze of oil
Crushed. Why do men then now not reck his rod?
Generations have trod, have trod, have trod;
And all is seared with trade; bleared, smeared with toil;
And wears man's smudge and shares man's smell: the soil
Is bare now, nor can foot feel, being shod.
And for all this, nature is never spent;
There lives the dearest freshness deep down things;
And though the last lights off the black West went
Oh, morning, at the brown brink eastward, springs —
Because the Holy Ghost over the bent
World broods with warm breast and with ah! bright wings
Summary
In this poem, the persona is adulating the incredible power of God. He compares the glory
of the Lord to an electric charge present in all things- a fulminant power uncontainable and
endlessly great. However, the persona questions the actions of mankind in their insatiable
search for self-gain and exploitation of the natural world. He wonders why mankind does
not heed the warning of and defer to the immense power of the Lord, but rather leaves a
permanent deleterious mark on the surrounding world. Even in this questioning of the
deplorable acts of humanity against the world, he realizes that the ever-present innate
freshness in all things continues to live on. Nature is never completely depleted by
humanity's ruthless exploitation of it. Even though the sun sets on one day, the sun rises yet
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again for the triumphant beginning of another, simply because the Holy Ghost, like a mother
bird tending to her young, nurtures it without fail.
You may notice that this poem is similar to Sonnet Composed upon Westminister Bridge,
September 3, 1802 by William Wordsworth. They both speak about the wonder and beauty
of nature. (And they are both Italian Sonnets)
The theme of this poem is a sort of glorification of God- that is, Hopkins intends to adulate
the grandeur of God and his unshakeable infusion in nature. The theme also incorporates
man vs nature or man's destruction of nature. The tone is reverent overall, but shifts
between disgust and hope at some points.
Analysis
"The world is charged with the grandeur of God."
The persona here states that the world is 'charged' with God's grandeur. The use of the
word 'charged' here relates God's grandeur specifically to electricity, which is well-known
to give things electrical charges. The comparison of electromotive force with God's
grandeur implies that everything is inherently imbued with it, as though filled with
electricity. It is possible that the poet intends to indicate how just like how electric power
drives machinery and circuits, the world is powered by the glory of the Lord. The word
charged could have a second additional meaning intended by the poet. Charge can also
mean to entrust someone with a responsibility- so it could be interpreted in the context to
mean that not only has the world been infused with this electrical potential energy, but the
world has also been entrusted with the responsibility of the grandeur of God, in terms of
ensuring that the glory of God is upheld and lauded.
"It will flame out, like shining from shook foil;"
The poet continues with an extended metaphor comparing God's grandeur to electricity
here. He goes on to state that the charge imbued by the grandeur of God will fulminate to
such an intensity that it flames out in a flashing like the reflection from the multiple facets of
a sheet of foil when shook. This vivid visual imagery gives the reader the impression of a
surge of awe-inspiring intense light.
This line also incorporates the use of an alliteration with "shining... shook." This gives a
texture to the language used here, alluding to the sound of foil when shaken.
"It gathers to a greatness, like the ooze of oil"
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The grandeur of God is now given a oil-like quality, gathering 'to a greatness.' The simile
used here compares the presence of God to how the true essence and greatness of the
seed of a fruit is only realized when crushed for its oil/essence.
"Crushed. Why do men then now not reck his rod?"
This line continues from the last line, where the phrase was broken except for the last word
to give the impression of urgency and an abrupt pause using a single syllable to remind the
remind the reader of the stark and puzzling nature of the question about to be asked.
The persona now questions why mankind does not 'reck his rod.' The word reck is an
archaic verb meaning to mind or pay heed to something. Think of the word 'reckless,' which
basically means without minding/heeding warning or being careful. Coupled with the use
of the word 'rod,' somewhat of a metonym for God and his authority, we can understand this
line to be a question of why humanity does not defer to the divine authority of God. Given
that the grandeur of God is so omnipresent and inherent within the word, he ponders why
humanity would debase the natural world rather than heeding to God's unshakeable power
(his rod).
Two alliterations are also used here, with the repetition of the 'n' sound in "now not" and the
'r' sound in "reck his rod." This monosyllabic language again conveys the stark and grave
nature of this question.
"Generations have trod, have trod, have trod;"
This line serves to show how over years of humanity's dominion, they have trampled
constantly over the earth. The poet utilizes the literary device of repetition to give the
impression of interminability, incessance and perpetuality (a bunch of fancy words for
endlessness). This shows how generations of humans have walked upon the earth with
blatant disregard for God's authority. Not only does it convey this concept, but it also acts as
an effective connector between lines 4 and 6, the former questioning why man ignores
God's grandeur, and the latter presenting the deleterious effects of man's obsession with
commerce and self-gain. Hence, this line gives a time period for the line it precedes.
"And all is seared with trade; bleared, smeared with toil;"
This line shows how the profit-centered, industrialist behaviour of mankind has so terribly
affected and despoiled nature. The poet uses internal rhyme here, repeating that '-eared'
syllable throughout the line. The earth and nature have been sullied by the selfish toil of
humanity.
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"And wears man's smudge and shares man's smell: the soil Is bare now, nor can foot feel,
being shod."
Here, the persona continues with a tone of disgust in remarking how all of the world now
has been smudged and stained by mankind. It suggests that mankind cannot help but leave
their own stench and damage the natural world with industry and economic pursuits.
The soil, the persona says, is now devoid of natural life- but humanity is even incapable of
feeling this connection to the earth due to their feet being covered by shoes.
"And for all this, nature is never spent;"
This could be considered the volta or turning point of the poem. The persona states that
despite the constant destruction of nature by humanity in their egotistic pursuits, nature
itself is never depleted completely or 'spent.' Despite humanity's ceaseless attempts to
undermine nature and tarnish it, it will not be destroyed- it always replenishes itself.
There is an alliteration used here, with "nature is never."
"There lives the dearest freshness deep down things;"
The persona continues with this tone of hope, by saying that the 'dearest freshness' lives on
deep within all things. This shows that even though nature is trampled upon in humanity's
labouring for self-gain, this dear freshness- a reinvigorating, refreshing and inspiriting
influence- remains inherent within nature. This completely opposite influence to humanity
Hopkins relates as an innate spiritual energy that excites all things.
There is another alliteration here with "deep down" things.
"And though the last lights off the black West went Oh, morning, at the brown brink
eastward, springs —"
The persona here continues to highlight the replenishing quality of nature. He notes that
even though the sun fades into darkness, setting in the west upon the completion of one
day, morning springs forward again as the sun rises in the east for the beginning of another
day. He lauds this constant cycle of regeneration that happens irrespective of humanity's
actions, showing his confidence in the longevity and infinite regenerative ability of nature.
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"Because the Holy Ghost over the bent World broods with warm breast and with ah!
bright wings."
The persona now compares the Holy Ghost to a bird brooding and nurturing her egg. Thus,
the Holy Ghost is a bird-like protector who guards this 'bent world' in its protective care.
35
A Stone's Throw
Elma Mitchell
We shouted out
'We've got her! Here she is!
It's her all right '.
We caught her.
There she was -
A decent-looking woman, you'd have said,
(They often are)
Beautiful, but dead scared,
Tousled - we roughed her up
A little, nothing much
And not the first time
By any means
She'd felt men's hands
Greedy over her body But ours were virtuous,
Of course.
And if our fingers bruised
Her shuddering skin,
These were love-bites, compared
To the hail of kisses of stone,
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The last assault
And battery, frigid rape,
To come
Of right.
For justice must be done
Specially when
It tastes so good.
And then - this guru,
Preacher, God-merchant, God-knows-what Spoilt the whole thing,
Speaking to her
(Should never speak to them)
Squatting on the ground - her level,
Writing in the dust
Something we couldn't read.
And saw in her
Something we couldn't see
At least until
He turned his eyes on us,
Her eyes on us,
Our eyes upon ourselves.
We walked away
Still holding stones
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That we may throw
Another day
Given the urge.
Summary
The poem alludes to the story of Mary Magdalene in the Bible (John 8:3-11), highlighting
themes of religion, violence, sexism and hypocrisy. The persona is addressing some sort of
unknown audience who he either wants to convince or shares his point of view. He appears
to be a misogynist, objectifying the woman who is the subject of the poem and the victim of
the abuse of the persona. The persona stereotypes the woman as a harlot, and considers
his assault of the woman to be righteous as a result. The recounting of this tale of violence
by the persona is laced with glee, self-righteousness and sexual overtones. As the
members of the village 'rough her up,' the persona notes callously that she had felt men's
hands greedy over her body before. There is a sense of irony throughout the poem due to
the assertion of the persona that they, assaulting this woman are more virtuous than the
woman herself or any man with whom she had been with. However, as the persona and
presumably a group of others in the village (as suggested by the use of 'we') prepare to
exact 'justice' upon this woman through stoning her to death, a guru/preacher (Jesus)
'spoils their fun' by speaking to the woman. He sees a sort of humanity within the woman
which the persona cannot and judges them, letting the woman judge them, and therefore
triggering introspection in the surrounding crowd. They now leave, still holding stones- and
their judgements against her- which they hope to throw another day given the urge.
The tone of the poem is nonchalant, callous and condescending. The mood is violent.
Analysis
"We shouted out, 'We've got her! Here she is! It's her all right '. We caught her."
The persona begins with the use of the pronoun 'we' to show that he was accompanied by
at least one other person. This could be in an attempt to share accountability, but it is more
likely a display of the involvement of multiple pursuers in search of this woman. The
subsequent lines are punctuated with exclamation points to show their excitement. 'We've
got her' shows a triumphant conquering of this woman who has apparently evaded them for
a while. 'Here she is' gives the impression of exhibiting her for all to see, like a trophy or an
elusive animal. 'It's her all right' and 'we caught her' echo that triumph in capturing the
woman.
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"A decent-looking woman, you'd have said, (They often are)"
The persona evidently sees the woman as physically attractive, but uses the phrase 'you'd
have said' to somewhat distance himself from admitting to the idea of finding her attractive.
He continues to say 'they often are' showing that he simply classifies her as part of a group
rather than as an individual. She is made to be only a stereotype.
"Beautiful, but dead scared,"
The persona again reaffirms the fact that the woman looks beautiful even though she is
obviously deathly afraid.
"Tousled - we roughed her up A little, nothing much"
The word tousled here suggests that her clothing is slightly ruffled or her hair is disheveled,
as though playing around. The persona goes on to say that they 'roughed her up a little,
nothing much', a euphemism, insinuating that they didn't use any excessive force in
capturing her. His version of the tale is obviously a lie.
"And not the first time By any means She'd felt men's hands Greedy over her body - "
These lines show that the men took the opportunity to let their hands roam around the
woman's body. The persona makes a point of expressing that it wasn't the first time
something like this would have happened to her, so it wasn't out of the ordinary. This also
insinuates that she was a prostitute or a adulteress given to such promiscuity. The use of
the word 'greedy' suggests a violent ravaging of the woman's body by these men who hope
to sate a hunger by molesting this scared woman. They likely had long wanted to do so, but
had neither the audacity nor the opportunity before.
"But ours were virtuous, Of course."
The persona here tries to make it seem as though they are virtuous in probing her body with
their hands; as if they are above reproach for doing so. He tries to distance himself from
those men with whom she fornicates. This is irony in that the persona suggests that he and
those with him are 'virtuous' in fondling this woman's body, although they are doing the
same thing as those she 'sins' with. Hence, his obdurate assertion of self-righteousness is
ironic, since he is no different from those he tries to separate himself from.
39
"And if our fingers bruised Her shuddering skin, These were love-bites, compared To the
hail of kisses of stone,"
The persona uses 'if' here in an attempt to mitigate their cruelty. It is obvious that they did
bruise her skin, which is described as shuddering due to her fear. The persona introduces
more erotic overtones by comparing these bruises to 'love-bites' like a bite made during
intercourse meant to be pleasurable and painful simultaneously. He attempts to palliate
(mitigate) their maltreatment of the woman by saying that there was far worse in store for
her- particularly what is expressed in the speaker's euphemism for being stoned, 'the hail of
kisses of stone.' By saying that the hail of stone would be like kisses, he introduces the idea
that this violent execution of 'justice' would be pleasurable.
"The last assault and battery, frigid rape, to come of right."
The persona mentions the final punishment- like the final dish of a meal (assault and
battery)- to be given to the woman- 'frigid rape.' This is an oxymoron because the speaker is
inferring that the woman will be sexually assaulted, but not penetrated as in an actual rape.
The phrase expresses the inability to consummate the physical act of a sexual assault, as it
will be her corpse being violated. This is 'justice' to the persona as it correlates to how he
thinks the woman lived her life- an object for the sheer use and disposal of men.
"For justice must be done specially when it tastes so good."
It is made evident by this line exactly how self-righteous the persona really is, because it
isn't made clear in the poem exactly whose justice is being executed. These lines, then,
clarify that this is simply providing pleasure for the persona, who neither values the life of
the woman nor the idea of true justice. After all, whose laws did the woman break? What
authority have they to deliver punishment? And most of all, is anything done here even
close to justice? This extrajudicial punishment is clearly just enjoyable for the persona as
shown by the line "...it tastes so good." They relish in the brutal assault and violation of this
woman. This delight in her misfortune or Schadenfreude, continues this metaphor of a meal
to sate the appetites of these power-hungry, misogynistic miscreants.
"And then - this guru, Preacher, God-merchant, God-knows-what -Spoilt the whole
thing,"
The persona's tone takes a turn for the contemptuous as his masochistic euphoria is
interrupted. He spits out several names to label the man by, and it is obvious that he is
greatly upset by this man's intervening. He calls him a guru, as he is well-versed in matters
pertaining to God or philosophy and the gospel; a God-merchant, implying the man's trade
in things relating to God. The poet skilfully incorporates the use of the phrase 'God-knows40
what,' as it denotes the persona's frustration with this man and his inability to confine him to
a single category; but, it also indicates the fact that God does know the identity of this man
even if no one in the crowd does (Jesus).
"Speaking to her (Should never speak to them) Squatting on the ground - her level,"
The man speaks to the woman who they want to persecute- something the persona
considers taboo due to how he discriminates against this woman, stigmatizing her as a
prostitute/adulteress undeserving of any human decency. The man literally comes
between the mob and the woman, putting himself in harm's way.
The intervening man stoops to the ground, at the same level as the woman. This essentially
shows that he is not critical of the woman; he doesn't consider himself morally or socially
superior to her for any reason. Unlike the crowd, he sees her as a human being and not an
object of immorality and ridicule. The way that the persona says 'her level' gives the
impression of disgust and prejudice.
"Writing in the dust Something we couldn't read."
This line, where the man is said to write something that the mob couldn't read, has several
possible connotations. What he wrote could either be a foreign language or it could be
simply illegible. However, he could have intended to show the crowd that they lacked
discernment in their condemnation/persecution of another human being by writing in the
dust.
"And saw in her something we couldn't see at least until he turned his eyes on us, her
eyes on us, our eyes upon ourselves."
The man sees something in the woman that the persona and the mob could not see in her.
However, it became obvious once the man looked at the crowd, and the woman looked at
them as well. In turn, they began to look at themselves. In an attempt to persecute this
woman, they themselves had operated with no moral compass. They had descended to
such a level where nothing morally right had been achieved. No words were said, but the
crowd understood.
"We walked away still holding stones that we may throw another day given the urge."
The crowd leaves, feeling dejected and unable to satisfy their craving for brutality and
violence. However, they still have their stones in hand- showing that the insight given by the
man would not be permanently incorporated into the minds of the crowd. The precepts of
41
true justice- rationality, truth and fairness- has never been and will never be a part of the
crowd's purpose. They have no intention of changing. They will do the same again 'given
the urge.'
The entire poem, is of course an allusion:
The poet has used the concept of intertextuality in crafting her poem from an original story
taken from the Gospel of Jon 8: 3-11. In the Bible story a woman is accused of adultery and
is brought before Jesus because according to Mosaic Law, she should be stoned to death.
Jesus states the famous lines, “He that is without sin among you, let him cast the first stone
at her.” Her accusers scatter. Jesus tells the woman he does not condemn her and to go
and refrain from sinning.
42
It is the Constant Image of Your Face
Dennis Brutus
It is the constant image of your face
framed in my hands as you knelt before my chair
the grave attention of your eyes
surveying me amid my world of knives
that stays with me, perennially accuses
and convicts me of heart’s-treachery;
and neither you nor I can plead excuses
for you, you know, can claim no loyalty –
my land takes precedence of all my loves.
Yet I beg mitigation, pleading guilty
for you, my dear, accomplice of my heart
made, without words, such blackmail with your beauty
and proffered me such dear protectiveness
that I confess without remorse or shame,
my still-fresh treason to my country
and I hope that she, my other, dearest love
will pardon freely, not attaching blame
being your mistress (or your match) in tenderness.
Summary
The persona seems to be a statesman (or some sort of stakeholder or representative of his
country) who is accused of heartbreak by his lover. It appears that there was an event in the
past where he was unfaithful- seemingly to his lover. However, there can be no excuse for
43
either of them, he believes, since loyalty to one's country supersedes all else. He can claim
no loyalty to her, but neither can she to him, as the persona considers his country to be
above all of his other loves. Now however, he pleads for forgiveness of some sort,
confessing freely his denial of his own country. His lover, the 'accomplice of his heart' in
denying his country, has treated him with such tender love that he cannot simply ignore it.
He hopes that his country will be able to forgive him. As he now compares the love he holds
for his lover and his land, he reveals his own confusion. He loves his land and this woman.
One, he believes should take precedence above all others, and the other, has conspired
with his heart to siphon some of his affection for the other. He cannot discern which one is
more dear to his heart, which one is more tender.
The tone of this poem is remorseful and wistful. The mood is solemn and sad, with a sense
of guilt. The themes of the poem include patriotism, divided loyalties and romantic love vs
love of one's country.
Analysis
"It is the constant image of your face, framed in my hands as you knelt before my chair
the grave attention of your eyes surveying me amid my world of knives"
The image of his lover's face remains ceaselessly in his mind. He holds her face in his hands
as she kneels before him. Her eyes inspect him gravely. This gives the impression of
anguish and deep emotion. The phrase 'world of knives' conveys the idea that the persona
is surrounded by a world of brutality, or even an internal conflict.
"that stays with me, perennially accuses and convicts me of heart’s-treachery;"
This image seems to haunt him, permanently embedded into his mind. It accuses and
convicts him of 'heart's-treachery." What he saw in the attentive eyes of his lover stayed
with him and caused a great deal of emotional pain. The use of the word 'convicts' gives the
impression of a direct encumbering of guilt upon the persona. 'Heart's treachery' here,
evidently meaning heartbreak, is an oxymoron, considering that the heart is a symbol of
love and compassion, completely contrasted by the concept of treachery and betrayal.
"and neither you nor I can plead excuses for you, you know, can claim no loyalty – my
land takes precedence of all my loves."
Neither the persona nor his lover can 'plead excuses' for his apparent infidelity. They can't
claim loyalty to each other, as the persona believes unequivocally that loyalty to his country
should be above all other perceived loves. Thus , he feels unbound to her due to how he
prioritizes patriotism.
44
"Yet I beg mitigation, pleading guilty for you, my dear, accomplice of my heart made,
without words, such blackmail with your beauty and proffered me such dear
protectiveness, that I confess without remorse or shame, my still-fresh treason to my
country"
Now, the persona is begging acquittal for his seeming perfidy. He admits his wrongdoing.
His lover is the 'accomplice of his heart,' a person who has conspired with him to take some
of his affection for his country. He sort of introduces the idea that they both share culpability
for betraying his greater love. Wordlessly, she blackmails him with her beauty, forcing him
to become a backsliding lover when it comes to his country. Her love, protective and
tender, has caused him to confess freely the way he now seems to have given his love to
another, apart from his precedent love (his country). He considers this treason, a betrayal of
the love he thinks should be above all else.
"and I hope that she, my other, dearest love will pardon freely, not attaching blame
being your mistress (or your match) in tenderness."
The persona hopes against hope that his country will be able to pardon him for this. The
final line reveals more of his confusion, as cannot discern which one is more dear and
tender to him.
45
Dreaming Black Boy
James Berry
I wish my teacher’s eyes wouldn’t
go past me today. Wish he’d know
it’s okay to hug me when I kick
a goal. Wish I myself wouldn’t hold back when answer comes.
I’m no woodchopper now
like all ancestors.
I wish I could be educated
to the best of tune up, and earn
good money and not sink to lick
boots. I wish I could go on every
crisscross way of the globe
and no persons or powers or
hotel keepers would make it a waste.
I wish life wouldn’t spend me out
opposing. Wish same way creation
would have me stand it would have
me stretch, and hold high, my voice
Paul Robeson’s, my inside eye
a sun. Nobody wants to say
hello to nasty answers.
46
I wish torch throwers of night
would burn lights for decent times.
Wish plotters in pyjamas would pray
for themselves. Wish people wouldn’t
talk as if I dropped from Mars.
I wish only boys were scared
behind bravados, for I could suffer.
I could suffer a big big lot.
I wish nobody would want to earn
the terrible burden I can suffer.
Summary
The persona is a young black male wishing for things he should have already been
guaranteed for being a human. He has suffered great racial discrimination throughout his
life, and this has affected him to the point where he isn't as bold as he should be. He knows
that he is different from his enslaved ancestors, but he feels still trapped by the prejudice
he has to bear. He wants to travel the world and be educated, rather than having to do
demeaning jobs to get by. He wishes to be like the revolutionary Paul Robeson, whom he
idolizes. This boy has suffered through seeing members of the Ku Klux Klan discriminating
against and lynching black people like him, and he hopes that no one else has to bear this
terrible burden he does. The speaker’s tone is one of wistfulness, subdued optimism,
restrained anger, sadness and despair. Like the attitude of the black boy, the atmosphere of
the poem is one of despair, sadness and deep suffering.
Analysis
"I wish my teacher’s eyes wouldn’t go past me today. Wish he’d know it’s okay to hug me
when I kick a goal."
This boy is ignored by his teacher, evidently due to his race. He wants to be recognized for
his achievements in the same way the other students in his class are, but his teacher does
not acknowledge him.
47
"Wish I myself wouldn’t hold back when answer comes. I’m no woodchopper now like all
ancestors."
The persona confirms how he feels-voiceless and powerless. He holds back even when he
knows the answer, showing that his confidence has been undermined due to constant
prejudice. He knows that it doesn't make sense for him to not be bold, as, unlike his
ancestors, he is free.
"I wish I could be educated to the best of tune up"
The boy wants to receive the best possible education. He uses a metaphor here to
compare education to 'tune up,' as in how a car is well-serviced (or tuned) or how an
instrument has been tuned to play the perfect notes.
"and earn good money and not sink to lick boots."
He doesn't want to become the stereotype of that era, of blacks only being meant for
menial tasks. He is able to think critically, and he hopes not to be relegated to being a
proverbial 'hewer of wood and drawer of water,' or spit shoe-shiner. He doesn't want to
simply be subservient and servile in order to get by.
"I wish I could go on every crisscross way of the globe and no persons or powers or hotel
keepers would make it a waste."
He wishes to travel the globe without the restraints of discrimination. He longs for
unrestricted access to places where people and institutions do not discriminate against him
because his skin is black.
"I wish life wouldn’t spend me out opposing."
In this personification, 'life' is said to spend the boy out, as in exhaust him completely. He
doesn't want to spend his whole life on the defensive, constantly having to fight against
discrimination and assault.
"Wish same way creation would have me stand it would have me stretch, and hold high,
my voice Paul Robeson’s, my inside eye a sun."
48
He personifies creation here to be a sort of entity that controls his life. He wants 'creation,' in
the same way it gave him the ability to withstand prejudice, it would give him the ability to
grow internally, to have dignity- to 'stretch' beyond the limits society has defined for him.
The persona dreams of having Paul Robeson’s voice as his own. This alludes to Paul
Robeson, an African American icon known for his deep, distinctive voice. He was a
Renaissance Man who epitomized black manhood as a star athlete singer, actor, lawyer,
and human right activist. He wants to be like Robeson, and be as influential as him as well.
He wants his 'inside eye' to be a 'sun,' meaning that he wants his spirit and brilliance to be a
light that all people can see.
"Nobody wants to say hello to nasty answers."
This line seems sort of out of place, but it shows the persona's realization that being
exceptional is meaningless if people continue to be repulsed by him.
"I wish torch throwers of night would burn lights for decent times. Wish plotters in
pyjamas would pray for themselves."
These lines allude to the Ku Klux Klan, a group of white supremacists who would lynch and
torment black people. They did this under the guise of religion. The persona is highlighting
their hypocrisy, as they hurt others, instead of praying for their own salvation at night.
"Wish people wouldn’t talk as if I dropped from Mars."
The persona wishes that his differences wouldn't be highlighted to seem as though he
doesn't belong on this planet. He feels ostracized, as though he doesn't have the same
permission to live in society- like he was born on Mars.
"I wish only boys were scared behind bravados, for I could suffer. I could suffer a big big
lot. I wish nobody would want to earn the terrible burden I can suffer."
The persona wishes that only children were scared behind pretenses of valor- but he knows
that even though adults display brave facades to the world, they are equally as scared. So,
they are just as afraid and unable to oppose, and he cannot look to them for protection from
the forces that plague him.
The word ‘suffer’ is repeated three times in this final stanza. Being a black boy is apparently
synonymous with being afraid and suffering. He wishes that with adulthood things would
change, but from what he has seen, he knows that is not true. He hopes that no one else will
have to suffer through what he must suffer through because of the colour of their skin.
49
*'Wish' is repeated 12 times throughout the poem to reinforce the persona's mood of
longing.
50
The Woman Speaks to the Man who has
Employed her Son
Lorna Goodison
Her son was first made known to her
as a sense of unease, a need to cry
for little reasons and a metallic tide
rising in her mouth each morning.
Such signs made her know
That she was not alone in her body.
She carried him full term
tight up under her heart.
She carried him like the poor
carry hope, hope you get a break
or a visa, hope one child go through
and remember you. He had no father.
The man she made him with had more
like him, he was fair-minded
he treated all his children
with equal and unbiased indifference.
She raise him twice, once as mother
Then as father, set no ceiling
On what he could be doctor,
earth healer, pilot take wings.
51
But now he tells her he is working
for you, that you value him so much
you give him one whole submachine
gun for him alone.
He says you are like a father to him
she is wondering what kind of father
would give a son hot and exploding
death, when he asks him for bread.
She went downtown and bought three
and one-third yards of black cloth
and a deep crowned and veiled hat
for the day he draw his bloody salary.
She has no power over you and this
at the level of earth, what she has
are prayers and a mother’s tears
and at knee city she uses them.
She says psalms for him
she reads psalms for you
she weeps for his soul
her eyewater covers you.
She is throwing a partner
with Judas Iscariot’s mother
the thief on the left-hand side
of the cross, his mother
52
is the banker, her draw though
is first and last for she still
throwing two hands as mother and
father.
She is prepared, she is done.
Absalom.
Summary
In this poem, the persona seems to be addressing a man who has taken a woman's son into
a life of crime and gun violence. The history of the woman's relationship with her son is
recounted and the love she felt for him even before his birth. She first knew she was
pregnant due to morning sickness- showing that this pregnancy was not necessarily
planned. This son had no father, so the mother played both roles in his upbringing. She saw
his potential as endless, he could become anything. However, she is the told that he has
been employed by a man who 'values' him so much that he gives him his own submachine
gun. The son for whom she had great hope for had now been inducted into a life of crime
that would ultimately cut his life short. She prepares for the funeral of her son, which she
believes will happen sooner rather than later because of what he has become involved in.
She compares this feeling of betrayal and misfortune to 'throwing a partner' (or sou sou
agreement) with notably untrustworthy people and drawing the first and last hand.
"Her son was first made known to her as a sense of unease, a need to cry for little
reasons and a metallic tide rising in her mouth each morning."
This gives some sort of exposition for the life of the woman. It says that 'her son was first
made known to her' through morning sickness, discomfort and emotional hypersensitivity
showing that this pregnancy was a surprise and therefore completely unplanned. Chances
are that she was irresponsible, and did not use contraceptives.
"Such signs made her know that she was not alone in her body."
This continues to give the impression of a somewhat naive and irresponsible mother who
relies on 'signs' to confirm her pregnancy rather than having planned or being aware
enough to know. The line saying "she was not alone in her body" implies that she was being
taken over by some unknown being and had no choice but to accept this new presence.
53
"She carried him full term tight up under her heart."
The mother makes no attempt to abort the baby and carries him for the full nine months.
The phrase 'tight up under her heart' shows that she loved and deeply cared for the unborn
son.
"She carried him like the poor carry hope, hope you get a break or a visa, hope one child
go through and remember you."
This simile compares how she carried the child to how those in poverty carry their hope.
This shows that the mother likely saw the son as a potential ticket out of poverty- a child
that may secure that elusive visa and get an opportunity to work abroad, and, remembering
his mother, send remittances to her. Hope is repeated 3 times here, almost as if to show that
where there is a paucity (lack) of money, there is an excess of hope.
"He had no father. The man she made him with had more like him, he was fair-minded he
treated all his children with equal and unbiased indifference."
This line boldly states the lack of a father figure in the child's life. The man who had
biologically fathered the child had no intention of caring for him. The subsequent line, which
states 'the man she made him with,' gives an impression that the creation of the child was a
mechanical, routine process, that, much like the biological father's regard for his child, was
devoid of emotion or real care. There was a paternal gamete supplier, but no father.
The speaker goes on in sarcastically referring to the man as 'fair-minded,' due to his
indiscriminate disregard for his children. These lines would be somewhat comical, had they
not been given with such venomous indictment of the prevalence of parental truancy. He
has several children, but makes no attempt to support any of them emotionally or
financially.
"She raise him twice, once as mother then as father,"
This line continues to show the impact of the absence of the father- the mother takes the
role of both mother and father. She makes every effort to be supportive to this son of whom
she expects so much.
"set no ceiling on what he could be doctor, earth healer, pilot take wings."
54
This continues to establish the high expectations held by the mother. She believes his
potential is limitless- he could become anything in the world.
"But now he tells her he is working for you, that you value him so much you give him one
whole submachine gun for him alone."
This is the volta or turning point of the poem. Up to this point, the hopes of the mother have
been built up and her love and care for her son has been displayed. Her hopes are
completely dashed now though, when he tells her that he has been recruited by a gunman.
The persona now completely doubles down on the tone of anger/resigned sadness that
was underscored previously in the mentions of paternal absenteeism.
This line is a good example of irony. The mother is told that this gunman values her son so
much that he gives him his own submachine gun. This is ironic because the son feels this
false sense of pride because he is put in charge of this gun. He feels that he is held in a high
esteem by the gunman because he is given the responsibility of a terrible weapon that can
only cause destruction to himself and his community.
"He says you are like a father to him she is wondering what kind of father would give a
son hot and exploding death, when he asks him for bread."
The son, having had no father figure while growing up due to an indifferent father, now
views this gunman as his father figure. The mother questions his idolization of this donor of
guns using a biblical allusion to Matthew 7:9, which states, "Which of you, if your son asks
for bread, will give him a stone?" (a similar verse is at Luke 11:11). The son's penury has led
him to seek material goods, so why would this "father figure" offer him a weapon of certain
death? The woman accuses the man of being purely wicked and having no regard for her
son's wellbeing.
"She went downtown and bought three and one-third yards of black cloth and a deep
crowned and veiled hat for the day he draw his bloody salary."
The mother is completely convinced that this induction into gun violence will inevitably get
him killed. In melancholic resignation, she prepares for his funeral by purchasing a hat and
the material for a dress. She knows that he will eventually draw his 'bloody salary,' i.e. he will
reap the rewards of violence- death.
55
"She has no power over you and this at the level of earth, what she has are prayers and a
mother’s tears and at knee city she uses them."
The mother knows that she cannot physically combat the gunman, but, being religious, she
believes that she can implore the spiritual, righteous power of God. Faith is the only strength
she can possibly use to fight him. She uses her tears, a manifestation of her grief and
sadness for her son and a symbol of condemnation of the man who has given her reason to
cry, at "knee city." This is a sort of Jamaican term that refers to long sessions of prayer,
kneeling. So, the mother prays for her son and implores the intrinsic power of her motherly
tears.
"She says psalms for him, she reads psalms for you, she weeps for his soul, her eyewater
covers you."
The mother continues her spiritual warfare with this man who has recruited her son. She
says psalms for her son- hoping to shield and protect him. However, she reads psalms for
the man, (reading psalms for someone often means to hope for bad things to befall your
enemies) hoping to injure and inhibit him.
Her tears continue to flow for her son as she implores the forces of heaven.
"She is throwing a partner with Judas Iscariot’s mother the thief on the left-hand side of
the cross, his mother is the banker, her draw though is first and last for she still throwing
two hands as mother and father."
This stanza is rife with biblical allusions. She is engaged in a savings agreement (called a
partner in Jamaica, a meeting in Barbados or a sou sou in other Caribbean islands) with
Judas Iscariot's mother (the mother of the well-known betrayer of Jesus) and the thief who
was crucified with Jesus. The thief's mother is the banker, who keeps the money- meaning
that she may have her money stolen if the thief learnt it from his mother. These women
seem to belong to a club of mothers of 'infamous offspring,' reinforcing the point that even
people who have done some of the most ignominious acts in human history have mothers.
The fact that she must hold a savings agreement with these mothers of notorious biblical
men doesn't bode well for her, as a partner agreement requires trust and honour among the
members. The persona says the mother has two ‘draws’ (payments) coming from the
‘partner’ because she has borne the responsibility of both parental roles. being both mother
and father to the boy. She has the first and last payments- the last being particularly risky in
a partner since dishonesty begins to influence the participants the longer they wait to draw.
Similarly, she had the first draw and brought him into the world and she will be there when
his life comes to an end, taking the last draw.
56
"She is prepared, she is done. Absalom."
The mother has prepared herself for the inevitable passing of her son due to his
involvement in this criminal activity. She has bought her dress materials for his funeral, and
she has prayed. There is nothing more that she can do.
The final word, 'Absalom' is spoken sort of like an 'Amen' at the end of a poem. This is a
biblical allusion to David's son Absalom, who was killed after plotting to kill his father. David
however, still feels grief at the death of this son who plotted to kill him. In accepting to be
employed by the gunman, the son has basically plotted against his mother’s investment in
him and her limitless expectations for him. He has killed her hopes.
The mother, like King David, will experience profound grief over the death of her wayward
son.
Figurative Devices
Simile
"She carried him like the poor carry hope"
This simile compares how she carried the child to how those in poverty carry their hope.
This shows that the mother likely saw the son as a potential ticket out of poverty- a child
that may secure that elusive visa and get an opportunity to work abroad, and, remembering
his mother, send remittances to her.
"He says you are like a father to him"
The son compares the gunman to a father, showing that he fills a gap left by his own absent
father.
Allusion
"what kind of father would give a son hot and exploding death, when he asks him for
bread."
The mother questions the son's idolization of this donor of guns using a biblical allusion to
Matthew 7:9, which states, "Which of you, if your son asks for bread, will give him a stone?"
(a similar verse is at Luke 11:11). The son's penury has led him to seek material goods, so why
57
would this "father figure" offer him a weapon of certain death? The woman accuses the man
of being purely wicked and having no regard for her son's wellbeing.
"She says psalms for him, she reads psalms for you,"
This is an allusion to the biblical book of Psalms. The mother says psalms hoping to protect
her child, but she reads psalms for the gunman in hopes of his defeat or injury.
"She is throwing a partner with Judas Iscariot’s mother the thief on the left-hand side of
the cross, his mother is the banker,"
This is a biblical allusion to Judas Iscariot, the man who betrayed Jesus in the bible, and the
thief who was crucified on the left of Jesus in the bible. She is engaged in a savings
agreement (called a partner in Jamaica, a meeting in Barbados or a sou sou in other
Caribbean islands) with Judas Iscariot's mother (the mother of the well-known betrayer of
Jesus) and the thief who was crucified with Jesus. The thief's mother is the banker, who
keeps the money- meaning that she may have her money stolen if the thief learnt it from his
mother.
"Absalom."
The final word, 'Absalom' is spoken sort of like an 'Amen' at the end of a poem. This is a
biblical allusion to David's son Absalom, who was killed after plotting to kill his father. David
however, still feels grief at the death of this son who plotted to kill him. In accepting to be
employed by the gunman, the son has basically plotted against his mother’s investment in
him and her limitless expectations for him. He has killed her hopes.
The mother, like King David, will experience profound grief over the death of her wayward
son.
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Test Match Sabina Park
Stewart Brown
Proudly wearing the rosette of my skin
I strut into Sabina
England boycotting excitement bravely
something badly amiss.
Cricket. Not the game they play at Lords,
The crowd- whoever saw a crowd
At a cricket match? – are caged
vociferous partisans, quick to take offence.
England sixty eight for none at lunch.
‘What sort o battin dat man?
Dem kaaan play cricket again,
praps dem should-a-borrow Lawrence Rowe!’
And on it goes, the wicket slow
as the batting and the crowd restless.
‘Eh white bwoy, how you brudders dem
does sen we sleep so? Me pay me monies
fe watch dis foolishness? Cho!’
So I try to explain in my Hampshire drawl
about conditions in Kent,
about sticky wickets and muggy days
and the monsoon season in Manchester
but fail to convince even myself.
The crowd’s loud ‘busin drives me out
skulking behind a tarnished rosette
somewhat frayed now but unable, quite,
to conceal a blushing nationality.
Summary
The persona is an Englishman who comes to Sabina Park to watch a cricket match between
his home team and the West Indies team. A proud man, he becomes uneasy once he
realizes that something is wrong. His team appears to be abstaining from any exciting
gameplay, and the pace of the match is slow. He notices the stark differences between
cricket at Lords and here at Sabina Park. Here, there is a massive crowd unheard of in
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England. The crowd is rowdy, and is restless due to the slow and unimpressive gameplay of
the English team. The persona, being essentially the only white man in the stadium apart
from the team, is targeted by the restless spectators who want to know why the English
team has so failed to produce a thrilling game. The persona, now feeling crestfallen and
embarrassed for his nationality, his team and himself, leaves the park- the complete
opposite of how he felt going in.
The mood here is tense and frustrated. The tone is one of frustration (from the West Indian
attendees) and embarrassment (the British man).
Analysis
"Proudly wearing the rosette of my skin I strut into Sabina"
This line serves to show the pride of the persona. The diction of the poet in using "strut"
here conveys the arrogance and sense of self-importance in his walk.
"England boycotting excitement bravely, something badly amiss."
These lines (3-4) are expressing multiple things. Firstly, it gives a sense of sarcasm, as the
English team is said to be 'boycotting excitement bravely' as though they are valiant
warriors of some sort, but really, they are performing very poorly and producing an
unexciting game. 'Something badly amiss' suggests that this is very different from usually
happens in England- maybe this poor performance is uncharacteristic of the national team.
Secondly, these lines are a pun. The poet skilfully incorporates a play on words here to
ridicule the poor performance of the two English cricketers: Geoff Boycott and Dennis
Amiss.
"Cricket. Not the game they play at Lords, the crowd- whoever saw a crowd at a cricket
match? – are caged vociferous partisans, quick to take offence."
The persona notices a very big difference between the cricket here and the cricket at Lords.
He uses a rhetorical question, to show that the crowd at Sabina is large, loud and rowdy,
and definitely not like what he would usually see at a cricket match at Lords in England. The
crowd, he says are 'caged vociferous partisans,' which gives the impression that the crowd
is kept behind some form of iron bars or mesh to watch the match, unlike the unrestrained,
free park at Lords. This line also lets us know that the crowd is very loud and
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unapologetically vocal in support of the West Indies team. It is also suggested that the
crowd takes offence for anything that happens to their team or is said against their team, as
shown in "quick to take offence."
"England sixty eight for none at lunch. ‘What sort o battin dat man? Dem kaaan play
cricket again, praps dem should-a-borrow Lawrence Rowe!’ "
At lunch, the score is poor and the crowd is evidently frustrated with this unimpressive
performance. One Jamaican speaker suggests that "praps dem should-a-borrow Lawrence
Rowe," an allusion to a well-known prolific Caribbean batsman at the time, in a mocking
manner. The dialect of the Jamaican speaker directly contrasts with the persona's standard
English. His interjection shows a use of language that truncates words and omits letterssomewhat dismissing and ridiculing the Queen's English, much like he ridicules the British
team.
"And on it goes, the wicket slow as the batting and the crowd restless. ‘Eh white bwoy,
how you brudders dem does sen we sleep so? Me pay me monies fe watch dis
foolishness? Cho!’ "
The game continues, and so does the ridicule of the crowd. The slow paced gameplay
continues to drive the crowd to restlessness, so much so that one man speaks directly to
the persona, saying that he feels his money was wasted on a match that is so boring. He
refers to the persona as 'white bwoy' showing that the rosette of his skin commands no
respect here. He is offhandedly placed in the family with his underperforming British
countrymen who continue to abstain from exciting gameplay.
"So I try to explain in my Hampshire drawl about conditions in Kent, about sticky wickets
and muggy days and the monsoon season in Manchester but fail to convince even
myself. "
The persona now attempts to explain why the English team is performing so poorly. He tries
to chalk it up to weather conditions that are different in England than in the Caribbean, and,
quite hilariously, the 'monsoon season in Manchester.' There is, of course, no monsoon
season in Manchester, England because monsoons are phenomena of South Asia and India.
He probably assumes that they wouldn't know this and is grasping at straws to create some
form of explanation.
However, all of this is pointless since the West Indian spectators are not convinced, and
neither is he. He is, like the cricketers, facing a 'sticky wicket' (which is a difficult situation).
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"The crowd’s loud ‘busin drives me out skulking behind a tarnished rosette somewhat
frayed now but unable, quite, to conceal a blushing nationality."
This final stanza represents a large contrast from the start of the poem. Instead of being
proud and overly arrogant, strutting around, he leaves 'skulking,' cowardly- "unable, quite,
to conceal a blushing nationality." His use of the truncated word "'busin" suggests that he
has acquiesced. Like the West Indian cricketers, the West Indian dialect has proven
stronger than that of the English. His high and mighty attitude has vanished. The British
cricketers' colossal flop is a national and racial embarrassment for the speaker. His white
skin, his rosette, once his badge of honour and source of pride has lost its lustre, and is now
red with embarrassment.
62
South
Kamau Brathwaite
But today I recapture the islands'
bright beaches: blue mist from the ocean
rolling into the fishermen's houses.
By these shores I was born: sound of the sea
came in at my window, life heaved and breathed in me then
with the strength of that turbulent soil.
Since then I have travelled: moved far from the beaches:
sojourned in stoniest cities, walking the lands of the north
in sharp slanting sleet and the hail,
crossed countless saltless savannas and come
to this house in the forest where the shadows oppress me
and the only water is rain and the tepid taste of the river.
We who are born of the ocean can never seek solace
in rivers: their flowing runs on like our longing,
reproves us our lack of endeavour and purpose,
proves that our striving will founder on that.
We resent them this wisdom, this freedom: passing us
toiling, waiting and watching their cunning declension down to the sea.
But today I would join you, travelling river,
borne down the years of your patientest flowing,
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past pains that would wreck us, sorrows arrest us,
hatred that washes us up on the flats;
and moving on through the plains that receive us,
processioned in tumult, come to the sea.
Bright waves splash up from the rocks to refresh us,
blue sea-shells shift in their wake
and there is the thatch of the fishermen's houses, the path
made of pebbles, and look!
Small urchins combing the beaches
look up from their traps to salute us:
they remember us just as we left them.
The fisherman, hawking the surf on this side
of the reef, stands up in his boat
and halloos us: a starfish lies in its pool.
And gulls, white sails slanted seaward,
fly into the limitless morning before us.
Summary
In the poem, the persona is reflecting on the island home of his childhood. He has travelled
to many places, but appears to be constantly homesick. He remarks the stark contrasts
between the "stoniest cities" and his own homeland, and seems overcome with happiness
once he recounts the wondrous memories of his childhood. The title, 'South' seems to refer
to the southern hemisphere, including the Caribbean islands (the likely origin of the persona
considering that the poet is Barbadian), the southern US states, South America and the
southern states of Africa, all of which are associated with racial tensions involving black
people. The persona juxtaposes his southern island home, full of bright beaches and warm
people, with the "lands of the north," the northern lands having unfavourable weather
conditions, colder people and a lack of the ocean which our persona so desperately longs
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for. The theme is nature, idealization of childhood and nostalgia. The mood could also be
described as nostalgic and longing.
Analysis
"But today I recapture the islands' bright beaches: blue mist from the ocean rolling into
the fishermen's houses."
The persona here reminisces about the picturesque scenery of his island home. The use of
the words "but today" give the impression that the persona has experienced a change in
heart today, or that something has resulted in him having a different opinion. By saying that
he recaptures the islands' bright beaches, the persona communicates that he is taking hold
of something that belonged to him in the past.
"By these shores I was born: sound of the sea came in at my window, life heaved and
breathed in me then with the strength of that turbulent soil."
The persona was born on this island, this idyllic landscape of glimmering ocean and sea
breeze- however, the island has faced political turmoil/struggle that pushes people away,
as shown by the use of "turbulent soil."
"Since then I have travelled: moved far from the beaches: sojourned in stoniest cities,
walking the lands of the north in sharp slanting sleet and the hail,"
Since his childhood, he has travelled far from this tropical home. He uses "stoniest" to
describe the cities he's travelled to, and this could be considered to be representative of the
people he encountered in these cities, since 'stony' can also mean cold, and unfriendly. This
is very different from the very close communal setting he would have grown up in. The
sleet, hail and harsh wintry conditions he endured are also a contrast to the 'bright beaches'
from his childhood.
"crossed countless saltless savannas and come to this house in the forest where the
shadows oppress me and the only water is rain and the tepid taste of the river."
Now, the persona likely refers to Africa when he says 'saltless savannas.' Using saltless here
draws attention to the fact that the savannas are devoid of beaches (and the salty ocean)
which he misses deeply. He now lives in a house in the forest. This gloomy, dreary,
sheltered place makes him feel oppressed. Throughout his worldwide sojourns, he has
missed the ocean- and here still lacks its distinctive salty taste. To the persona, the rain
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water is ordinary and the river water is unappealing. The river doesn't represent the same
limitless renewal of the ocean.
"We who are born of the ocean can never seek solace in rivers: their flowing runs on like
our longing, reproves us our lack of endeavour and purpose, proves that our striving will
founder on that."
The persona now switches personal pronouns from 'I' to 'we,' those who are 'born of the
ocean'- people who are likely from the islands like he is. He says that they cannot seek
comfort in the rivers. Rivers, like oceans, are bodies of water, but to him, that is where the
similarities end. The bland predictability of its unidirectional flow directly contrasts the
boundless nature of the ocean and its people. The sea has a characteristic ebb and flow,
but the river flows on continuously and endlessly, shown using simile to be similar to how
those born of the ocean can never stop longing for their homeland once they've left it- they
constantly yearn for the unknown.
The speaker now personifies the river to be almost wise and discerning. The river
showcases their lack of ambition and ability to make meaningful change.
The word 'founder' in this case means to fail or break down due a certain shortcoming. The
shortcoming of the people is that they cannot truly make meaningful change- therefore
their striving is pointless.
"We resent them this wisdom, this freedom: passing us toiling, waiting and watching
their cunning declension down to the sea."
The river is disliked because it brings into stark focus the fact that their lives are devoid of
purpose. The river passes them by as they attempt to better their situations through all sorts
of tasks, toiling constantly. But the river is free and unbound by the existential angst of
humanity give their lives meaning. It is completely indifferent to humanity's plight.
Using the phrase 'cunning declension' makes the rivers seem conniving and crafty in its
slow and methodical flow to the ocean as it reveals nothing about itself.
"But today I would join you, travelling river,"
The use of the phrase "but today" (line 19) is reflective of the use of the same phrase in the
beginning of the poem (line 1) to create a connection in how something has changed in his
view. This could be considered the volta (turning point) of the poem. He now states that he
would join the river, deviating from what would ordinarily happen.
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"borne down the years of your patientest flowing, past pains that would wreck us,
sorrows arrest us, hatred that washes us up on the flats; and moving on through the
plains that receive us, processioned in tumult, come to the sea."
The river is like a conduit of human history; it carries with it an archive of past events.
Despite all this, the river flows on, through a world where human interaction is full of hurt
and pain, eventually reaching the sea. (This could be an allusion to the Trans-Atlantic Slave
Trade and a past of colonialism and dislocation of African people). In this way, the persona
can join the river in reflecting on the past- even though he may encounter troubles, like
hatred, sorrows and past pain.
Here, the 's' sound is also repeated constantly to mimic the sound of a river's flow.
"Bright waves splash up from the rocks to refresh us, blue sea-shells shift in their wake
and there is the thatch of the fishermen's houses, the path made of pebbles, and look!
Small urchins combing the beaches look up from their traps to salute us: they remember
us just as we left them."
The persona's tone takes on a massive change: he now seems incredibly excited as he
reminisces about his island home. He is welcomed and reinvigorated by the waves. The
river has gone, as both he and it have found their rightful place in the ocean. This entire
image is an idealized memory from his childhood- a wonderful, pleasant, picturesque scene
that embraces him (and the others who left) as someone who belongs there.
"The fisherman, hawking the surf on this side of the reef, stands up in his boat and
halloos us: a starfish lies in its pool. And gulls, white sails slanted seaward, fly into the
limitless morning before us."
This is a direct contrast to the "stoniest cities" he visited on his travels. The fisherman
amiably greets him, showing a warmth absent in the cities. The use of a starfish specifically
here is significant, as it lies in its pool- showing the leisurely lifestyle of the people of the
island. The starfish is also a symbol of regeneration and rebirth due to its distinctive ability of
limb regeneration. This correlates to the persona's desire to return to his homeland and
become rejuvenated by the ocean waves.
The seagull fly on to a limitless morning. This is significant in that the morning is symbolic of
a new beginning, infinite and filled with possibilities.
Figurative Devices
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Alliteration
"bright beaches, blue mist from the ocean"(line 2)
"By these shores I was born, sound of the sea" (line 4)
"We who are born of the ocean can never seek solace in rivers" (line 13)
"toiling, waiting and watching their cunning declension down to the sea" (line 18)
"past pains that would wreck us, sorrows arrest us," (line 21)
"and gulls, white sails slanted seaward,"
Personification
"sound of the sea came in at my window, life heaved and breathed in me then with the
strength of that turbulent soil." (lines 4-6)
"...shadows oppress me" (line 11)
"their flowing... reproves us our lack of endeavour and purpose, proves that our striving
will founder on that." (lines 14-16)
Simile
"their flowing runs on like our longing," (line 14)
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Sonnet Composed Upon Westminister
Bridge, September 3, 1802
William Wordsworth
Earth has not anything to show more fair:
Dull would he be of soul who could pass by
A sight so touching in its majesty:
This City now doth, like a garment, wear
The beauty of the morning; silent, bare,
Ships, towers, domes, theatres, and temples lie
Open unto the fields, and to the sky;
All bright and glittering in the smokeless air.
Never did sun more beautifully steep
In his first splendour, valley, rock, or hill;
Ne'er saw I, never felt, a calm so deep!
The river glideth at his own sweet will:
Dear God! the very houses seem asleep;
And all that mighty heart is lying still!
Summary
In this 14-lined Italian sonnet, the persona is crossing the Westminister bridge and sees a
sight that he never has before. The city before him now seems to be more beautiful than he
ever had considered it to be before, in the early morning air. He notices the small details all
around him, and is awed by the stillness and beauty all around. The sonnet overall is an
expression of the persona's admiration of the world around him. The theme is natural
beauty, and the tone is reverent and somewhat celebratory of the beauty of nature. The
mood could be described as amazement, serenity or wonder.
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Analysis
"Earth has not anything to show more fair:"
This is a hyperbole used by the poet to show exactly how incredibly 'fair' the sight before
him is. He thinks that this must be the greatest that the world has to offer simply because of
how he feels in this moment observing it.
"Dull would he be of soul who could pass by a sight so touching in its majesty:"
The persona continues on his admiration of the sight before him by remarking that anyone
able to simply walk past the beautiful sight would be "dull... of soul." The persona also
indicates how elevated above the ordinary this scene is by using the word 'majesty.' The
persona feels genuinely touched by the majesty of the scene.
"This City now doth, like a garment, wear the beauty of the morning; silent, bare,"
Using simile, the city is said to wear the morning's beauty like a garment. This gives the
impression of a dress or similar item of clothing settling smoothly over a person's body.
Hence, the beauty of the morning settles over the city perfectly, the silence and emptiness
of the morning being ascribed to the city signalling the beginning of the new day.
"Ships, towers, domes, theatres, and temples lie open unto the fields, and to the sky; all
bright and glittering in the smokeless air."
The structures of the city, though manmade and different from the natural elements, seem
equally beautiful and sublime when adorned by the glory of the morning air. All is beautiful.
Even the air is clear, since factories and vehicles haven,'t begun to spit smoke into the air
yet.
"Never did sun more beautifully steep in his first splendour, valley, rock, or hill; "
The persona continues with his hyperbole in expressing his adoration, stating that the sun
has never looked this beautiful, and makes the magnificence of the valleys and hils more
apparent. He uses the word 'steep,' which usually describes how a teabag is left to soak in
boiling water when making tea. However, here, it seems to describe the sun at sunrise, and
how it seems to be soaking slightly under the horizon like a teabag.
"Ne'er saw I, never felt, a calm so deep!"
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The persona's admiration seems to reach its highest point here, where the wonder of seeing
the allure of the world around him is overwhelming. He says (in what could be considered
hyperbole) that he has never felt such a deep calm before.
"The river glideth at his own sweet will"
The poet personifies the river to describe how it seems so casual and tranquil in its slow
flow. The river, usually disturbed by boats and vessels, is now free to glide at his own
leisurely pace.
"Dear God! the very houses seem asleep;"
The persona is overwhelmed and exclaims, likely acknowledging the presence of God in
such a serene scene. Even the houses, who he personifies to say they are sleeping, seem at
peace- quiet, with the people in them unmoving.
"And all that mighty heart is lying still!"
This line of the poem likely refers to the heart of the city, or the constant throb and stir of
people that would occur later in the day is absent- all is still, restful and silent.
Figurative Devices
Personification
Line 12- "The river glideth at his own sweet will"
The poet personifies the river to describe how it seems so casual and tranquil in its slow
flow. The river, usually disturbed by boats and vessels, is now free to glide at his own
leisurely pace.
Line 13- "Dear God! the very houses seem asleep;"
The poet personifies the houses to say they are sleeping, seeming at peace- quiet, with the
people in them unmoving.
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Simile
Lines 4-5-""This City now doth, like a garment, wear the beauty of the morning; silent,
bare,"
Using simile, the city is said to wear the morning's beauty like a garment. This gives the
impression of a dress or similar item of clothing settling smoothly over a person's body.
Hence, the beauty of the morning settles over the city perfectly, the silence and emptiness
of the morning being ascribed to the city signalling the beginning of the new day.
72
West Indies, U.S.A.
Stewart Brown
Cruising at thirty thousand feet above the endless green
the islands seem like dice tossed on a casino’s baize,
some come up lucky, others not. Puerto Rico takes the pot,
the Dallas of the West Indies, silver linings on the clouds
as we descend are hall-marked, San Juan glitters
like a maverick’s gold ring.
All across the Caribbean
we’d collected terminals – airports are like calling cards,
cultural fingermarks; the hand-written signs at Portau-Prince, Piarco’s sleazy tourist art, the lethargic
contempt of the baggage boys at ‘Vere Bird’ in St. Johns...
And now for plush San Juan.
But the pilot’s bland,
you’re safe in my hands drawl crackles as we land,
“US regulations demand all passengers not disembarking
at San Juan stay on the plane, I repeat, stay on the plane.”
Subtle Uncle Sam, afraid too many desperate blacks
might re-enslave this Island of the free,
might jump the barbed
electric fence around ‘America’s
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back yard’ and claim that vaunted sanctuary... ‘Give me your poor...’
Through toughened, tinted glass the contrasts tantalise;
US patrol cars glide across the shimmering tarmac,
containered baggage trucks unload with fierce efficiency.
So soon we’re climbing,
low above the pulsing city streets;
galvanised shanties overseen by condominiums
polished Cadillacs shimmying past Rastas with pushcarts
and as we climb, San Juan’s fool’s glitter calls to mind
the shattered innards of a TV set that’s fallen
off the back of a lorry, all painted valves and circuits
the roads like twisted wires,
the bright cars, micro-chips
It’s sharp and jagged and dangerous, and belonged to someone else.
Summary
A man in an airplane on a stopover flight stops momentarily in San Juan, Puerto Rico. The
man remarks about Puerto Rico being different from the other countries of the Caribbean
he'd stopped in. He also laments the fear the US has of the poorer people of the Caribbean
stowing away illegally in the country. As the plane climbs above the streets of San Juan, he
recognizes the stark contrasts in the city: between shanties and condominiums, poverty and
affluence. He, in so doing, exposes the the 'dual reality' and economical segregation within
Puerto Rico itself and in the Caribbean as a whole. He makes note of the plush appearance
of Puerto Rico being 'fools-glitter,' showing that although the country appears wonderful, it
has serious underlying issues nonetheless. Brown ends the poem with the powerful remark
that Puerto Rico's dangerous clash of cultures and dualistic reality only belongs to the USA.
The mood of the poem is sarcastic. The tone seems to be bitter or resenting, and the
themes include oppression, discrimination
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Analysis
"Cruising at thirty thousand feet above the endless green"
The persona is in an airplane above the lush greenery and foliage of the country below. This
provides us with some visual imagery.
"the islands seem like dice tossed on a casino’s baize, some come up lucky, others not.
Puerto Rico takes the pot,"
The poet uses a simile "islands seem like dice tossed on a casino’s baize," to compare the
islands to dice tossed on a baize (this is the soft velvet fabric used on pool tables and card
tables). This is used to show not only the small and insignificant size the islands seem to
have when looking down from that height, but also the way in which the prosperity of each
Caribbean island seems to be up to chance.
Puerto Rico has seemingly won this game of chance. The poet says that "Puerto Rico takes
the pot," showing that, like in poker, where the winner takes all of the money wagered,
Puerto Rico won in terms of prosperity.
"the Dallas of the West Indies, silver linings on the clouds"
In an allusion comparing Puerto Rico to Dallas, a city in the oil rich state of Texas, the poet
reinforces the idea of Puerto Rico being an incredibly prosperous and affluent standout
from the other Caribbean islands. The poet also seems to making a connection between the
USA's acquisition of Puerto Rico in 1898 and the USA's annexing of Texas from Mexico in
1845. He therefore establishes a relation between the prosperity of both the state and the
island.
The poet also alludes to the cliché of 'every cloud has a silver lining' to again make the point
that the island is wealthy, and a place of great economic opportunity (unlike some of its
fellow Caribbean islands).
"San Juan glitters like a maverick’s gold ring."
The poet compares San Juan to a maverick's gold ring using simile. The word maverick
suggests an outsider, or non-conformist. In this way, Puerto Rico is shown to be completely
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different from the other islands in the region. San Juan, Puerto Rico is in the Caribbean but is
not the same as the other islands- it belongs to the USA.
"All across the Caribbean we’d collected terminals – airports are like calling cards,
cultural fingermarks; the hand-written signs at Port-au-Prince, Piarco’s sleazy tourist art,
the lethargic contempt of the baggage boys at ‘Vere Bird’ in St. Johns... And now for
plush San Juan."
The persona states that they'd 'collected terminals' across the Caribbean as they travelled.
He compares airports to calling cards (using a simile), implying that the airport of each
country, like a calling card, gave them information of the country overall. The quality of the
airport would depict in a compact way the socioeconomic state of the rest of the country.
The poet also calls the airports 'cultural fingermarks,' as they all have unique aspects to
them that relate the wider cultural landscape of the island. He lists that the signs were
hand-written rather than printed in Haiti, that the art was produced solely for tourist
consumption in Trinidad, and that the baggage handlers in Antigua were slow, filled with
contempt and reluctant in doing their jobs. All of this contrasts starkly with the plush San
Juan.
"But the pilot’s bland, you’re safe in my hands drawl crackles as we land, 'US regulations
demand all passengers not disembarking at San Juan stay on the plane, I repeat, stay on
the plane.' Subtle Uncle Sam, afraid too many desperate blacks might re-enslave this
Island of the free, might jump the barbed electric fence around ‘America’s back yard’
and claim that vaunted sanctuary... 'give me your poor...'"
As they descend, the pilot (likely southern American based on the word 'drawl') states that
everyone not coming off in San Juan should remain on the plane instead of being able to
explore the airport. The speaker takes on sarcasm now, stating how 'subtle' Uncle Sam
(metonym for the United States) attempts to be by trying to disguise their discrimination
with regulation. This regulation is basically saying that you may not even step foot onto
Puerto Rican soil if it is not your intended port of disembarkment. The persona is disgusted
with the Americans for being so prejudicial.
He states his belief that the US is only fearful that an influx of 'desperate blacks,' i.e. the
people of the Caribbean in search of economic opportunities will undermine the prosperity
of the island.
The poet also uses a pun here with 'island of the free.' 'Land of the free and home of the
brave' is a line from the national anthem of the USA. The poet utilizes a play on words here
to again reinforce the idea that Puerto Rico belongs to America. This could also be seen as
an instance of irony, since it is ironic that the poet refers to Puerto Rico as an 'island of the
free' while subtly insinuating that it is not truly free and is property of the US. His use of 'free'
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also brings up the idea that Puerto Rico is free in comparison to the other Caribbean islands
simply because of its affluence.
The persona states that the US fears too many desperate blacks might jump the fence
around America's backyard and 'claim that vaunted sanctuary.' This line alludes to a term
used in former US president Ronald Reagan's speech on anti-American regimes in the
Caribbean and Latin America in the 1980's. He said that the US government would not
tolerate the establishment of such governments in America’s backyard.
The final part of the line seems to be said with some bitterness or disgust by the persona.
The phrase "give me your poor" is a quote from the poem New Colossus by Emma Lazarus
placed on the Statue of Liberty. The full line states "Give me your tired, your poor, your
huddled masses yearning to breathe free." The poem highlights a humanitarian vision of the
US, one that welcomes the disenfranchised of the world, like how the early immigrants
were welcomed. But in Puerto Rico, the immigrants now are barred from even touching the
soil- showing that these 'American ideals' are not realized there.
"Through toughened, tinted glass the contrasts tantalise; US patrol cars glide across the
shimmering tarmac, containered baggage trucks unload with fierce efficiency. So soon
we’re climbing,"
As the persona looks through the toughened windows of the airplane, he realizes the
contrasts between Puerto Rico and the other islands. The patrol cars and baggage trucks
move with 'fierce efficiency' showing that the workers are working with military-like severity
and precision (unlike the lethargic St. Johns baggage boys). They are back in the air quickly,
so their efficiency seems to be a way to get them out of their country as quickly as possible.
"low above the pulsing city streets; galvanised shanties overseen by condominiums,
polished Cadillacs shimmying past Rastas with pushcarts"
The persona, now in the plane which is still low above the streets is able to see the contrast
between his first impressions based on appearance and the reality that would have gone
unnoticed at a higher altitude. He can now see the disparity between prosperity and penury
within San Juan- the shanties in small towns being overlooked by lush condominiums, the
pristine Cadillacs 'shimmying' past Rastas with pushcarts (this suggests a skittish avoidance
of the Rastas because of their poverty). The Rastas are juxtaposed with the owners of
expensive Cadillacs and condominiums who are at the top of the economic food chain and
can flaunt their material opulence.
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"and as we climb, San Juan’s fool’s glitter calls to mind the shattered innards of a TV set
that’s fallen off the back of a lorry, all painted valves and circuits the roads like twisted
wires, the bright cars, micro-chips."
This lucid, perspicuous realization that the glittering golden maverick ring of Puerto Rico is
only fool's gold, that the reality is far different from the appearance, reminds the persona of
a shattered TV 'that’s fallen off the back of a lorry.' This is similar to the idiomatic expression
'to fall off the back of a lorry,' which means to come into someone's possession by illegal or
dubious means, usually stealing. The visual imagery created by the broken television
comparison shows a sort of confusing tangle of roads and streets as seen in the simile 'the
roads like twisted wires.'
"It’s sharp and jagged and dangerous, and belonged to someone else."
Here, the persona makes his final remarks about the island. He refers to the tangle of
American culture and Puerto Rican culture; and the juxtaposition of prosperity and penury
to be dangerous. From a distance, or even an altitude, Puerto Rico looks like a prosperous
modern country, but upon closer scrutiny, the island is not so desirable after all. Puerto Rico
is reduced to a shattered television set; it is broken and whoever possesses it, is in receipt of
stolen property.
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Once Upon a Time
Gabriel Okara
Once upon a time, son,
they used to laugh with their hearts
and laugh with their eyes:
but now they only laugh with their teeth,
while their ice-block-cold eyes
search behind my shadow.
There was a time indeed
they used to shake hands with their hearts:
but that’s gone, son.
Now they shake hands without hearts
while their left hands search
my empty pockets.
‘Feel at home!’ ‘Come again’:
they say, and when I come
again and feel
at home, once, twice,
there will be no thricefor then I find doors shut on me.
So I have learned many things, son.
I have learned to wear many faces
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like dresses – homeface,
officeface, streetface, hostface,
cocktailface, with all their conforming smiles
like a fixed portrait smile.
And I have learned too
to laugh with only my teeth
and shake hands without my heart.
I have also learned to say,’Goodbye’,
when I mean ‘Good-riddance’:
to say ‘Glad to meet you’,
without being glad; and to say ‘It’s been
nice talking to you’, after being bored.
But believe me, son.
I want to be what I used to be
when I was like you. I want
to unlearn all these muting things.
Most of all, I want to relearn
how to laugh, for my laugh in the mirror
shows only my teeth like a snake’s bare fangs!
So show me, son,
how to laugh; show me how
I used to laugh and smile
once upon a time when I was like you.
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Summary
In this poem, the persona, a father (or mother) seems to be speaking to his son about how
people, as well as he himself have changed from showing genuine emotion to being
insincere and ingenuine. The persona reminisces about times gone when people would
"laugh with their eyes" and "shake hands with their hearts." He disdainfully remarks about
the disingenuous pretences people put on now of feigned laughs and heartless handshakes
whilst they search him for information about his financial status. The persona also speaks
about his own adaptation to this new insincere world by saying nice things and acting
amiably in contrast to what he really feels. However, he expresses to his son as well how
much he misses people being genuine, and being sincere himself- as he finds himself
unable to really laugh. He wants to be young and able to show his true feelings again like
his son.
The theme of the poem is societal changes, hypocrisy and values. The mood is one of
disdain and nostalgia.
The tone of this poem could be considered to be ironic, since not only does the father act
the exact way he despises, but his dream dream of turning the clock back to a time of
sincerity is nothing more than a fantasy as well.
Analysis
Stanza 1
"Once upon a time, son, they used to laugh with their hearts and laugh with their eyes"
The first stanza opens with the titular phrase of 'once upon a time,' showing that there is a
sort of story about to be told. The father begins to speak about 'they,' the people who used
to laugh genuinely, and show their true emotions.
"But now they only laugh with their teeth, while their ice-block-cold eyes search behind
my shadow."
These lines show how these people no longer laugh genuinely, but rather do it for show
while they inspect the persona closely- hoping to find secrets and flaws of some sort. He
describes their eyes using a metaphor- "ice-block-cold eyes"- to show how callous and
unfeeling they truly are.
Stanza 2
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"There was a time indeed- they used to shake hands with their hearts: but that’s gone,
son."
Once again, the persona recalls (nostalgically) time when people would shake hands 'with
their hearts,' or with love- but states disdainfully that that time has passed.
"Now they shake hands without hearts while their left hands search my empty pockets."
The people shake hands callously, without any intention of showing trust and interpersonal
warmth. Instead, they want to find out how much money he has, his financial status; as is
exemplified in western capitalist values. This draws parallel with what was said at the end of
the previous stanza: "....their ice-block-cold eyes search behind my shadow." They only aim
to find or gain something, therefore losing the sincerity of the gesture or action.
Stanza 3
"‘Feel at home!’ ‘Come again’: they say, and when I come again and feel at home, once,
twice, there will be no thrice- for then I find doors shut on me."
This connects again to what was previously said about the people inspecting and
evaluating the persona and putting genuineness and sincerity to the wayside in favour of a
newer culture where financial and social status is paramount. In this stanza, the persona is
invited to their houses and told gladly after each time to feel at home and come again.
However, once they see that his social or financial status doesn't quite measure up, he is
excluded without a second thought.
Stanza 4
"So I have learned many things, son. I have learned to wear many faces like dresses –
homeface, officeface, streetface, hostface, cocktailface, with all their conforming smiles
like a fixed portrait smile."
The father has learned from this new culture of cold, unfeeling people, and now cycles
through faces for different occasions. Each one has a fixed smile whose aim is to please
those around and conform to other people.
Stanza 5
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"And I have learned too to laugh with only my teeth and shake hands without my heart. I
have also learned to say, ’Goodbye’, when I mean ‘Good-riddance’; to say ‘Glad to meet
you’, without being glad; and to say ‘It’s been nice talking to you’, after being bored."
The persona again expresses what he has adapted to do over the years: to do things not
because he means them or they come from his heart, but rather for show in hopes of
gaining something.
Stanza 6
"But believe me, son. I want to be what I used to be when I was like you. I want to unlearn
all these muting things. Most of all, I want to relearn how to laugh, for my laugh in the
mirror shows only my teeth like a snake’s bare fangs!"
The father wants to be like his son again. Despite having learnt all of these tricks and hollow
expressions to conform to the changes in society, he wants to be able to embrace the
innocence and sincerity he once had as a child. These disingenuous things he has learnt
have only served to mute him ('these muting things') and silence his true thoughts and
emotions. He has adapted to this cold culture so much that when he sees his laugh in the
mirror, his teeth are the only things laughing- so he seems deceitful and mendacious like a
snake.
Stanza 7
"So show me, son, how to laugh; show me how I used to laugh and smile once upon a
time when I was like you."
The persona now pleads (pointlessly, one might argue) to his son to teach him how to laugh
and smile genuinely again. He wants to be innocent and sincere like he was when he was
younger, and lived in a society that encouraged honesty and a pure identity.
Literary Devices
Simile
"I have learned to wear many faces like dresses" (lines 20-21)
The 'faces' of the persona are compared to dresses, in that he cycles through them based
on where he is. He simply switches between the personality/face he puts on to conform to
where he goes.
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"...with all their conforming smiles like a fixed portrait smile." (lines 23-24)
The persona's several faces have smiles compared here to a fixed portrait smile. The smile
a person puts on in a photograph or portrait of themselves is often not representative of the
normal state of being of the person, and is also often uncomfortable and an exaggerated
pretence of happiness- similar to the pretence the persona performs here with his several
smiling faces.
"my laugh in the mirror shows only my teeth like a snake’s bare fangs!" (lines 38-39)
The father's teeth are compared to a snake's fangs because of the connotation of a snakedeception and deceitfulness. The father no longer shows sincerity when he laughs, and so
his teeth are deceptive as they don't reflect his true feelings. He himeslf becomes
something like a snake through this deception.
Metaphor
"while their ice-block-cold eyes" (line 5)
The eyes of the people are compared to ice-blocks in how cold and unwelcoming they are.
It emphasizes how callous and unfeeling the people have become.
Repetition
"Once upon a time..." (lines 1 and 43)
Enjambment
This is when a line runs on to a new line without a stop or pause.
"And I have learned too
to laugh with only my teeth
and shake hands without my heart." (lines 25-27)
"they used to laugh with their hearts
and laugh with their eyes:" (lines 2-3)
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(There are many more examples in the poem)
Alliteration
"shake hands without hearts" (line 8)
"...after being bored." (line 32)
"But believe me, son." (line 33)
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An African Thunderstorm
David Rubadiri
From the west
Clouds come hurrying with the wind
Turning sharply
Here and there
Like a plague of locusts
Whirling,
Tossing up things on its tail
Like a madman chasing nothing.
Pregnant clouds
Ride stately on its back,
Gathering to perch on hills
Like sinister dark wings;
The wind whistles by
And trees bend to let it pass.
In the village
Screams of delighted children,
Toss and turn
In the din of the whirling wind,
Women,
Babies clinging on their backs
Dart about
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In and out
Madly;
The wind whistles by
Whilst trees bend to let it pass.
Clothes wave like tattered flags
Flying off
To expose dangling breasts
As jagged blinding flashes
Rumble, tremble and crack
Amidst the smell of fired smoke
And the pelting march of the storm.
Summary
In the poem, we see the threat of an incoming thunderstorm to an African village. The
power of this storm is emphasized with the statement that the wind forces the trees to bend
as it whistles by. The theme of the poem is nature, or man vs nature, and the mood is one of
impending doom and terror.
Stanza 1
"Clouds come hurrying with the wind, Turning sharply, Here and there"
This shows that the clouds are moving with great speed and in erratic and unexpected
patterns/directions.
"Like a plague of locusts"
The wind is compared to a plague of locusts here to show it as destructive. Locusts are
associated with famine and destruction, most notably in the biblical story of Moses and
Pharaoh of Egypt- where one of the ten plagues was a plague of locusts.
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"Tossing up things on its tail"
Once again, the destructive, disruptive quality of the wind is shown. As it moves, it leaves
things 'tossed up' in its wake.
"Like a madman chasing nothing"
The wind is now likened to a madman's unfocused wandering in its directionless
movement. A madman usually poses a threat to the people around due to his lack of
restraint and sanity, similar to how the wind is being painted as an impending doom ready to
wreak havoc upon anything it encounters.
Stanza 2
"Pregnant clouds ride stately on its back, "
The poet's choice of the word pregnant to describe the clouds shows that the clouds are
carrying something- probably rain, waiting to be released upon the land below. The clouds
are said to be riding 'stately' on the back of the wind, which shows how the wind carries the
clouds in a sort of dignified manner. This could be related to how high above the ground the
clouds are (a sense of dignity) and how slowly clouds move in the wind.
"Gathering to perch on hills, like sinister dark wings;"
The clouds are described as gathering over hills. The use of 'perch on' as opposed to 'hover
over' relates the clouds to birds. Comparing the clouds to 'sinister dark wings' also relates
them to birds, more specifically crows (in their dark colour). The clouds are described as
sinister as well, showing that their presence is threatening.
"The wind whistles by, and trees bend to let it pass."
These lines give the sound the wind makes, but more importantly, it shows the power of the
wind as it forces the trees to bow and bend before it.
Stanza 3
"In the village, screams of delighted children toss and turn in the din of the whirling
wind."
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Here, we can see that the quick, whistling wind and the looming clouds don't have an effect
of total fear on the children. They seem excited, either by the wind tossing up everything in
its path, or by the rain to come. By saying that their screams 'toss and turn in the din of the
whirling wind,' the poet relates that the children's delighted shouts are lost in the loud wind
as it blows.
"Women, babies clinging on their backs, dart about, in and out, madly;"
This shows a contrast to the delighted screams of the children. Instead of being excited,
babies latch on to the backs of their mothers (likely in fear), and the women move about
erratically in a sort of madness as the storm approaches.
Stanza 4
"The wind whistles by whilst trees bend to let it pass."
We see a repetition of the lines at the end of stanza 2, to once again show the wind bending
nature to its will as it blows past.
Stanza 5
"Clothes wave like tattered flags, flying off to expose dangling breasts"
The clothes of the people in the village wave violently in the powerful wind, to the point that
they fly off of their bodies. This also brings attention to the state of their clothing- "tattered
flags"- showing that their clothes are torn and tattered.
"As jagged blinding flashes rumble, tremble and crack amidst the smell of fired smoke
and the pelting march of the storm."
The 'pregnant clouds' now seemingly release their terror upon the earth below. This terror
obviously includes lightning (blinding flashes), thunder (rumble) and heavy rain (pelting
march). We also get the possibility of lightning setting things aflame- "the smell of fired
smoke."
Note: There is an alternative analysis of this poem that suggests the 'storm' is a metaphor
for the European colonial masters 'from the west,' however, the poem is listed under nature
in the World of Poetry, so it is assumed that the poem should be analyzed in terms of a
commentary on nature.
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Literary and Figurative Devices
Alliteration
"Clouds come hurrying with the wind" (line 2)
"The wind whistles by" (line 14)
"Toss and turn" (line 18)
"In the din of the whirling wind." (line 19)
"The wind whirls by" (line 25)
Personification
"Clouds come hurrying with the wind." (line 2)
The clouds are said to be 'hurrying,' which is a human action of quick movement.
"Pregnant clouds ride stately on its back, gathering to perch on hills" (lines 11-12)
The clouds are 'riding' on the back of the wind, which is really to convey how the clouds are
being carried by the wind. The clouds also gather to 'perch' on hills. This is to show how the
clouds, like birds, come to rest on top of the hill. The ascription of the clouds as 'pregnant' is
also a human characteristic, to show the clouds carrying something to be released.
"Trees bend to let it pass." (line 15)
The trees 'bend' to allow the wind to pass by. This personification shows, of course, the
power of the wind in its ability to force the trees to bow.
"Screams of delighted children toss and turn." (lines 17-18)
The screams of the children are said to toss and turn in the wind. This conveys the wind's
speed in how it throws around the sounds as well.
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Simile
"Like a plague of locusts" (line 6)
The wind is compared to a plague of locusts due to its destructive power.
"Like a madman chasing nothing" (line 9)
The wind is compared to a madman chasing nothing due to its seemingly erratic, aleatoric
movements.
"Like dark sinister wings" (line 13)
The clouds are said to be like dark sinister wings to relate them to birds (as they perch on
the hill) and convey a sense of evil.
"Clothes wave like tattered flags" (line 27)
The clothes are compared to tattered flags due to their torn appearances and how they flap
and move in the powerful winds.
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Mirror
Sylvia Plath
I am silver and exact. I have no preconceptions.
Whatever I see I swallow immediately
Just as it is, unmisted by love or dislike.
I am not cruel, only truthful ‚
The eye of a little god, four-cornered.
Most of the time I meditate on the opposite wall.
It is pink, with speckles. I have looked at it so long
I think it is part of my heart. But it flickers.
Faces and darkness separate us over and over.
Now I am a lake. A woman bends over me,
Searching my reaches for what she really is.
Then she turns to those liars, the candles or the moon.
I see her back, and reflect it faithfully.
She rewards me with tears and an agitation of hands.
I am important to her. She comes and goes.
Each morning it is her face that replaces the darkness.
In me she has drowned a young girl, and in me an old woman
Rises toward her day after day, like a terrible fish.
Summary
Just as the title suggests, the poem is about a mirror in its many forms. It is written from the
perspective of the mirror as it comments on its own objective reflection of the things around
it. It considers itself wholly truthful, an impartial retelling of the physical appearance of
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something devoid of preconceptions. The first stanza simply relates the mirror’s basic
function, and its regular meditation on the pink speckled wall opposite to it, separated
momentarily by the darkness of night cycles and passing faces. The second stanza shows
the mirror in the form of a lake. The mirror now relates saddening recurring interactions with
a woman who uses the lake as a mirror, trying to see what she is. The mirror (as the lake)
reflects her appearance truthfully, triggering great unhappiness and displeasure in the
woman, bringing her to tears. The lake and its objective reflection of her fading youth is like
an important ritual to her. Daily, she sees old age appear more and more in her features, as
though something horrible is rising in the lake each time she consults its impartial reflection.
The themes of the poem include appearance vs reality, senescence, time and women. The
mood is somewhat reflective (hehe, get it?) and pensive. The tone is matter-of-fact
(dignified) based on the mirror’s pride in its impartial reflective properties.
Analysis
“I am silver and exact. I have no preconceptions. Whatever I see I swallow immediately
Just as it is, unmisted by love or dislike.”
The poem begins with the mirror’s simple declaration of the nature of its existence. In this
form (as the conventional glass mirror) and in any other form, it is infallibly accurate and has
no biases that cloud how it represents the objects before it. It is impartial; no likes or dislikes
result in a muddling of details or tampering with the outcome of one’s appearance. It seems
prideful in the assuredness of its exactitude. An alliteration is used in the second line
‘Whatever I see I swallow immediately,’ communicating no hesitation or biased selection in
what it does or does not reflect.
“I am not cruel, only truthful‚ The eye of a little god, four-cornered.”
The mirror declares itself merely an agent of complete truth. By mentioning cruelty, it
suggests that the displeasure felt by someone at their own appearance in the mirror is not
the fault of the mirror itself- it intends to be only truthful regardless of the emotions felt by
the subject. The mention of being the ‘eye of a little god’ ties into the idea of an unyielding
truthfulness, as the concept of god is associated with an impartial judgement of subjects.
“Most of the time I meditate on the opposite wall. It is pink, with speckles. I have looked
at it so long I think it is part of my heart. But it flickers. Faces and darkness separate us
over and over.”
When not being used by people, the mirror reflects the pink-speckled appearance of the
wall opposite to it. The mirror considers the wall almost a part of itself because it has looked
at it for so long. However, this indefinite staring contest between them is broken up by the
darkness of regular night cycles and the faces of people who peer into the mirror in search
of their own appearances.
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“Now I am a lake. A woman bends over me, Searching my reaches for what she really is.”
The mirror now describes another one of its forms- the reflective surface of a lake. It speaks
about a woman who bends over the lake, trying to see what she really is. This diction is
interesting, because the mirror states that she searches for ‘what she really is,’ as though the
mirror will define her identity somehow. This is quite strange, especially considering that
one’s appearance doesn’t define their identity.
“Then she turns to those liars, the candles or the moon. I see her back, and reflect it
faithfully. She rewards me with tears and an agitation of hands.”
The mirror refers to the moon and candles as ‘liars.’ These are both light sources, but that
still doesn’t necessarily explain why the mirror considers them liars. The innate beauty of
these light sources does not reflect the appearance of the onlooker. The mirror surface of
the lake reflects the woman’s back, but she is obviously displeased by her own appearance.
She ‘rewards’ the mirror with tears of sadness and agitates its calm surface by disturbing it
with her hands. This is an oxymoron, as the ‘reward’ for such faithful reflection is something
so negative and of obvious displeasure.
“I am important to her. She comes and goes. Each morning it is her face that replaces the
darkness. In me she has drowned a young girl, and in me an old woman Rises toward her
day after day, like a terrible fish.”
The lake is ‘important’ to the woman- returning daily to look at her own face as though it is a
ritual. This compulsive obsession with looking at herself ties into a need to watch her fading
youth. The poet uses a metaphor here to relate the aging of the woman: “in me she has
drowned a young girl, and in me an old woman rises toward her day after day.” Slowly, after
years of this ritual, the young girl has disappeared, and instead, an old woman is appearing
in her features, reflected by the lake. The poem ends with a simile, “Rises toward her day
after day, like a terrible fish.” This communicates that the old woman (her imminent
senescence) is repugnant and repulsive to her, but it continues to rise, day after day.
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Theme for English B
Langston Hughes
The instructor said,
Go home and write
a page tonight.
And let that page come out of you—
Then, it will be true.
I wonder if it’s that simple?
I am twenty-two, colored, born in Winston-Salem.
I went to school there, then Durham, then here
to this college on the hill above Harlem.
I am the only colored student in my class.
The steps from the hill lead down into Harlem,
through a park, then I cross St. Nicholas,
Eighth Avenue, Seventh, and I come to the Y,
the Harlem Branch Y, where I take the elevator
up to my room, sit down, and write this page:
It’s not easy to know what is true for you or me
at twenty-two, my age. But I guess I’m what
I feel and see and hear, Harlem, I hear you.
hear you, hear me—we two—you, me, talk on this page.
(I hear New York, too.) Me—who?
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Well, I like to eat, sleep, drink, and be in love.
I like to work, read, learn, and understand life.
I like a pipe for a Christmas present,
or records—Bessie, bop, or Bach.
I guess being colored doesn’t make me not like
the same things other folks like who are other races.
So will my page be colored that I write?
Being me, it will not be white.
But it will be
a part of you, instructor.
You are white—
yet a part of me, as I am a part of you.
That’s American.
Sometimes perhaps you don’t want to be a part of me.
Nor do I often want to be a part of you.
But we are, that’s true!
As I learn from you,
I guess you learn from me—
although you’re older—and white—
and somewhat more free.
This is my page for English B.
Summary
The persona is a negro student (the only one in his class) who is given an assignment by his
instructor write a page that comes from within him, and is therefore 'true'. He is 22 and lives
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in Harlem. He now puzzles over what is 'true' for any person. The persona questions who he
is. The introduction of the concept of truth is strange for him as a black man given this
assignment by a white instructor. He recounts his own tastes- a mixture of things liked by
different people of different races. This brings to light a dilemma within him; an uncertain
relationship between race and identity. He now sees that his race doesn't define his tastes,
He ponders whether his race affects his identity, and therefore, if it will affect the identity of
truth he presents on his page. He knows that it is important to his identity, but, through his
realization that his tastes are unaffected by race, he knows that it doesn't define his identity.
The persona boldly now asserts that he and his instructor are part of one another. Their
history, and evidently American societal bonds between them, form a deep connection. He
knows now that his race is not what defines his identity, nor is it an intimate determiner of
who he is. Instead, race seems a sort of encumbrance, or burden, which is why he knows
that his instructor may not often want to be a part of him. However, this connection that
pervades age, race and gender is undeniable. As the only coloured student in his class, he
obviously experiences a great deal of alienation and may feel out of place. In spite of this,
they are linked, and they learn from each other. The persona knows that his race can be a
burden that limits him, and he also knows that his instructor is somewhat more free than he
is- simply because he is white.
This all shows the true message of the poem- the fact that race and the unequal distribution
of privilege based on race is not what defines them, it simply obscures the deep
connections between them.
The themes of this poem include race and identity. The tone is reflective, and the mood is
also thoughtful/pensive.
Analysis
"The instructor said,
Go home and write a page tonight. And let that page come out of you— Then, it will be
true."
The poem begins with a direct quote from the persona's instructor giving the directions for
the assignment. He says that the page written must 'come out' of the student and then it
would be 'true.' This introduces the idea of truth, and how this relates to the persona
himself,
"I wonder if it’s that simple?"
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The persona's dilemma begins with the use of a rhetorical question. He wonders if his page
will be true simply because he writes directly from his heart. He doubts the simplicity of the
instructor's directions.
"I am twenty-two, colored, born in Winston-Salem. I went to school there, then Durham,
then here to this college on the hill above Harlem."
This is a short biography of the persona's life. He is 22 and coloured (black) and has moved
between places and schools throughout his life. Now he is at a college situated above the
town of Harlem. The location of the college above Harlem could be seen as representative
of the prestige of the college.
"I am the only colored student in my class."
The persona gives more details, showing that he is the only student of colour in his class.
This indicates that he possibly feels alienated or out of place in his class as a result.
"The steps from the hill lead down into Harlem, through a park, then I cross St. Nicholas,
Eighth Avenue, Seventh, and I come to the Y, the Harlem Branch Y, where I take the
elevator up to my room, sit down, and write this page:"
Our persona travels home through this convoluted set of directions and comes to the
Harlem Y, or the Harlem YMCA which is a community center and a cheap hostel for young
people to stay. This tells us a little about the speaker's likely low income. He begins the
page as soon as he gets to his room, and the stanza ends with a colon showing that the
following lines will be the assignment.
"It’s not easy to know what is true for you or me at twenty-two, my age."
This calls back the assignment's instructions, which state 'Let that page come out of you,
then it will be true.' So, the persona is grappling with the idea of what is true- he finds it
quite difficult to discern truth, especially at his age. Even though he is an adult, he has many
more years ahead of him to live, and he cannot be completely sure of what is true, even if it
comes from his heart.
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"But I guess I’m what I feel and see and hear, Harlem, I hear you. I hear you, hear me—we
two—you, me, talk on this page. (I hear New York, too.) Me—who?"
Continuing in this vein of uncertainty, he assumes that he is a product of what he feels, sees
and hears- his environment. He lives in Harlem, so it must be a part of his identity. He
personifies Harlem by saying that he talks with it on his page. He hears Harlem, and he
hears its people, as they are a part of him. But he also hears New York, a sort of diverse hub
of people from all parts of the world. He ends the stanza by asking 'me-who?' questioning
his own identity, and what is true for him.
"Well, I like to eat, sleep, drink, and be in love. I like to work, read, learn, and understand
life."
He begins to list his tastes- of course he likes things that normal people regardless of race
would like. They are simple things, showing that, yes, he is in fact a human. He also likes to
work, read, learn and understand life, showing that he is both an thinker and a hard worker.
"I like a pipe for a Christmas present, or records—Bessie, bop, or Bach."
He likes simple gifts (at the time of the writing of this poem, smoking was considered
normal and somewhat classy). The poet uses alliteration with "Bessie, Bop or Bach" to show
the persona's taste in music. Bessie, an allusion to blues singer Bessie Smith and Bop, a
genre of music- both very popular among the African American community. Bach, as in the
classical composer Johann Sebastian Bach, may have been considered more popular for
white people. So, the persona has a wide span of musical tastes .
"I guess being colored doesn’t make me not like the same things other folks like who are
other races."
At this point, the persona realizes that his race doesn't affect his identity, his personality.
Being coloured doesn't define him as a person; he can share likes and dislikes with others
regardless of race.
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"So will my page be colored that I write? Being me, it will not be white."
The persona now knows that his race isn't a determiner of his tastes. However, he now has a
new dilemma: will what he writes be distinctly 'coloured' (i.e. black)? The purpose of the
assignment is to find and express an inner truth. The persona doesn't know if there is a
difference between inner truth for a coloured person or a white person. If there truly is a
distinct difference between that which is produced by black people or white people, will
what he writes be different because he is black? He acknowledges that due to his race, his
page cannot possibly express the views of a white person or their experiences. This line can
operate on another level as well, indicating that being himself, he would complete the
assignment, so his page wouldn't be white (blank). However,it also introduces the idea of
the page being him. The page comes from within him, so in a way, it is him and therefore
cannot be white. While race doesn't define his identity, it is an indelible phenotype that
affects his experiences.
"But it will be a part of you, instructor."
The persona boldly states that what he writes will be a part of his instructor. This could
indicate that it becomes a part of his instructor when he reads it, but it could also mean that
their experiences and views, despite being of different races, are a part of each other.
"You are white— yet a part of me, as I am a part of you. That’s American."
The instructor is white, and he is black, but they are interconnected, or linked. This
sentiment of deep connection is described as American by the persona. America is often
called the 'salad bowl,' a mixture of people from all different cultures and races to create
something uniquely American.
"Sometimes perhaps you don’t want to be a part of me. Nor do I often want to be a part
of you. But we are, that’s true!"
The persona knows the hardships that come with the burden of being black, especially in a
prejudicial America full of racial discrimination- so he acknowledges that the instructor may
not always like the idea of them being intertwined. He is evidently hesitant in stating this, as
seen in the use of 'sometimes perhaps.' However, it is all wrapped up with the affirmative
declaration that 'that's true!' once again calling us back to the assignment that indicates the
function of the assignment to come closer to an inner truth. This declaration that he and his
instructor are part of each other whether or not they want to be is 'true.'
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"As I learn from you, I guess you learn from me—"
As the persona learns from the instructor, he tentatively says that he learns from him as
well, reinforcing the idea of interconnection even in a classroom setting.
"although you’re older—and white— and somewhat more free. This is my page for
English B."
The declaration of them learning from each other is followed by the acknowledgement of
inherent prejudices and difference in privilege between them. The instructor is older, and is
more free than the persona simply due to him being white. The final declaration of the
poem is 'this is my page for english B,' giving the final indication of the truth of the persona.
This is the page that comes from within himself, and what, therefore, must be true.
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