Sand Dunes Rolling

It is waking, but unable to see.

Staying awake to see too much more.

In this white desert traveling is me

Do I try to escape or find its core

But how to continue, chained to the ground

My spirit weakens in exhaust of heat

Try to walk, try to talk, there is no sound.

Anchored but floating is there no way to cheat?

Still, there is the honesty of my will

To tear one’s connections from the earth

Ascend over these barreling dunes of burning sand

for the next step taken will not ache so

embrace the heat the longing the craving

the breath of warm air that reminds you of your very heartbeat

and that though this place is vast and desolate, you are infinite— 

For my creative project, I based my poem’s outline and theme on Claude Mckay’s “Outcast” and “The Tired Worker.” Mckay’s poems in his collection Harlem Shadows all hold significant personal value to him as it discusses his race, his home, his love, his hate—all things which make of himself and the world. That stood out to me amongst the other poets, so I wanted to create my own imitation and as so decided this poem would have to mean something personal to me as well. My poem, “Sand Dunes Rolling,” reflects upon the state of the mind and how one copes with it’s many barriers.

Originally, I meant for my poem to be a sonnet through and through since both Mckay’s poems are sonnets. However, I decided to break from that rigid form once I wrote the volta on line nine, because like Mckay’s poem (or the way I analyzed it), the formal structure of the sonnet carries a deeper meaning; while Mckay’s format is meant to reflect the social limitations on the outcast man and worker, my sonnet stands in for the many obstacles which bar someone from finding their potential such as illnesses or trauma or even something as simple as procrastination. 

This restriction is reflected in how the poem is condensed to be a sonnet of only ten syllables, an ABAB rhyme scheme, a volta, ending at fourteen lines. As all problems start small, we are faced with a wall that halts us from continuing. I present this through the initial sonnet structure but also in the setting of the poem itself—the desert. The speaker is “chained to the ground” (line 5) and too weak to move forward, whether that forward be the core (akin to finding the reason one isn’t able to progress in life) or the exit (avoiding the problem). 

However, where Mckay keeps to the sonnet structure throughout both poems from beginning to end, I break after the volta, which is the speaker’s realization that they are able to overcome whatever hurdle they face (literally, the desert and it’s “barreling dunes” on line 11 in this case). The tone shifts from solemn and weary to hopefully and optimistic. Though, no mental problem is easily handled in an instant. It takes time and effort which is why the line after the volta still hangs onto the ten syllable limitation and even attempts to rhyme a few times (though not in the ABAB style). 

Eventually though, as the poem progresses, it transforms into free verse. The punctuation vanishes, which I intended to make the end feel less rigid and more smooth as though this speaker had began to walk (also reflected in the longer lines pushed forward). The lines go past the fourteen-line limit to signify the breaking of those restraints that had held the speaker down and the dash at the very end is meant to signify the infinite, that though the dunes of sand may never end, they will simply roll at one’s feet than barrel over them.

Caitlyn Klemm

Mery Chrysler

To begin with, I thoroughly enjoyed reading “Tropic Shadows” due to the smooth way it was written as well as how the author analyzed the very format of the poems and gave it purpose in terms of the overall theme of “pseudo-freedom,” as the author puts it. The constant references to certain lines helps me as the reader follow the author’s point without getting lost. Not to mention, the quotes also add ethos for the author as we can trace their ideas to specific parts in the text. The writing (both form and idea) is clear and it has textual evidence to support it—I believe this post deserves an A.

The second post, “WHITE AMERICAAAAAAAA” was well written in the sense that it’s ideas were clear and simple, but I found myself wanting more from it. It’s analysis felt shallow, only skimming the surface of deeper meaning and adding textual evidence without explaining what the evidence spoke to regarding the blog’s idea. However, it did have the basis of ideas and it does feel as though this student attempted to work with the poems but was unable to offer further insight, so I think it is a B blog.

The final blog post, “The Great Divide,” offers an intriguing take on McKay’s poems when bringing up the idea of anxiety. It analyzed the structure of the poems through the voltas and rhyme scheme and although the author references back to the key idea of their blog post—the “anxiety of the heart,” as they say—I did find myself becoming lost in their writing, partially due to the fact that they only spoke on the theme twice in the opening and conclusion of their post; the references were too vague, made up of “this,” “these,” and “the message” without truly explaining how they tie into the blog’s central idea. However, I did find the idea to be original and captivating and would therefore give this blog post an A.

My personal favorite out of these three posts was originally torn between “Tropic Shadows” and “The Great Divide”; I think the former’s idea is not as original as the latter, but I believe it to be far more persuasive in the way it is presented with it’s smooth transitions and evidence. On the other hand, the latter offers an interesting take on McKay’s poem, but the writing itself felt jumbled and left me hoping for more. If “The Great Divide” was cleaned up, I would feel more indecisive, but I think “Tropic Shadows” reigns as the most persuasive and original.

Caitlyn Klemm

Capitalism’s Cage

Both of McKay’s poems—“Outcast” and “The Tired Worker”—though not necessarily speaking on the same issues when read in isolation, can be narratively reconstructed to build off one another in creating an overwhelming feeling of dread and despondence for the working class when correlatively read side by side.

A surface read of both poems would gather that the “Outcast” refers to race while “The Tired Worker” refers to the working class’ exhaustion of their daily repetition. However, when tied together, one can view the “Outcast” as adding to the tone of despair in “The Tired Worker.” One thing that ties both poems together is their identical rhyme scheme of ABAB—a rhyme scheme that isn’t consistently used throughout the collection. The fact that both are written with the same rhyme scheme as well as the fact that both are written with a rhyme scheme add to the repetitiveness that the working class faces under “the great western world” (“Outcast” line 6) which may be equated to capitalism. 

Both speakers in the poem shout out for relief from their woes, such as when the speaker in “The Tired Worker” shouts “O let me rest / Weary my veins, my brain, my life! Have pity!” (lines 12-13) and when the speaker in the “Outcast” claims that they walk as a ghost with something “forever lost” from their being (line 9). Not only does the rhyme scheme fit how the working class must repeat the same schedule in order to survive under capitalism, but it also represents their constant, desperate cries for relief while being unable to truly escape. The rhyme scheme does not break or allow them any alleviation from the chains that restrict them.

In addition, the sonnet form of both poems limits the speakers to a cage of fourteen lines; they cannot break free of their system (the sonnet or metaphorically, capitalism) no matter how hard they try, so they are bound to continue down their spiral of repetition (the uniform ABAB rhyme scheme) until the end of their life (the end of the poem).

Like this, reading poems in isolation versus reading poems within a certain context can change the entire meaning or further enhance a poem’s meaning, even if it takes away from the poet’s original intent (as we saw with McKay’s “Should We Die” when read in solitary and when read in the context of The Liberator).

Caitlyn Klemm

Not Like Others

Shakespeare’s “My mistress’ eyes are nothing like the sun” recites the idea that though love may be fruitful and beautiful, it is pointless, redundant, and uninspiring to compare one’s lovers to things that blow their being out of proportion. As such, it speaks with a comedic and sarcastic tone as the speaker compares his mistress to grotesque objects or makes fun of her humanly flaws (such as her reeking breath on line 8 and black wires for hair on line 4) rather than comparing her to celestial bodies or items of perfect beauty. By going against the typical layout of romantic poems and keeping a light mood with silly comparisons, Shakespeare’s poem retains his comedic tone without leaning too far to be considered offensive. BBC’s video with the argument between the student and teacher only helps to enhance this sarcasm but also adds its own take on the poem thanks to the context within the skit.

First, the setting of the classroom and the roles between the teacher and student emphasize how Tate (the student) should be respectful to Tennant (the teacher), thus making her outburst and disruption all the more shocking. It goes against the norm, similar to how Shakespeare’s poem goes against the stereotypical, oversaturated romance poems. Tate also only recites Shakespeare’s poem out of spite to prove to Tennant that she knows sonnets and can criticize Shakespeare even if she acts out of turn and misbehaves as a student. That, in combination with how quickly she shouts the poem’s lines at her teacher, creates a tone of condescension; not only is she speaking out against her teacher by proving him better, but she does so in an outburst which then adds a layer of frustration to the poem, making Shakespeare’s words go from comedic to critical of perhaps other authors who would stick to conforming themes of romance. Not to mention, her apathy for her sour attitude in class makes it seem as though she doesn’t care about how she’s breaking rules and making everyone else in the classroom uncomfortable (their discomfort is visible by their utter silence as Tate and Tennant argue with one another).

BBC’s comedy video does enhance the sarcasm behind Shakespeare’s poem, but also adds a different flare of its own given the context of the situation, adding underlying bitterness and patronization as well.

Caitlyn Klemm

The Insight of Another

When reading in one’s head, one forms a tone and voice based off their initial viewing and understanding of a poem, and while there is nothing wrong with that as we all take part in doing so, hearing someone else read it aloud—especially the poet—can influence the meaning one takes from the poem as well as adds further depth towards understanding it.  

Javier Zamora’s “Second Attempt Crossing” discusses the stress and fears of crossing the literal border between countries. The overall tone is solemn and nostalgic as the speaker reminisces on how this Chino man saved him from being detained and caught at the border, essentially taking the bullet for him when he was a child. This can be seen as the speaker goes through every little detail, from the “acacias, whiptails, and coyotes” to the “M, the S, the 13” tattooed on Chino’s chest. The wavering back and forth between the beginnings of each line also communicates this, representing the wistfulness of the speaker as he moves between the times of running across the border, to living in San Francisco, to no longer hearing back from Chino.

However, when listening to the reader, the sentimental tone deepens. The pausing in his voice almost make it seem as though he is attempting to recollect the old memories, as if they are painful to recall or perhaps too distant from him now that he cannot remember it fluently and clearly. The dips in his voice at the ends of lines add a soft quality to the poem, presenting sadness, regret, or even gratitude for what Chino had done for him. Not to mention, his accent when speaking the spanish parts of the poem (such as when he says Chino’s name or the quote on line 14) serve to remind the listener of his heritage, of the reason that this poem was written and why the events occurred as they did. 

Hearing Zamora read his poem adds a layer of personal relation to it, as we gain insight as to how he feels via the fluctuations in his voice; it deepens our understanding and reminds us of the reason why he wrote the poem itself.

Caitlyn Klemm

Unneeded and Unwanted

Diaz speaks on the violence of which the indigenous and queer face in current society through both her poems: “Abecedarian Requiring Further Examination of Anglikan Seraphym Subjugation of a Wild Indian Rezervation” and “My Brother at 3 A.M.” Though the former more blatantly discusses and criticizes the treatment marginalized people, the latter also touches upon those issues in a differing manner but with the same significance.

First, “My Brother at 3 A.M.” generally speaks on a young boy crying out about the devil to his family at 3 A.M. on the surface, but this can be interpreted in a completely different way. The fact that the brother cries for help at 3 A.M. and none of the family takes him seriously can represent how people of color and people who are LGBTQ are discriminated against and ask for help from others, but few to none with the power to affect change truly listen. Those who are capable of saving the brother are the parents and God, but the father does not stir awake and the mother takes the entire poem to realize the fear that her son possesses; the stars, representing God, “had closed their eyes and sheathed their knives,” and this line is repeated multiple times, which can correspond to the multiple times a person turns their gaze away from a minority in need.

Lastly, in “Abecedarian” (for simplicity), Diaz makes it immediately clear what society compares indigenous people to—that they are “Bats, maybe, or owls, boxy mottled things” (line 2) rather than angels, because angels are solely for the Christian whites. This is shown when Diaz writes how she hadn’t “seen an angel fly through [the] valley ever” (lines 5-6), hadn’t heard of the angel Gabriel, and how “Pastor John’s son is the angel” (line 16) aka the white man of the Christian church. Not to mention, she literally points out how “everyone knows angels are white”
(line 12) as well. However, she defends her people and displays their pride in shunning the notion that they do not need angels, referencing when the “white god came floating across the ocean” (line 19) and took their land for settling in the late 15th century and hatefully (with all rights) saying how the rich “angels” should stay “fat and ugly” (line 23) as far away from the indigenous lest they be moved to another reservation. This harshly critiques how white people view themselves as angels—the good of the world—yet force the indigenous people to move wherever is most convenient for them as though they were livestock or less than human, at least. 

In both “My Brother at 3 A.M.” and “Abecedarian,” Diaz writes on the extreme challenges she faces as a minority who is discriminated against and criticizes that society which discriminates against her entire being.

Caitlyn Klemm

First Impressions

Both poems of George Herbert present a somber yet hopeful undertone to their overall theme of love and religion. Alongside the diction used in both to emphasize this, the very shape of the poem also reflects general idea of each poem itself. Though I do feel that “Easter Wings” provided more substance to work with, I firmly believe both achieved exactly what Herbert was aiming for.

“The Altar” from the get go is shaped as its own name, but the perfect shape of the poem contrasts the solemn tone evoked by the diction, such as when Herbert mentions that the “broken” altar had been “cemented by tears.” In a sense, Herbert’s formation of the poem as a rigid altar gives us the first impression that this altar might represent beauty, strength, or perfection—positive adjectives used alongside the mention of religion—when in reality, this dedication and love is a grueling process; one that isn’t necessarily easy, but not unrewarded either.

In “Easter Wings,” the poem’s shape is also prevalent as it also takes the form of it’s title, both halves of the poem forming wings when turned a certain shape. Similar to “The Altar,” this seems to present the poem initially in a positive manner, as wings in religion may first be associated with angels—a typically heavenly and perfect being. However, taking a closer look again at the structure at the poem, we can see that the sentences are written downwards rather than upwards, which already presents an opposing sense of dejection or depression. Now viewing the words, we can see that they work in harmony with the structure of the poem, such as when Herbet mentions how the narrator became “most thin” when the wings are at their crux, or how the sorrowful parts of the poem lead down the wings when flipped upright for readability whereas the positive parts of the poem come when the wing spreads from its center. This could all add to the idea that love and religion comes with it’s ups and downs, it’s own hardships but also its own satisfactions as well and cannot be viewed individually as a great or awful experience.

By breaking from the tense structure of formal poetry and diving into complete free verse, Herbert is able to communicate much about the general idea of both his poems from just a first glance, thus amplifying the importance that a poem’s structure has on a reader’s glancing eyes.

Caitlyn Klemm

Just a Flower if not Less

Roses have continually, since long in the past, stood for romance, innocence, purity, or even ironically lust as well. Historically and culturally (at least in the west), the man has always given the rose to the woman as a symbol of his love for her, defining this flower out of the many items in the world as the ideal gift between heterosexual couples living in a patriarchal world.

Both H.D. and Puente’s poems turn the expectation of the rose as a symbol on its head in their own ways. However, I believe H.D.’s poem flips the meaning of the rose in such a shocking and unapologetic way compared to the stereotype, “perfect rose” as poet Dorothy Parker would put it.

Most of this upturning of the symbol comes from the diction H.D. uses surrounding the rose. “Stunted,” “acrid,” “flung,” “stint,” “meager” — there is practically a negatively-connotated word on every line of the poem, which only repeats and bashes in the idea that the rose is not a delicate, beautiful thing, but one that is broken, disgusting, and shriveled. Not only if the diction negatively-connotated, but it also charges all of our senses. We can smell or taste the acridness, we can feel the impact of being flung aside, and see the the marred state of a dying, bruised rose. 

Now, not only does it describe the rose as disgusting, but it encourages us to use our senses to hold this idea more tangible, which then only emphasizes the fact that the rose is no symbol of love, beauty, grace, and all else. H.D., with no hesitation or guilt, opens and packs her short poem full of punches as she doesn’t give the reader a moment to think back on the traditional symbol of a rose. Instead, she insists that we see and recognize its grotesque qualities that so boldly challenges our cultural understanding that we cannot draw our eyes away.

The “Sea Rose” poem by H.D. shamelessly tells the reader to disregard whatever definition of the rose they had before and provokes them to consider her definition instead, thus challenging us to not only redefine that which has been engraved in our culture for centuries, but also rethink our own culture of a heterosexual, patriarchal society in which the rose stands as its prime symbol.

Caitlyn Klemm

The Soul of Self as an Entity

Self love, soul, and pride are themes often weaved into all forms of media such as movies, songs, paintings, or in this case, poetry; both Ambroggio and Whitman’s poems enunciate the many intricacies that make up their love of self in their respective poems, “We Are All Whitman: #2: Song of/to/My/Your/Self” and “I Sing the Body Electric.”

Though Ambroggio’s poem speaks more about the love of himself in terms of ethnicity/nationality and embracing the history, he does translate a similar rhythmic enumeration. As established in class, there is a movement to Whitman’s poem as it rolls up and down and fluctuates tones when read aloud, achieved by utilizing euphonic word combinations. Ambroggio also uses the same euphony as the structure of his poem also moves with a rhythm to it in spite of both poems lacking any formal meter or rhythmic pattern. 

Much of the similarities between the two also comes from their long length and lack of breathing space when read aloud. Both poems drive themselves forward through momentum built by constant listing of nouns/ideas and anaphora such as Ambroggio’s “from El Salvador and Nicaragua. It comes from Mexico, Central America, from Costa Rica, Tikal, Guatemala” (46-48) and the entire body of Whitman’s poem as he goes through the many body parts while almost always leading with “the” as the anaphora. Though both poems do have the rhythm flow akin to the pumping of a heart, Abroggio takes a slower pace with his poem as there is more space between his listings whereas Whitman’s are majority single-word listings.

Not only does Ambroggio carry on Whitman’s sense of beating, electric rhythm, but his poem carries on the same sense of self love and pride, even if seen as a larger picture than just the physical body itself. It expands upon Whitman’s original idea of self love, soul, and pride, continuing a poetic lineage and paving a path for future forms of art so that they may further beyond the love of one’s people to something even greater.

The Surface of a Woman

Both poets Herrick and Johnson focus on the woman in their respective poems “Delight in Disorder” and “Still to Be Neat.” However, though the topic of both poems overlaps, the way they handle the theme of attraction is slightly different; Herrick’s take leans more into lust whereas Johnson seems to write from tame, physical infatuation with a little more insight beyond the surface of his sight.

Johnson’s structure of the poem reflects the title in the sense that it is tidy and consistent in its iambic tetrameter and the rhyming scheme between pairs of lines that follow one after the other. The woman in the poem dresses and readies herself for some event, “still to be powdered” and “still perfumed” (Johnson 3). There is a bit of a lustful eye similar to Herrick’s tone as the poet writes of watching this woman ready herself and eyes her features such as the  “robes loosely flowing” and “hair as free” (Johnson 9), but in comparison to the viewing eye in “Delight in Disorder,” Johnson’s attraction to this woman is fairly conservative. Though also in comparison to Herrick, Johnson has the addition of many semicolons, periods, and commas, almost making it seem as though his gaze lingers over the woman for a considerable amount of time. 

On the other hand, Herrick has fewer punctuation marks, which perhaps represents his skimming gaze over this woman, only noting her outward features with little thought for anything else whereas Johnson notes that beneath her looks, “All is not sweet, all is not sound” (Johnson 6). This may be in reference to the complexity that is a woman or perhaps just to the idea that she dresses modestly but may desire more as Johnson goes on to speak of the desperateness to be noticed by her and the secret “adulteries” that is her appearance. Herrick’s gaze focuses less on what is beneath the “art” of a woman’s appearance but more just on what his eyes can see on the surface. He focuses on the little details and items that the woman dons such as the “erring lace” (Herrick 5) or the enthralling “crimson stomacher” (Herrick 6). All these details, to Herrick, makes up a disorder, a “wild civility” (Herrick 12) that attracts him to this woman, but nothing more. This disorder can also be seen in the lack of a consistent rhyming scheme and alternating meters of the lines.

Though both poems reflect on the outward beauty of a woman, Herrick takes a shallower view whereas Johnson does briefly look beyond the outside.

Caitlyn Klemm