Disorder in Masculinity

A trampoline’s spring beneath the feet,
Provokes scorn, makes for retreat;
No grace in such a simple thing,
Just shudders at the thought it brings.

A hardy me, or so I tried,
But every move just mortified.
No floating gently in the sea,
No tech on laps—oh, woe is the!

For they frown upon each act,
That lacks the ‘hardy’ stereotype exact.
To earn a nod or win a glance,
The must perform a tougher dance.

But lo, poor the, the cannot win,
Against the ‘ick’ that lurks within.
So let them be, these imperfect guys,
While women search for ‘manly’ skies.

Let this poem, with rhymes so neat,
May also stir them sense of defeat;
For lengthy verse and structured line,
Evoke in her a weary sigh.

Review:

This parody poem, titled “Disorderd in Masculinity,” is a twist on the themes explored in Robert Herrick’s classic poem “Delight in Disorder.” While Herrick’s original poem celebrates the beauty found in the casual disorder of women’s attire, this parody will take a playful look at societal expectations surrounding men and masculinity. In “Disorder in Masculinity,” the focus shifts from female beauty standards to the behaviors and activities of men that are perceived as unmanly or ‘ick’-inducing by women. With my best effort, I incorporated rhymes and imagery in the poem to illustrates how ordinary actions like floating in a pool, using a laptop on one’s lap, or bouncing on a trampoline can be subject to scrutiny and disapproval based on narrow definitions of masculinity.

What stands out about this parody is its adherence to the original rhyme scheme of Herrick’s poem (AABBCCDDEEFF), despite being longer in length. My thought process behind the making of this poem was to keep the rhyme as a symbol for “perfect” but intentionally making the poem longer to indirectly reflect the theme of ‘ick’ within the poem itself due to its extended form. And to make this more evident, I last minuted-ly added a stanza that actually acknowledges the potential weariness induced by the poem’s length, all to tie back to the overarching theme of societal judgments and personal preferences. Another thing I symbolized was approaching gender references. In the beginning, the poem avoids direct male or female terms, mirroring Herrick’s original poem which similarly eschews explicit gender mentions. I made this choice not only to pay homage to the source material but to again, indirectly reflect the “ick” within the poem format. I aimed for the reaction of: “aw man it was almost perfect, but because you added gender references its all of sudden not perfect, but rather an “ick”. The poem format is a symbol of an almost perfect man who suddenly becomes not perfect because of an “ick”: the insertion of gender reference.

In creating “Disorder in Masculinity,” my main aim was to playfully shed light on societal expectations surrounding masculinity and challenge the harmful notion that certain behaviors or expressions make someone “less of a man.” I tried to do this through humor and satire, where the parody poem underscores the importance of embracing authenticity and individuality. The aim is to encourage readers to celebrate male tenderness and reject narrow stereotypes. The poem is supposed to illustrate how ordinary actions can be unfairly judged based on rigid definitions of masculinity, emphasizing that it’s okay to be oneself regardless of others’ perceptions.

-Mustang Chang

Longing and Alienation

Claude McKay’s poems “Flame-Heart” and “Outcast” both indulge in themes of longing and alienation. They both offer a unique perspective on the human experience, while “Flame-Heart” explores the passionate desire for freedom and self-expression, and “Outcast” reflects on the experience of being marginalized and excluded from society – expressing a deep sense of longing for acceptance and belonging.

In “Flame-Heart” the speaker’s longing is palpable as they reminisce about the past and the memories that have slipped away with time. Lines such as “So much have I forgotten in ten years,”(McKay, line 1) and “I often try to think in what sweet month”(McKay, line 15) convey a yearning to reclaim lost moments and experiences. The opening line, “So much have I forgotten in ten years,” sets the tone for the poem, highlighting the speaker’s realization of the extent to which time has eroded their memories. Despite the passage of a mere decade, the speaker finds themselves grappling with the erosion of specific details and moments, emphasizing the fleeting nature of memory. Similarly, the line “I often try to think in what sweet month” reveals the speaker’s persistent efforts to recapture fragments of the past. The use of the word “sweet” imbues the memory with a sense of nostalgia and longing, suggesting that these recollections hold a particular emotional resonance for the speaker. However, despite their best efforts, the specific details elude them, leaving them yearning for a connection to moments that have become shrouded in the mists of time. Then theres the imagery of the poinsettia, described as “red, blood-red in warm December,” which serves as a symbol of enduring memory amidst forgetfulness, as the “red poinsettia” is repeated throughout the poem. This longing that is presented, is rooted in a desire to reconnect with the innocence and joy of the past, to relive moments untouched by the passage of time. On the other hand, “Outcast” indulges into a different kind of longing- a yearning for acceptance and recognition in a society that marginalizes the speaker. This is evident in the lines: “Something in me is lost, forever lost,”(McKay, line 9) and “I must walk the way of life a ghost”(McKay, line 11) where the speaker speaks to the sense of alienation that they have experienced. The phrase “Something in me is lost, forever lost” conveys an existential angst, suggesting that the speaker has undergone a fundamental transformation or fragmentation of self. This loss stems from the disconnect between the speaker’s inner truth and the external expectations imposed by society. It speaks to a profound sense of displacement, as the speaker grapples with the erasure or suppression of their authentic identity. As for the image of “walk[ing] the way of life a ghost,” there is an emphasis on the speaker’s alienation and marginalization within their environment. By likening themselves to a ghost, the speaker evokes a haunting sense of invisibility and disembodiment. They exist on the margins of society, unseen and unrecognized, forced to navigate a world that denies them agency and recognition. They have a constant longing to belong, to find a place where they are seen and valued for who they truly are. However, the societal forces represented by the “great western world” hold them in bondage, denying them the acceptance they seek.

So, although both poem are different in tones and subject, they both indulge in the universal human desire for connection and belonging. In “Flame-Heart,” the longing is for a connection to the past, to memories and moments that define one’s sense of self. And in “Outcast,” the longing is for a connection to the present, to a society that acknowledges and embraces one’s identity.

– Mustang Chang

Layers of Understanding

At first glance, Shakespeare’s Sonnet 130 appears to be a critique of conventional notions of beauty. The speaker compares his mistress to objects of nature and describes her in less-than-flattering terms, seemingly defying the typical poetic praise of a lover’s physical attributes. Instead of comparing her eyes to the sun or her lips to coral, he candidly admits her imperfections, stating “My mistress’ eyes are nothing like the sun; Coral is far more red than her lips’ red”(lines 1-2). However, amidst this apparent criticism lies an affirmation of genuine love that transcends superficial appearances “And yet, by heaven, I think my love as rare As any she belied with false compare,’ suggests that despite the speaker’s unconventional description of his mistress, his love for her is authentic and rare.”

Enter Catherine Tate’s character, a student who disrupts a classroom setting with her exaggerated antics and unconventional behavior. On the surface, she may seem like nothing more than a nuisance, embodying the antithesis of scholarly engagement. However, as the sketch unfolds, it becomes evident that there is more to her character than meets the eye. In a brilliant twist, Tate’s performance suggests that despite her outward demeanor, the student possesses a keen understanding of Shakespeare’s sonnet and its underlying themes- Much like the speaker in the sonnet, who sees beyond traditional standards of beauty to appreciate the true essence of his mistress, the audience is invited to look beyond the facade of the disruptive student to uncover her unexpected depth.

Tate’s comedic delivery and unexpected moments of insight character challenge preconceived notions and stereotypes. Her character becomes a symbol-like figure for the idea that intelligence and wisdom can manifest in unexpected ways, even in those who may not conform to societal expectations. In this light, Tate’s performance enhances the essence of Shakespeare’s sonnet by highlighting the notion that true understanding and appreciation go beyond surface-level impressions. Just as the speaker’s love for his mistress is genuine and true despite her perceived flaws, the audience’s appreciation for the student’s intellect is deepened by her unexpected depth.

-Mustang Chang

Voices of Defiance

“How to Enlist,” by Javier Zamora, stands as a testament to the resilience and determination found within clandestine resistance movements. Zamora opens the poem with a scene reminiscent of intrigue and secrecy, set amidst the backdrop of a packed soccer game. The protagonist, beckoned by María de los Ángeles, engages in a covert exchange, symbolizing the clandestine nature of resistance efforts. The poem begins: “You must meet in the bleachers during a packed fútbol game. She’ll slip a paper with the assignment meet by the dried creek.” In these lines, there is a painted picture of clandestine communication- emphasizing the necessity for discretion in the face of oppression. The dried creek serves as a metaphor for forgotten spaces, reflecting the marginalized existence of those involved in the resistance. Then as the poem progresses, Zamora weaves themes of unity and shared burden into the narrative. The act of tasting tamales, offered by María de los Ángeles, transcends mere sustenance, symbolizing a communion of experiences and hardships: “At midnight, she’ll bring her thoughts wrapped in tamales and tell you to taste each one.” This imagery underscores the collective struggle against injustice, urging the protagonist to internalize the weight of their community’s suffering.

Amidst the chaos and danger, Zamora imparts a sense of urgency and duty to the protagonist. The vow to avenge María de los Ángeles’s name becomes a rallying cry for justice, echoing through the verses: “Don’t forget her voice. Vow to avenge her name.” The powerful words encapsulating the unwavering commitment to reclaim dignity and fight against oppression, even in the face of formidable odds. However this fight is not merely a solitary endeavor but a collective effort. Communities come together, drawing strength from one another, to challenge oppressive systems and carve out spaces of resistance. This solidarity amplifies their voices, fortifies their resolve, and demonstrates the power of unity in the face of oppression.

-Mustang Chang

Question: In your opinion, what role can poetry play in sparking dialogue, promoting social change, and fostering solidarity among diverse communities?

Confronting Reality

“My Brother at 3 A.M.” by Natalie Diaz, signals a return to the body in imagery and emotional experience that the protagonist (the brother) bears. The portrayal of mental illness and the intersection of familial relationships with societal perceptions accommodates marginalized and/or silenced social identities. Firstly, the repeated invocation of “O God” and the imagery of the protagonist weeping on the front steps at 3 a.m. induce a sense of desperation and a plea for divine intervention. This can be seen as a call to return to the body, to ground oneself in the present moment amidst turmoil. The protagonist’s intense emotional state and his perception of seeing a devil or a tail behind the house indicate a disconnection from reality, perhaps hinting at a dissociative episode. In this interpretation, the poem suggest the importance of reconnecting with one’s physical presence: to ground oneself in the here and now to confront and navigate through difficult experiences.

The protagonist’s distress is palpable, and his fear of being harmed by an unseen force reflects the stigma and lack of understanding often faced by individuals grappling with mental health issues, especially within marginalized communities. The family’s response, depicted through the mother’s concern and confusion, underscores the complexities of navigating mental illness within familial and societal contexts. The poem sheds light on the intersections of race, class, and mental health- highlighting how these factors can contribute to the marginalization and silencing of certain experiences. Quotes from the poem such as “He wants to kill me, Mom,” and “The devil does. Look at him, over there,” are convictions of fear and paranoia, while also illustrating the challenges faced by individuals struggling with mental illness in articulating their experiences to others. Then there’s the imagery of the sky “the dying green of night” and the stars closing their eyes”: these quotes summon foreboding and isolation- He’s in an emotional turmoil, trapped in the societal barriers that can’t seem to understand and accept his reality.

-Mustang Chang

Romanticism to Reality

After reading both poems, I settle. Both poems challenge the traditional symbol of the rose, though, H.D.’s poem is more efficient.

“Sea Rose” portrays the rose as “harsh” and “marred,” emphasizing its rugged beauty amidst the harshness of its surroundings. This portrayal challenges the traditional association of roses with delicate beauty and romance. By setting the sea rose against the backdrop of the sea and sand there’s an invoke- A sense of resilience and endurance; a suggestion that beauty can be found in unexpected places, even under adverse conditions. In the line “you are caught in the drift” there’s an implication of both the physical entrapment of the rose and also a metaphorical suggestion of the entanglement of beauty with the harsh realities of life. With intention, the word “drift” is evoking a sense of aimlessness and uncertainty, reflecting the unpredictable nature of life’s challenges. The link of the rose’s entrapment to the concept of “drift,” implies the entanglement of beauty with the harsh realities of existence. There’s a challenge here: the romanticized notion of beauty as something pure and untarnished, but instead presenting it as intertwined with the complexities and struggles of life. Even more, H.D. contrasts the rose in her poem with the conventional image of a cultivated rose- this is challenging traditional perceptions. She is juxtaposing the rose’s unconventional beauty with the image of a “wet rose single on a stem,” directly implying that the rose in her poem is more precious because of its uniqueness and resilience. This comparison underscores the poem’s deeper exploration of beauty beyond conventional norms.

As for Puente’s “The Rose and The Poppy,” the poem primarily focuses on asserting the speaker’s individuality and autonomy in relation to the symbolic associations of the rose. There’s rejection in partaking the conventional roles and meanings attributed to the rose, stating, “I am not a ravishing ruby red, / or a semblance of purity white,” and instead emphasizes its own uniqueness and wildness, likening itself to “Electric orange-like tangerines in an orchard of trees.” The poem celebrates the speaker’s autonomy and self-definition, which is brilliant, however, it lacks the Challenge that is implemented in H.D.’s “Sea Rose”.

-Mustang Chang

Loves Divine Gateway

Rumi’s poem begins with a simple directive: “If anyone asks you how the perfect satisfaction of all our sexual wanting will look, lift your face and say, Like this.” With these opening lines, he sets the stage for a journey into the depths of human experience, where the expression of love becomes a gateway to spiritual understanding. By framing the discussion around the concept of “the perfect satisfaction of all our sexual wanting,” Rumi immediately confronts a primal aspect of human nature: the longing for fulfillment and intimacy. Yet, instead of delving into a purely physical or carnal interpretation, he elevates this longing to a higher plane by suggesting that the expression of love holds the key to unlocking profound spiritual truths. In lifting one’s face and declaring, “Like this,” he invites us to consider love not merely as a fleeting sensation or momentary pleasure, but as a profound revelation of the divine. The act of lifting one’s face implies a turning towards the heavens, a gesture of openness and receptivity to the mysteries of the universe. By equating the perfect satisfaction of sexual wanting with the simple declaration of “Like this,” Rumi is suggesting that true fulfillment lies not in the pursuit of worldly desires, but in the recognition and acceptance of love in its purest form.

Throughout the poem, Rumi employs various literary devices to convey the interconnectedness of earthly love and divine union. Similes abound, inviting us the readers to envision love as a dance on the night sky or a gradual unveiling of the soul – each action serving as a metaphor for the ineffable experience of connection. But Rumi’s exploration goes beyond mere metaphor. He delves into the realm of symbolism, drawing parallels between personal experiences of love and timeless tales of spiritual awakening. References to figures like Jesus and Joseph, along with allusions to mystical encounters, infuse the poem with layers of meaning that transcend the boundaries of religious tradition.

At its core, this poem is a celebration of the union between human and divine, a testament to the belief that love is not merely an earthly pursuit but a pathway to spiritual enlightenment. Lines such as “When lovers moan, they’re telling our story” resonate with a sense of cosmic unity, reminding us that our individual experiences of love are intertwined with the greater tapestry of existence.

Through the lens of Islamic spirituality, Rumi’s poem takes on added significance. He espoused a worldview that emphasizes the direct experience of the divine through love and devotion. The references to Islamic motifs and traditions are evident in this connection- offering a vision of love that is deeply rooted in spiritual inquiry. Now, as we immerse ourselves in Rumi’s words, may we find inspiration to cultivate love in all its forms and to seek the divine presence that resides within each of us. For in the dance of love, we discover the deepest truths of our existence, and in the embrace of the divine, we find ultimate fulfillment. So let us lift our faces to the heavens and proclaim, “Like this.” For in that simple gesture lies the essence of our shared humanity and the boundless potential of our spiritual journey.

-Mustang Chang

Diverse Echoes

As I read Luis Alberto Ambroggio’s “We are All Whitman: #2: Song of/to/My/Your/Self,” I find myself like you: gasping for breath and in need of water. The poem’s rhythm is similar to Whitman’s “I Sing the Body Electric,” in the way that it carries a fast-paced beat – almost like a drum or an instrument that cries in passion – that takes the breath out of you and makes your heart beat as if you’re running away from something. Though, in the case of this poem, it’s the exact opposite. Parallel to Whitman’s “I Sing the Body Electric,” this poem exposes; challenges; defeats; acknowledges; and accepts; the differences in color; race; culture; nationality.

Just as Whitman celebrated the interconnectedness of the human body, Ambroggio extends this celebration to encompass a rich diversity of ethnicities, embracing a global perspective. Ambroggio’s rhythmic enumeration unfolds with the vibrancy of Hispanic, Latin, black, and various other identities, mirroring Whitman’s cataloging technique that emphasizes the multitude within the collective “Self.” For instance, the rapid succession of identities, from “Hispanic, Latin, black, olive-skinned” to a myriad of cultural backgrounds, mirrors the interconnected nature of our global society. This technique engages readers and propels them through a vibrant exploration of identity, it emphasizes the unity found within the diverse tapestry of humanity. The enumeration rhythm is a vehicle for expressing the poem’s theme of interconnectedness and celebrating the dynamic nature of individual and collective identity. The poem resonates with a universal vision- Connecting individuals to the larger cosmos, reminiscent of Whitman’s cosmic embrace where the individual is an integral part of the natural and cosmic order.

Mustang Chang

Rhythms of a Spell

Despite both Herrick’s “Delight in Disorder” and Jonson’s “Still to Be Neat” being mainly comprised of iambic tetrameter, they manage to carry the same flow but are distant in the way that they’re structured. They both exhibit distinct rhythms that can be likened to the casting of a magic spell. The rhythms can be seen as a contribution to the enchantment of language that holds the potential of drawing its reader (me/us) into the enchanting world of the poets’ visions.

In “Delight in Disorder,” Herrick’s rhythmic pattern is playful and whimsical, reflecting the disorderly delight he finds in the subject’s appearance. The cascading rhythm mirrors the chaotic beauty described in the poem, creating a spell-like effect. The irregular flow of the lines mimics the disorderly charm of the subject’s attire, resembling the unpredictable and alluring nature of a magical incantation. On the other hand, Jonson’s “Still to Be Neat” carries a more structured and measured rhythm. The regularity of the meter and rhyme scheme imparts a sense of control and precision. This controlled rhythm aligns with the speaker’s plea for simplicity and natural grace in appearance. The repetition of “still” emphasizes the desire for consistency, creating a steady and enchanting cadence that reinforces the poem’s message.

In terms of effectiveness in representing the nature of art, I think “Still to Be Neat” by Ben Jonson is more effective. The poem advocates for a simplicity that resonates with a timeless and enduring beauty. The controlled rhythm reflects the speaker’s plea for order and refinement – aligning with the idea that true beauty lies in simplicity. The rhythmic enchantment reinforces the speaker’s preference for a genuine and unadorned appearance, making the poem a compelling representation of the enduring nature of art. In contrast, while “Delight in Disorder” captures the magic of disorderly beauty through its enchanting rhythm, the emphasis on chaos might limit its applicability in representing the timeless and enduring qualities associated with art.  

– Mustang Chang