From caterpillar to pupa, and then to butterfly

Upon seeing this poem and its drafts, it became evident how much time and effort the poet invests in crafting poetry. In particular, the evolution from the drafts into the poem “Sometimes the Words are So Close” felt akin to a caterpillar transforming into a butterfly. Initially, when writing drafts, the poet writes the words directly from her mind using a pencil and paper. Additionally, she list all the words and sentences she has thought of “for now.” Then, while arranging the sentences, she deletes those that don’t fit the content or feel awkward. This is the impression gained from observing the handwritten drafts. Handwritten drafts convey a rough feeling, similar to cutting a steak into a size fit for eating before cooking. The poet then transcribes these expressed sentences using a typewriter. In this process, she also attempts to remove intentionally “pretentious” sentences and overall reviews the poem. Finally, she presents the poem after undergoing as much completely as possible. She thought the sentence was too pretentious, but she kept it because she realized that it suited the poem well. This was perceived as one process. In fact, upon comparing the drafts and the presented poem, the drafts felt better. This is because she provides insight into the struggles the poet faced while writing the poem and reveal the sentences before revision. Overall, while the poem appears neater and better organized compared to the drafts, giving a clearer sense of what the poet wants to convey, the rough feeling of the drafts was more appealing.

For the Love of God!

“Like This” by the poet and Sufi mystic Rumi, is a sensual, heart touching, and an open poem that holds a beautiful and loving tone through its English translation. It clearly tells the loving relationship and admiration of the poet to their object of affection through varying literary devices most notably through allusions/ metaphor.

Allusions seen within the poem pertain mainly as a tool to compare the love felt towards two people with that of miracles performed by Jesus from curing a blind man to rising from the tomb. The use of religion in this aspect, from the translation, shows minimal input of the Islamic religion but more so of Christian references. I would be lying to say I am well read and informed about the Islamic religion but unfortunately I am not, which would be helpful in this case, but after reading the article “The Erasure of Islam from the poetry of Rumi” I was able to look online for other translations in English of the poem and saw how religion is actually heavily added to the poem when comparing each one from the other. One I found online was actually longer and had in almost every stanza a mention of some divine being or act to compare with love. But going of the poem assigned, I see the allusion of religion as a comparison of the nature of existence and human experience to that of Jesus resurrecting (coming to life) to even alluding to a possible one sided love of two biblical figure, (to note again I am not well versed in the Koran or even that well with the bible, I could be wrong with this second take). The poem also holds plenty of metaphors comparing the lover to many varying objects from the night sky, the moon, and the spirit/ soul but also, for the most part, comparing the love found within each other with that of miracles and religion.

The comparison of the resurrection of Jesus to that of the lovers kiss is a pretty solidifying in showcasing religion and the acceptance of Islamic spirituality as seen, “If anyone wonders how Jesus raised the dead, don’t try to explain the miracle. Kiss me on the lips. Like this. Like this.” (line 21-4) this is a sweet line that interlocks Islamic spirituality with that of love, and that attributes much of the openness and acceptance of spirituality to this love with ties to embracing all aspects of life, negative and positive , joyful or challenging, and overall the understanding of all experiences and richness that life has to offer. 

Alondra Garcia

Divine Love in Rumi’s “Like This”

Rumi’s poem “Like This” presents the love between two people as a synecdoche to Islamic spirituality to reflect the spiritual experience of life. The poet utilizes this metaphor when he mentions, “if anyone wants to know what ‘spirit’ is, or what ‘God’s fragrance’ means, lean your head toward him or her” (Rumi 11-13). The closeness between two people is used to parallel that closeness one may feel to religion. It is that devotion that persists between two people that reflects that devotion to Islamic spirituality emanating through love. This closeness becomes complete when the poet furthers this extended metaphor of love as a spiritual experience, “don’t try to explain the miracle. Kiss me on the lips. Like this. Like this” (22-24). The poet insists in withholding the mystery of Jesus’s miracles, connecting it to that desire for why love with all its emotional experiences occurs to be a secret. This secret is also embedded in the natural world with “the breeze [saying] a secret” (41). It also presents themes of faithfulness between the two lovers paralleling that of spirituality. The repetition of “like this” throughout the poem happens usually often after one stanza, but for this line to repeat it twice reflects how the kiss between a couple is what the poet emphasizes as an important attribute to faithfulness and devotion to both religion and love. 

Unity becomes a recurring theme between love and religion through the imagery of a house. The poet explains, “the soul sometimes leaves the body, the returns. When someone doesn’t believe that, walk back into my house” (32-34). The stanza uses the metaphor of how the body itself represents the house, and the soul being the beloved that enters it. Spirituality becomes a sense of protection from sin, in which love becomes that protection by the lover protecting the beloved. The house imagery concludes the poem with Shams returning and putting “just his head around the edge of the door to surprise us” (52-54). The poet’s feelings towards Shams reflects that love between two people, where his return parallels how the soul itself returns to the body, in this case the body-house is a metonymy for the poet. Onomatopoeia also presents itself through the “huuu” repeated between mentioning “Joseph’s scent” and “a little wind” cleaning the eyes of Jacob (46-50). The sound produced to mimic the wind returns to how “God’s fragrance” is obtained, through the closeness displayed from love and presenting the natural world as influential to love and spirituality.

Phillip Gallo

From One Within to One Outside

~Alondra Garcia~

Reading the poems prior to the watching the recordings on how other people perceive the poems was interesting. Whilst I rushed in and sped up the tempo of the writing as a form of making it sound, to myself at least, as a strong and bold literature piece in comparison to a softer slowed version seen in the video was different. I believe I can at the piece strong due to how the previous Walt Whitman piece From “I Sing the Body Electric” was done in a fast tempo with a strong voice kind of set the tone for me in terms of reading Whitman. When listening to his other piece form different voices and perspective it made me see Ambroggio’s piece differently, and so I did another reread but with a different tempo. The slowed tempo made it feel more impactful and even gave the poem a more depth to it. Though the difference in tempo does not mean it differs to Whitman’s “I Sing the Body Electric” all that much. 

When comparing Whitman’s piece to Luis Alberto Ambroggio I can see the inspiration drawn from Whitman’s poem to Ambroggio’s. For starters we have that lack of rhythm in the sense that it lacks in rhymes, in a type of non structured form that flows freely, something we see seems to continuously see in Whitman’s pieces. The poem like Whitman’s may lack in rhyme but makes up for it in the feeling of the rhythm when speaking it. Another thing I noticed was the similar yet different take on the themes. Obviously they would be similar due to Whitman being the inspiration for Ambroggio, the “intro” is a quote of Whitman’s and there is a shoutout to him as well. But they do have this similar vibe to each other of the love of the body and soul, the different take being Whitman focuses on no one and nothing in general but the person themselves while Ambroggio has a more centered approach to ethnicity, nationality, and color giving more shoutout to specific minorities and a specific connection to them. 

The Soul Translated Self

Luis Alberto Ambroggio’s We Are All Whitman: #2: Song of/to/My/Your/Self translates Walt Whitman’s I Sing the Body Electric by focusing on ethnicity, and how each Self in the world creates the whole identity of who we are as humans. 

Whitman focuses on how the anatomy of the body is constructed, using electricity galvanizing through the body into life. This is followed through how the poem is structured, the poem coursing through the body like electricity, “Mouth, tongue… ribs, belly… man-balls, man-root… the womb, the teats” (Whitman 7, 14-15, 24). The comma used in each line further dissects each area of the body, and there is a rhythmic pattern in the stressed, monosyllables that the poem itself holds a sharp sound that strikes like electricity to each part. The focus on the genitals are also affected and create a metaphor to “sexuality” that Waltman comments (22). Waltman expresses how this electricity gives life even to the soul, meaning that it isn’t the body itself but the innermost feelings such as the sexuality of a person that is affected by this electricity. The cacophony heard in those lines parallels the sound of this electricity, triumphantly expressing to the audience “these are the soul” (36). The anatomical pattern also shifts to actions performed by humans, “food, drink, pulse, digestion, sweat, sleep, walking, swimming” (26). A consonance can be heard between food and drink, with the “s” sound repeating among pulse, digestion, sweat, and sleep, and the suffix between walking and swimming. The cacophony continues to be heard, but this shift to human actions reflects how even human acts are a reflection of the soul itself, that movement is similarly powered by this cacophonic electricity. 

Ambroggio focuses not on the body, but on the ethnicity that defines the Self. Whitman’s poem that shifts around anatomy is changed from that of ethnicity in Ambroggio’s poem. His poem brims with diversity, filled with “multitudes” that constructs the poem as the “universal soul.” Ambroggio establishes this in his first stanza, “This Self – Hispanic, Latin, blond, black, olive-skinned, native and immigrant… was here with everyone” (Ambroggio 1-2, 4). The poem sets up its diversity, but the lines contain multitudes of assonances between the “a” and “o” sound and consonances between black and olive-skinned. The shifting between ethnicities returns later in the poem, “Contrasting to Whitman, Ambroggio includes the conflicts that the Self confronts, “This Self is Puerto Rican, Chicano, from Cuba free dancer of merengues, from Santo Domingo and all the Caribbean” (43-45). The cacophony parallels this loud expression of one’s identity, and the switch between different ethnicities can be seen translated from Whitman’s electrical course between different parts of the body. 

However, these identities become threatened “by propellers and shrapnel…” but ends positively, “I celebrate myself, and sing myself” (60, 118). The war-like imagery to me becomes reminiscent of the Israeli-Palestinian war, where the Self becomes threatened. But the conclusion of the poem, where the Self shall endure, is spoken in euphony that changes this cacophony of conflicts and various identities into an acceptance of the Self and everyone included. Thus, Ambroggio’s rhythmic enumeration can be seen from Whitman’s poem by its cacophony, consonances, and overall structure of poetry embodying the Self/soul.

Phillip Gallo

Rhythm and Sound

 Luis Alberto Ambroggio’s poem “We are All Whitman: #2: Song of/to/My/Your/Self.”  translates the rhythmic list of body parts in Whitman’s poem ‘I sing the Body Electric in three major aspects. The first is that like Whitman, Ambroggio wrote a lengthy, free-verse poem. Both poems don’t have a settled structure or form, nor are they concentrated on a strict rhyme scheme or meter. The second was both poems are intended to be read without taking long pauses. There are commas and a couple of periods added, however, for most, they are run-on sentences. An example would be, “Head, neck, hair, ears, drop and tympan of the ears. Eyes, eye-fringes, iris of the eye, eyebrows, and the waking or sleeping of the lids. Mouth, tongue, lips, teeth, roof of the mouth, jaws, and the jaw-hinges, nose, nostrils of the nose and the partition.” (Whitman, Stanza 9). From Ambroggio’s poem, his given structure is quite similar to Whitman’s, “It comes from Mexico, Central America, from Costa Rica, Tikal, Guatemala, from their rainforests, lakes of salt and honey, from Panama, Colombia, Peru and Venezuela, the corn crops of the Argentine pampas, Chile’s veins of grapes, Bolivia’s reed flute, from the Mayas, -“ (Ambroggio, Stanza 5?) From what I noticed though; reading these sections, Whitman used more repetition than Ambroggio did, but both used their words to create a sense of rhythm.

This leads to the third major aspect of how Ambroggio’s poem translates the rhythmic enumeration of body parts in Whitman’s poem. Both poets bring up an emotional and physically sensual experience, and they do this by providing cacophony. By placing certain terms together, sound is formed. At first, it may not be perceived but alliteration is present making it easier for readers to catch, the “Broad breast-front, curling hair of the breast, breast-bone, breast-side. Ribs, belly, backbone, joints of the backbone.” (Whitman, Line 13). From pronouncing the “b” repeatedly while reading, a beat can be heard sounding close to a drum or a bass instrument. Ambraggio does the same approach in his poem, “Everyone, yesterday and again today; today and tomorrow; does not stop,-“ (Ambroggio, Stanza 1). The “t” sound can be made out. It sounds like a cymbal is lightly being tapped. Both poems are free verse, they have to be read without long pauses, and intentionally, literary devices, such as repetition, Alliteration, and cacophony are used to create a sense of rhythm and sound. Altogether, this demonstrates how Ambroggio’s “We Are All Whitman; Song of/ to/ My/Your/Self translates to the rhythmic enumeration of body parts in Walt Whitman’s “I Sing the Body Electric.”

Citations: Ambroggio, Luis Alberto. “We Are All Whitman: #2: Song of/to/My/Your/Self…” Poetry Foundation, Poetry Foundation, http://www.poetryfoundation.org/poems/150382/song-of-to-my-your-self. Accessed 31 Jan. 2024.

Claudia Dominguez

The Beauty in Art

The poem that is most effective in representing the nature of art would be Herrick’s “Delight in Disorder” mainly because of how its title brings significance to the poem. Just by reading it, it could be immediately concluded that Herrick wrote about a woman, but is he? That’s where the poem gets effective. The title may be questionable, especially in the aspect of how it connects to ‘disorder’ and “delight’, however by scanning its metrical and rhythmical side, its connection can be found. The poem begins with an Iambic Tetrameter, this is cut short when the word “Kindles” is introduced. It is a trochee. At first, while scanning the poem, I started to think more trochees would appear, which another did on line four, “Into”. This may seem like that’s how the metric feet are meant to be, but closely scanning through, I noticed the trochees were set as a distraction. The trochees were inputted on purpose to make the reader scan through the entire poem and not realize the poem’s prosody is an Iambic Tetrameter, which was answered on the first line. The way the trochees stand out reflects how it’s a disorderly poem overall, and the way the poet expresses it is quite interesting since he could have simply expressed it with words, but instead he hid the message with meters.

On the other hand, though Jonson’s poem also has a dominant iambic tetrameter, and his sound pattern is more organized and straightforward, his poem is generally suspicious. The meters and rhythm fit rather too perfectly with the words Like “Give me/a look, give me/ a face”. The tone and the rhythm sound like a heartbeat. This is where I believe he did very well in expressing his main idea. But overall, I was still left with many unanswered questions about his poem. Like what was his motive to make his poem so neat? Why make readers suspicious? Is he trying to purposely have readers overthink his poem’s intent? This is why I chose Herrick’s.  I believe Herrick was more precise on the nature of art than Jonson.

Claudia Dominguez

The Beauty of Messy Art

I believe Herrick’s poem, “Delight in Disorder” is more effective in representing the nature of art than Jonson’s poem. (Both poems are in iambic tetrameter). Art is created for many purposes. It can be argued, there is no right purpose of art. It is created for aesthetics and for viewing pleasure. It is created to make a statement, oftentimes social or political. It is created for entertainment purposes, i.e., books and poetry. The list goes on. And no art is the same. Just like no two people are the same. But all art aims to capture their audience. To enthrall or to move them. Herrick speaks of this enthrallment in his poem. At the end of the poem, he wrote:

 “do more bewitch me than when art 

Is too precise in every part.” 

This was after Herrick had described the disorder of a dress–of a person’s getup. He described the carelessness of a shoestring. A neglectful cuff. In these things, he saw a “wild civility” (Herrick 12). And it is this ‘wild civility’ that bewitched him. Not art that is ‘too precise’. Precise as in exact or careful. It seems Herrick believes art is best when it is messy. Or, in his own words, disordered. Which means untidy or unkempt. To convey this, he described one’s disheveled attire. I thought this was brilliant. Especially if we were to look at this poem through a modern lens. Nowadays, there is a greater appreciation for clothing styles that, at one time, had been deemed strange or unusual. And people are not afraid to experiment and mix different styles. Oftentimes, it is these people who receive praise and are deemed fashionable. It is these people who inspire others to step out of their comfort zone and explore different styles. The same can be applied to art. Artists should not strive for perfection. Perfection is boring. Perfection does not move people. It is the flawed, the messy, the most unusual pieces of art that capture and enthrall people. That provokes them to look at themselves and the world around them differently. Jonson’s poem was good, but it did not conjure the same feelings as Herrick’s did. The second stanza was similar to the whole of Herrick’s poem. But because the first stanza fell flat and failed at conveying its message to me, I had to go with Herrick.

Bella Cortez

Distinguisged Voices in Parallel Desolation

McKay’s poems, Outcast and The Tired Worker coincide with each other due to their parallel significance. There is a sense of anguish and dejection in the Outcast that is reflected in The Tired Worker. It should be noted that McKay wrote the Outcast in 1922. The speaker in both poems expresses his thoughts towards the discriminatory prejudices found in America. The culture shock that is implied in these poems is the bridge that binds them together, which is where the depression stems from. McKay uses personification and diction to illustrate the somber hues in both poems. 

The Tired Worker depicts the tedious routine of an average worker in America, and there is an aching desire for rest within them. McKay writes, ““soon the night\ Will wrap thee gently in her sable sheet” (5-6). Words “wrap” and “gently” display the benign and tender tones the speaker so eagerly yearns for. The motherly intonation is explicitly stated in the word “her,” which merely exemplifies the context of homesickness. McKay’s diction evokes eloquence that coerces the reader to experience the dreadful sensations the speaker endures. The speaker continues, “The wretched day was theirs, the night is mine;\ Come tender sleep, and fold me to thy breast” (9-10). The speaker is awaiting the calming night only to awaken to another monotonous day. Recall the time period that McKay published these poems, considerably one of the many appalling moments in history. Outcast puts these thoughts and feelings into intimate and personal expressions that is fervently communicated in The Tired Worker. Outcast’s speaker discusses the origins of their displacement in the new environment. McKay states, “For the dim regions whence my fathers came\ My spirit, bondaged by the body, longs” (1-2). The speaker desires the comfort that can only be provided from their homeland, which is evident in The Tired Worker. 

Emily Pu

The Road Not Taken

The horrendous things that occurred in internment camps in all various parts of the world have endured things we all attempt to not think about. But it is only through facing these harsh past circumstances that we learn from others’ mistakes to maintain peace and justice. There have been many writers who’ve discussed their horrid experiences in these camps to highlight to us and the whole world why this situation should never happen again. Especially with the poem written by Neiji Ozawa, I feel as though truly captures the experience of Japanese people’s daily life in internment camps.

Through the use of imagery, Ozawa, even with such a short piece and a mere few lines, was able to construct the image of the suffering the people went through. Ozawa immediately opens with “Sensing permanent separation” to show the people in these camps could already tell that they were going to be separated from their loved ones for a very long time, even permanently. Additionally, he adds, “as you left me in extreme heat” (line 2) to illustrate the bearing down of the sun and heat strokes people likely experienced every day from being in these camps. And with a mighty punch in the last line, “on gravel road” he shoves in readers’ faces that not only were they forced into this heat but they were also left on gravel roads. Where the pavement is hot, rough, and unbearable to lay upon. The imagery involved in this haiku poem I believe truly calls attention to what they’d undergone daily in the internment camps. 

Patricia Brewer