Poetry Essay

Task 1.

Read John Agard’s ‘Listen Mr Oxford Don’. Then read Grace Nichols’ ‘Wherever I hang’. Write an essay that compares and contrasts the two poems, ensuring that, in line with the Study Diamond, you comment on their effects, the techniques used in them, interpretations of their meanings and any relevant contextual information.

(Use no more than 1000 words)

This essay compares and contrasts two contemporary poems by British Caribbean writers; John

Agard’s ‘Listen Mr Oxford Don’ a satirical backchat to Literary Canons, and Grace Nichols’ ‘wherever I

hang’, an unashamedly humble reflection of immigration. Interpretation of contrasting

techniques and evaluation of contextual evidence explores the effects relating to the evolution of

Caribbean Verse; its role in political and social protest and relevance in British Society.

Agard and Nichols were both born in 1950’s Guyana* during a wave of immigration as

commonwealth citizens were encouraged to fill Britain’s demand for menial workers. The writers

joined in England during the 1970’s* (*O’ Day et al 2011), the poems published shortly after the race

riots of the 1980’s. This shared cultural journey presents the foundation for the spirit and resilience

denoted in both poems.

Both poems are delivered in Patois (Caribbean dialect) derived from the language of West African

Slaves, used to communicate under the radar of the slave owners. Patois is by nature emotive and

unrestrained, inherent with humour and rebellious from form and both Poems draw strongly from

these characteristics. Agard’s ‘Listen Mr Oxford Don’ confronts the “received pronunciation” of the

“Queen’s English” historically symbolic of class exclusivity. In ‘wherever I hang’ Nichols’ charms the

audience with informal inviting Patois, seasoned with colloquialisms the verse is fluid and calm in

contrast to the intensity adopted by Agard. Both Poems structurally lend themselves to

performance, evoking the influence of West Indian Folklore and reflecting protest poetry of “Poetry

Slams” (Open University Y180 online chapter 7).

Agard makes metaphorical references to the physical resistance to rule “I don’t need no axe to

split up yu syntax” (lines 14 & 15) and in the phrase “I slashing suffix in self-defence” (line 35). The

enactment of Agard’s poem creates literal imagery as he stands accused of “mugging de Queen’s

English”(line 12). As if in the courtroom dock, prosecuted by the crown Agard argues in contempt of

the “barbaric splendour” (Klein, J. 2009) of English Language that allows simple reason and morality

to be obscured by the complexes of antiquity. By challenging this “High English” Agard

simultaneously plants a direct hit on the aristocracy that powered the slave trade and authoritarian

figures whom incited the race riots.

By contrast Nichols implements figurative imagery to illustrate contrasting cultures “de humming-

bird splendour” (line 4) and “pigeons and de snow”(line 17), metaphors for the stark disparity

between a whimsical nostalgia of her homeland and scavenging inner-city life in cold bleak Britain.

Nichols admits changing her “calypso ways” (line 20) and getting “accustom to de English life” (line

25) she does not however loose her dialect. Through public revolt or private resistance both writers

hold dear their identity and ownership of language.

The rhythm of ‘listen Mr Oxford Don’ mimics a Calypso beat, derived from the drum of African

Slaves, this reiterates the influence of a cultural backstory. “I ent have no gun” “I ent have no knife”

(lines 10 & 11) “I am only armed wit mih human breath” (line 9), reinforces the struggle against

oppression as Agard defends himself against a modern tyranny with his own “simple immigrant”

(line 2) language. The 7 stanzas of between 4 and 8 lines are littered with conversational pauses.

Bordering on free verse it does not conform to iambic pentameter, but true to Caribbean dialect

syllabic stresses are placed to intensify delivery. Rhyme pattern does occur, although sporadic

(ABACC AAAA ADEDFFGG AAAA HIIJKKA ALLA IMMMI M), with internal rhymes “dem want me serve

time” “for inciting rhyme to riot” (lines 25 & 26). The loose form and varied pattern compliments

the lyrical texture of its delivery and could serve Agard’s mockery of conformism and emphatic

regularity demands attention with the repetition of “Listen Mr Oxford Don”.

By contrast the rhythm adopted by Nichols is subtly engaging, a conversational recollection or

letter to “back-home side” (line 26). Structured into 2 stanza’s of 15 lines each and 1 closing line

statement. No conclusive rhyme pattern, aside the rhyme at the closing lines of each verse as

Nichols focuses on a point “and when I look up to de sky” “I see Lord Nelson high – too high to lie”

(lines 14 & 15) “Yes, divided to the ocean” “Divided to de bone” “Wherever I hang me knickers –

that’s my home.” (lines 29, 30 & 31) the spontaneity of free verse allows the audience to wonder

freely through her observations, rhyme draws them close to emphasise a phrase.

The writers employ contrasting techniques collectively presenting a myriad of effects, offering a

masculine and feminine experience of immigration – one dares confront hypocrisy, the other a

sensual account of disillusion. The audience are captivated and disarmed by resonant humour and

sarcastic undertones “So mek dem send one big word after me” (line 3) Agard teases and threatens

“bashing future with present tense” (line 36) highlighting the preposterous notion of his self-

appointed crime. Nichols mocks the staunch British reserve “never visiting nobody” “Before giving

them clear warning” (lines 26 & 27), individuals can identify with encountering or exhibiting such

behaviour, establishing common ground amongst diverse audiences.

Both writers underline differences in cultures, monumental or incidental. Both Poems serve as

a platform for Caribbean Culture to be expressed in its own voice and recognisable to a community

that may have become disenfranchised from English Literature whilst offering cultural insight to a

wider audience. Whilst both Poems are literal examples of “Freedom of Speech” and resistance to

imperialistic rule, their contrasting techniques mirror the conflict within political and social

movements. If translated from a literal to physical form Nichols presents “peaceful protest”, whilst

Agard could be accused of “civil disobedience”. The parallels and diversities prove these poems to

be personal responses to a shared experience. The fact they are celebrated, performed and

published unifies their meaning; the cultural identity that exists within language cannot be

conquered as easily as the land upon which it flourished.

(988 words)

References

O’Day, R., Hardy, W., Padley, Marsh, G., Padley, S. and Perryman, L.A (eds) (2011) – Making Sense of the Arts Open University p. 81

“Poetry Slams”: The Open University Module Y180 (Online Chapter 7 accessed 01.10.11.)

“Barbaric Splendour”: The Open University Module Y180 Resource Booklet 2 P.39 (Source: Klein, J. (2009) Grayson Perry, London, Thames and Hudson, p 42).

Task 2.

Write no more than 200 words in total for this task, which covers the past, present and future.

1. Past: give at least one example of a way in which your learning skills have improved during this module.

2. Present: give one example of a strength and at least one example of a weakness in your learning skills.

3. Future: give at least one example of a way in which you could improve a specific learning skill in the future.

1. Constructive feedback prompted me to provide more specific responses in my assignments and essays. I tended to generalise answers, offering more content and less depth. I have learned to home in on the question set and resist the urge to cover the whole spectrum of the subject. I struggled to keep within word limits, I now realise this could be an indication that I am attempting to communicate my overall understanding of a subject, when in-fact I am only required to provide relevant examples.

2. I am confident when exploring contextual information and can effectively relate existing knowledge to my study. I often draw from my interest in cultural studies and find this useful in gaining insight into the story behind the poem and the influences on the writer. I have difficulty instantly recognising individual techniques and accurately interpreting their meaning.

3. I need to practice applying my analytical skills by scanning poems and build on my knowledge of specialised terms. I am not confident when labelling a technique with a specific term if I feel it doesn’t entirely conform to the rule – I perhaps need to practice interpreting grey areas into black and white.

(196 words)

References: O’Day, R., Hardy, W., Padley, Marsh, G., Padley, S. and Perryman, L.A (eds) (2011) – Making Sense of the Arts Open University p. 81 “Poetry Slams”: The Open University Module Y180 (Online Chapter 7 accessed 01.10.11.) “Barbaric Splendour”: The Open University Module Y180 Resource Booklet 2 P.39 (Source: Klein, J. (2009) Grayson Perry, London, Thames and Hudson, p 42).