Said The Shotgun To The Head Analysis
In Said the Shotgun to the Head by Saul Williams, Williams offers controversial views on themes such as politics, religion, war and feminism, through the eyes of a man who has been driven to madness after experiencing a passionate kiss. He particularly criticizes Western values, and the Christian view of a traditional male God. In section 7, Saul Williams makes a lot of references to feminism, and the wrongful worshipping of a male God. There are also a lot of connotations of war and violence.
Williams offers a critique of Christianity, the most prominent religion in the Western world. His dislike for a traditional God is a theme throughout the poem, often suggesting that a female deity should be worshipped, and the "Great Mother" will eventually …show more content…
break through and take control. Towards the start of section seven, Williams questions "where is that voice from nowhere", in reference to the traditional Christian God. He later talks about the "crash of buildings" and the "shriek of sirens".
The onomatopoeic word "crash" creates connotations of destruction, in reference to war, and perhaps in particular the 9/11 attack on the twin towers. At first appearance, it would seem that Williams is accusing the West of forgetting the teachings of Jesus, and instead submitting to crime and war. However, he then goes onto question his original view, with the rhetorical question "or is that his mighty voice?" speculating that God himself is responsible for the violence and war. The adjective "angry" is used to describe the Christian God, which conflicts with the traditional view of a loving, forgiving God. Furthermore, God is referred to with the personal pronoun "your", which Williams uses to separate himself from the religion he is criticising. A biblical reference to Jesus and the Virgin Mary is used, as Williams talks of "a virgin generation’s son degenerate", and that God is "craving" his sacrifice. Jesus once died for our sins, and now God wants another sacrifice. In section 4, Williams again refers to this idea that God is responsible for the tragedies and evil in the world, by stating that "God plays a human instrument", suggesting that we are all merely ways for God to create destruction and violence, and rejects the belief that God loves and cares for
humans. Saul Williams critiques not only the Christian God, but also the way people’s behaviour is reflected by religion. He creates connotations of blood when he talks of "holy books" being "written in red ink". This creates a link between religion and violence, in reference to religion fuelled wars, and acts of violence related to religion. Violence verbs such as "branded", "whipped", "forced" and "crammed" suggest that religion has been forced upon people and people have suffered for their beliefs. Williams goes on to accuse followers of Christianity of trying to justify violence by saying it is in the name of faith, as he refers to "your prayers between rounds". The lexical choice "rounds" refers to gunfire, and creates connotations of death, war and fighting. He claims that this will only "fasten the fate of your children to the hammered truth of your trigger", suggesting that religion and violence is passed down the generations, ruining the innocence of children. The adjective "hammered" expresses Williams’s view that people have been driven to violence by their beliefs. . In section 4, Williams states that "your children die in the crossfire", accusing people of allowing their children to die for religion fuelled wars, and raise them to be violent.
Williams also criticises Western politics, in particular the American president George Bush, describing him as a mere "dummy". On the surface, the noun "dummy" highlights Williams’s lack of respect for Bush, and suggests that Bush is far from capable of being the leader of America. However, the "dummy that sits on your lap", or Bush as the case may be, appears to be have a deeper meaning, as the metaphor suggests that Bush was simply an advocate, or a ventriloquists "dummy", for a higher power pulling the strings over the war in Iraq. This higher power could be members of the government or military, or it could refer to God himself, extending the idea that God is "angry" and wreaking revenge on the world for losing respect for Christianity. Therefore, this could be interpreted as a critique of Western politics, or Christianity. Williams says that the "voice" has been "pinned to its proper source", and goes onto describe the voice using a list of three: "madness…power…weakness". This list of three suggests that Western politics revolve around power and financial gain, as oppose to improving the lives of the people and making the West a better place. Williams’s distain for Bush is supported earlier in section 7, as he refers to "a burning Bush". The capital "B" suggests that this indeed a reference to George Bush, and suggests that it is only a matter of time before he falls from power, as his "shrunken pale face" is "no longer a worthwhile spectacle". Williams blames Bush, or the higher powers controlling Bush, for the 9/11 tragedy, which is mentioned in section 5 as Williams says "I hand you my spirit as I walk through customs", in reference to the victims on the planes, who walked through customs, and walked to their inevitable deaths. 9/11 is a theme which appears at several points throughout the poem.
Section 7 conveys one of the main themes of the poem, feminism. Saul Williams uses typography to express his view that the West wrongly "worships a male god". The words "male god" are large and bold, and positioned at the bottom of the page. The text above is printed in the shape of a mushroom cloud rising from "a male god", suggesting that men are the bringers of war and destruction, and the traditional male God is no different. The reference to "the truth that mushrooms its darkened cloud over the rest of us" creates connotations of bombs and explosions, in particular nuclear weaponry such as the American’s dropping atomic bombs on Japan. Williams states "your weapons are phallic all of them". The adjective "phallic", meaning penis like, suggests that Western weapons are created in the image of men, who are the bringers of war and violence. This links to Williams’s reference to "this loaded phallus" later in the poem, again referring to weapons in the image of males. Towards the end of section 7, Williams says that the "Great Mother" will "cut through", suggesting that women will break free of male dominance, and become strong. Williams condemns the West to a "short lived fate", as they mistakenly worship a "male god", as oppose to the "Great Mother". Williams also makes his views clear, as he places capital letters at the start of "Great" and "Mother", but not at the beginning of "male" or "god", indicating that he sees the "Great Mother" as one who should be worshipped.
In conclusion, Saul Williams criticizes the Western belief in Christianity, rejecting the idea of a traditional male God, in favour of a female deity. He believes that males are dominating in the Western world, and with them they bring nothing but violence. He also suggests that Western governments are interested only in money and power, without concern for the impact on those caught up in war.
Williams offers a critique of Christianity, the most prominent religion in the Western world. His dislike for a traditional God is a theme throughout the poem, often suggesting that a female deity should be worshipped, and the "Great Mother" will eventually …show more content…
break through and take control. Towards the start of section seven, Williams questions "where is that voice from nowhere", in reference to the traditional Christian God. He later talks about the "crash of buildings" and the "shriek of sirens".
The onomatopoeic word "crash" creates connotations of destruction, in reference to war, and perhaps in particular the 9/11 attack on the twin towers. At first appearance, it would seem that Williams is accusing the West of forgetting the teachings of Jesus, and instead submitting to crime and war. However, he then goes onto question his original view, with the rhetorical question "or is that his mighty voice?" speculating that God himself is responsible for the violence and war. The adjective "angry" is used to describe the Christian God, which conflicts with the traditional view of a loving, forgiving God. Furthermore, God is referred to with the personal pronoun "your", which Williams uses to separate himself from the religion he is criticising. A biblical reference to Jesus and the Virgin Mary is used, as Williams talks of "a virgin generation’s son degenerate", and that God is "craving" his sacrifice. Jesus once died for our sins, and now God wants another sacrifice. In section 4, Williams again refers to this idea that God is responsible for the tragedies and evil in the world, by stating that "God plays a human instrument", suggesting that we are all merely ways for God to create destruction and violence, and rejects the belief that God loves and cares for
humans. Saul Williams critiques not only the Christian God, but also the way people’s behaviour is reflected by religion. He creates connotations of blood when he talks of "holy books" being "written in red ink". This creates a link between religion and violence, in reference to religion fuelled wars, and acts of violence related to religion. Violence verbs such as "branded", "whipped", "forced" and "crammed" suggest that religion has been forced upon people and people have suffered for their beliefs. Williams goes on to accuse followers of Christianity of trying to justify violence by saying it is in the name of faith, as he refers to "your prayers between rounds". The lexical choice "rounds" refers to gunfire, and creates connotations of death, war and fighting. He claims that this will only "fasten the fate of your children to the hammered truth of your trigger", suggesting that religion and violence is passed down the generations, ruining the innocence of children. The adjective "hammered" expresses Williams’s view that people have been driven to violence by their beliefs. . In section 4, Williams states that "your children die in the crossfire", accusing people of allowing their children to die for religion fuelled wars, and raise them to be violent.
Williams also criticises Western politics, in particular the American president George Bush, describing him as a mere "dummy". On the surface, the noun "dummy" highlights Williams’s lack of respect for Bush, and suggests that Bush is far from capable of being the leader of America. However, the "dummy that sits on your lap", or Bush as the case may be, appears to be have a deeper meaning, as the metaphor suggests that Bush was simply an advocate, or a ventriloquists "dummy", for a higher power pulling the strings over the war in Iraq. This higher power could be members of the government or military, or it could refer to God himself, extending the idea that God is "angry" and wreaking revenge on the world for losing respect for Christianity. Therefore, this could be interpreted as a critique of Western politics, or Christianity. Williams says that the "voice" has been "pinned to its proper source", and goes onto describe the voice using a list of three: "madness…power…weakness". This list of three suggests that Western politics revolve around power and financial gain, as oppose to improving the lives of the people and making the West a better place. Williams’s distain for Bush is supported earlier in section 7, as he refers to "a burning Bush". The capital "B" suggests that this indeed a reference to George Bush, and suggests that it is only a matter of time before he falls from power, as his "shrunken pale face" is "no longer a worthwhile spectacle". Williams blames Bush, or the higher powers controlling Bush, for the 9/11 tragedy, which is mentioned in section 5 as Williams says "I hand you my spirit as I walk through customs", in reference to the victims on the planes, who walked through customs, and walked to their inevitable deaths. 9/11 is a theme which appears at several points throughout the poem.
Section 7 conveys one of the main themes of the poem, feminism. Saul Williams uses typography to express his view that the West wrongly "worships a male god". The words "male god" are large and bold, and positioned at the bottom of the page. The text above is printed in the shape of a mushroom cloud rising from "a male god", suggesting that men are the bringers of war and destruction, and the traditional male God is no different. The reference to "the truth that mushrooms its darkened cloud over the rest of us" creates connotations of bombs and explosions, in particular nuclear weaponry such as the American’s dropping atomic bombs on Japan. Williams states "your weapons are phallic all of them". The adjective "phallic", meaning penis like, suggests that Western weapons are created in the image of men, who are the bringers of war and violence. This links to Williams’s reference to "this loaded phallus" later in the poem, again referring to weapons in the image of males. Towards the end of section 7, Williams says that the "Great Mother" will "cut through", suggesting that women will break free of male dominance, and become strong. Williams condemns the West to a "short lived fate", as they mistakenly worship a "male god", as oppose to the "Great Mother". Williams also makes his views clear, as he places capital letters at the start of "Great" and "Mother", but not at the beginning of "male" or "god", indicating that he sees the "Great Mother" as one who should be worshipped.
In conclusion, Saul Williams criticizes the Western belief in Christianity, rejecting the idea of a traditional male God, in favour of a female deity. He believes that males are dominating in the Western world, and with them they bring nothing but violence. He also suggests that Western governments are interested only in money and power, without concern for the impact on those caught up in war.