In Godzilla’s Footprint, author Steve Ryfle begins by stating that the film Godzilla was not released to the Unites States until 2004, fifty years after the original release in Japan. Ryfle goes on to quote critics that were flabbergasted by the contrast of two films - the original Japanese film with its primitive special effects and recollection of the horrific aftermath of the atomic bombings, versus the re-cut, copy and pasted version showed to the United states as a monster-mash entertainment film.…
“They Say, I Say” Introduction Reflection In the opening pages of the book “They Say, I Say”, Gerald Graff and Cathy Birkenstein introduce the readers with the use of writing templates. As a way of hooking their audience and making the material relatable to all readers, they give a comparison. They instructed the reader to think about a complex task such as basketball, cooking, or driving a car.…
In this literacy narrative, Blogs Are Not Pseudo-Diaries by Stacy Yi, Stacy talks about her experiences writing about her time spent in the Dominican Republic the summer after she graduated high school. The thesis statement of this narrative is “Far more interesting, though, was my hands-on education in the possibilities of travel journalism, and the freedom that comes with disregarding expectations.” Stacy talks about how there were lots of people who wanted to be kept up to date with her experiences while she was in the Dominican so she set up a blog where she could easily do so. At first she wrote mainly about how she was enjoying her time, posted some pictures, and wrote about missing home, the things she thought she should be writing about. Things she thought people wanted to read about. Stacy began to grow bored with what she was writing and the views on her posts were dwindling, she could tell her readers were becoming bored as well. Soon she stopped posting all together, she thought it was pointless. One day, she had a conversation with the oldest daughter of her host family and she knew she wanted to write about her and Stacy decided to post it. She started posting about local soccer games, restaurant reviews, disagreements she had with members of the family, things she really liked to write about. She felt better about the things she was writing, she felt satisfied. Stacy felt that writing day to day posts would provide a lot of information but not capture the feel of her trip to the Dominican. She felt that to make a good record of her trip she needed to write about things were relevant to her trip and in ways that fir the experiences she had.…
The poem begins by undercutting the beautiful, pleasant imagery promised by the title through the terse bluntness of the “dusk, and cold.” Flowers are indeed present as the title suggests, but only “frail, melancholy” ones, gathered by the subservient act of “kneeling” among “ashes and loam”. There is a definite sense of ending – both of the day, and of something grander. The persona’s attempts at engaging with the natural world are crudely rebuffed – she cannot succeed in her musical engagement, merely “try”, which results only in an “indifferent” blackbird “fret[ting] and strop[ing]” under “Ambiguous light. Ambiguous sky.” This unfriendly environment in which the poem begins foregrounds the sense of loss which characterises so much of Harwood’s poetry, an inevitable, confronting finality emphasised by the bluntness of the language and plethora of full stops. The adult world presented here is one of uncertainty, difficulty and ambiguity.…
While the child lacks intimate interactions with his father in “Those Winter Sundays,” the speaker in Kinnell’s “After Making Love We Hear Footsteps,” conveys how comfortable his son, Fergus, is when interacting with him. The speaker begins by telling us about his son’s habit of waking up, not when loud sounds are produced, but when he hears the noises his parents make while making love. He describes that his son “will wrench himself awake / / and make for it on the run,” (8-9) in his haste to get to their bedroom. Fergus eagerly seeking out his father displays the affection he carries for his dad.…
Colour and physical appearance are dominant aspects of this poem. In the first stanza, the parrots are described as possessing orange hearts, which gives the impression of success and a sense of fascination with the parrots. However the ‘sultry weather’ changes the colour of the parrots and ‘dampen[s]’ them to a dark orange, which is associated with deceit and distrust. This gives the parrots character and creates an atmosphere around them. The ‘impending’ rain and the way the clouds ‘scuttle’ the sun support the uncertainty and constraint that surround the parrots. Jumping forward to the final stanza, the parrot’s hearts are described as ‘orange, golden, and emerald’ all colours that denote prestige and possession and shows the richness of the creature. Contrasting to this, the sky is described as being full of ‘blue clouds’, which contradicts the impression of the parrots. In the second stanza, the ‘golden grain’ initially paints a picture of a unique road only to be destroyed by the way it has been ‘cull[ed]’. In the third stanza the ‘wood smoke’ creates a grim and ghostly atmosphere to again contradict the polychromatic appearance of the ’Rosellas’. By comparing the juxtaposing the opposite colours, Kinsella enables the reader to fully acknowledge the damage and death of the parrots. Up until now the birds have been painted in a joyous and carefree way, but the final parrot whose ‘eyes of silver nitrate’ charge at the semi, convey a different personality. The ‘tarnished and stained’ eyes of the parrot show the…
During his visit to Granny’s house in Jackson, Mississippi, he is fascinated by the contrasting environment in the city versus the countryside. He captured each moment with vivid imagery, depicting both his analytical nature and gratefulness. He expressed an interest in trivial activities such as chasing fireflies or analyzing the looks on the white’s faces. Anaphora…
Coping with the difficulty of her challenging illness, Kenyon allows herself to experience “brief moments of release” through nature, which sustains her throughout her life (Covintree). As Kenyon observes the light at the end of the day “shin[ing] through chinks in the barn”(2) she realizes the beauty of insignificant moments (Harris). Listening to the sound of a cricket's voice and a women knitting in the evening, Kenyon acknowledges the importance and role of the “animate and inanimate” in the natural cycle (Milne, 126). When “the fox go[es] back to its sandy den”(10), he awaits “the miracle of restoration that is sleep” (Peseroff 189), which can comfort and offer solace after a busy day (Milne, 118). Frequently opening stanzas with the word “Let”, Kenyon instructs the reader that at the end of an active day “all must let go” (Milne, 115). Through the beauty of seemingly insignificant moments in nature, Kenyon learns not only to acknowledge the elegance around her but also to accept the idea of letting…
The poem goes from a dark tone to a light tone. The poet evokes a sad, melancholy mood in the early stanzas of the poem ‘Clouds spout upon her’ ‘Had shivered with pain’ and in the late stanzas of the poem the poet evokes a somewhat prosperous mood ‘Love beyond measure – With a child’s pleasure – All her life’s round.” There is a gentleness tone to the poet’s reflections upon his thoughts of his wife in the poem. The poem has a bittersweet feel to it.…
As Curley’s wife walks through the bunk house, ‘the rectangle of sunshine in the doorway was cut off’, describing the fact that it goes dark, a sign of evil and danger. A very strong sense of foreboding is given and this continues throughout the text yet, getting stronger.…
Imagery is used in the poem, in the first and second stanza I wrote ‘Its singular, human thud. No one is there, only the wind through sparse leaves’. Through this technique I get the image of myself standing in a forest and the only sound I hear is the axe I am using to chop wood, but occasionally I hear the soft gust of air weaving through the leaves. This imagery creates the feeling of loneliness amongst the ominous and silent…
She gazes out the window, self-consciously adjusting the straps of her shirt. She shivers as a chill creeps out from the weathered window pane and draws a limp cardigan from the overstuffed chair she has perched herself upon. The pounding of the rain slowly begins to abate and diverts into a soft, gentle roll of tears from the sky. She clasps the cardigan closer to her body, as she mentally counts off the number of ribs she can feel through the heavy, wool blend. Haplessly she utters the sigh of a woman far beyond her years and reaches to open the beckoning door. Her frail, ivory hand encloses on the scuffed brass door knob and she abruptly looks about her, as if she is waiting for someone to reprimand her. She braces herself against the wind's knocking chill and steps out into the blighting, crisp, after-rain air. Though she is wearing the two layers she had previously dressed herself in that grey morning and the four other layers she had wrapped herself in throughout the day, she still shivers, the drizzle gently pinpricking her spine. The soft, baby hairs rising on her arms, she raises her diminutive hand to touch the baby-fine smattering of gold silk upon her head, to find that it drifts off through her bony fingers to the earthen ground. She touches her head again and this time her gaze lands upon the aimless settlement of one golden strand. Whirling and twirling, it's angelic decent is cushioned by the tender rain's droppings that had accumulated into a softly swirling puddle. In an impulsive childish manner, she squats down alongside the water mass and peers at the blustery, silken strand. As it writhes and dances across the still body of water, it creates perfect, symmetrical ripples of movement and sooner than later, to the young girl's objections, the hair is stifled by the peaceful puddle's saturation. And just as her lips utter yet another far-matured sigh, a reflection subsequently appears and the girl, in a melancholy, self-induced habit stares at the…
Kinsella’s structure of writing on A. D. Hope’s work is informal and does not connect smoothly; instead of analysing the poem based on topics he takes apart the meaning of the poem line after line with descriptions from his journal as he follows the poem. He describes the poem through images taken from his own life experiences and tries to correlate them with the meaning of each line of the poem. He also sets his analyses out as if it were a page taken from his notebook, helping to make it more personalised. Each description of the line is done in short “dot-point” like sentences which vary in length from short singular sentences to extended paragraphs. With Kinsella’s strange use of structure and writing, he conveys his points clearly making criticisms after criticisms but in doing this does not try to please anyone with his points. His points are…
This famous and beautiful poem begins by stating how beautiful rain is after a long, hot and dusty summer. The sound it makes and the impact it has is explored and evoked in the poem, for example in the following passage:…
The gentle afternoon breeze crooned outside the window, along with the melodious singing of a young woman. The voice was soft and delicate –as soft as the flitting of butterfly wings, as delicate as a mother’s touch. It echoed in the cool azure sky, almost like the shrine bell in the January sky, distance yet clear as it was being soothed by the cozy siesta breeze. The sunshine was being filtered through a canopy of leaves, warmth radiating through and into the small cottage.…