Much of
the poetry published today rejects the organization and structure found in
traditional works. Moreover, these poems
cannot be scanned for rhyme. Identified
as free verse and/or open form, lines can derive much of their rhythm from the “repetition
of words, phrases, or grammatical structures” (Meyers 265). In the literary works, “Thank You, Ma’am” by
Langston Hughes, “Directions of Resisting the SAT” by Richard Hague, and “First
Practice” by Gary Gildner, the importance of informal voice lays at the surface
of astonishing poetry. In addition, Zen
Meditation focuses on channeling the positive voices around you.
Langston Hughes’ “Thank You, Ma’am,” is simply a remarkable short story. This short story, often used in K-12, teaches characterization in young individuals. “Thank You, Ma’am” has an implied theme of kindness and trust, where the character’s motives and actions change towards the end of the story. It is not only the theme of kindness and trust that Hughes’ readers learn, but also the importance voice plays in literary works. Hughes’ development of his characters defines feelings and the associations they carry. The use of specific words in the story creates a tone that infers that the author is trying to create an important message.
“Directions for Resisting the SAT,” written by Richard Hague, seeks to uniquely establish its own patterns of open form. Letting the structure grow out of the speaker’s inspiration, Hague distinctly shifts the readers’ attitude(s) away from the SAT and SAT Subject Tests. In his continued use of open form poetry, Hague’s sensitivity to language, rhythm, and pauses are essential to understanding the speaker’s implications. The poem achieves something that is accessible only through open form. The ability to step away from his poem in the spacing between lines 15 and 16, demonstrates Hague’s success in structural integrity. The poet’s working within open form works quite well in his extent to share attitude(s) toward the SAT.
In Gary Gildner’s poem, “First Practice,” the importance of voice contributes to the theme. Although simple and straightforward, the use of irony cleverly casts the persona of Clifford Hill. One wonders if this “first practice” even serves as an introduction to the opening athletic season. Certainly, the effect of line spacing in line 13 serves as a detachment between the coach and team, or silence held together by nature. The repeat of the word “now” in lines 12 and 27 suggest overtones of violence lurking beneath the surface of school sports. Nevertheless, the promotion of voice in Gildner’s poem reveals how frequently it commands his poetry.
This week’s Zen Meditation focused on finding significance in the simple pleasures of life. I personally took this time to identify with my subconscious and conscious mind, which allowed me to channel positivity. The aspects of this have allowed me to seek a happier place in everyday activities.
Langston Hughes’ “Thank You, Ma’am,” is simply a remarkable short story. This short story, often used in K-12, teaches characterization in young individuals. “Thank You, Ma’am” has an implied theme of kindness and trust, where the character’s motives and actions change towards the end of the story. It is not only the theme of kindness and trust that Hughes’ readers learn, but also the importance voice plays in literary works. Hughes’ development of his characters defines feelings and the associations they carry. The use of specific words in the story creates a tone that infers that the author is trying to create an important message.
“Directions for Resisting the SAT,” written by Richard Hague, seeks to uniquely establish its own patterns of open form. Letting the structure grow out of the speaker’s inspiration, Hague distinctly shifts the readers’ attitude(s) away from the SAT and SAT Subject Tests. In his continued use of open form poetry, Hague’s sensitivity to language, rhythm, and pauses are essential to understanding the speaker’s implications. The poem achieves something that is accessible only through open form. The ability to step away from his poem in the spacing between lines 15 and 16, demonstrates Hague’s success in structural integrity. The poet’s working within open form works quite well in his extent to share attitude(s) toward the SAT.
In Gary Gildner’s poem, “First Practice,” the importance of voice contributes to the theme. Although simple and straightforward, the use of irony cleverly casts the persona of Clifford Hill. One wonders if this “first practice” even serves as an introduction to the opening athletic season. Certainly, the effect of line spacing in line 13 serves as a detachment between the coach and team, or silence held together by nature. The repeat of the word “now” in lines 12 and 27 suggest overtones of violence lurking beneath the surface of school sports. Nevertheless, the promotion of voice in Gildner’s poem reveals how frequently it commands his poetry.
This week’s Zen Meditation focused on finding significance in the simple pleasures of life. I personally took this time to identify with my subconscious and conscious mind, which allowed me to channel positivity. The aspects of this have allowed me to seek a happier place in everyday activities.
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