E.E. cummings's "she being Brand/-new" appears to be, at its surface, a poem about a man taking his car for a spin and learning the nuances of his new vehicle. The imagery and descriptions cummings uses allows the reader to understand the various things that need to be broken in. The poem's narrator freely admits the car was "consequently a little stiff," which can be further seen in how the narrator felt the need to "oil the universal joint" and test the gas, and made sure the radiator was in good condition. The ritual the narrator employs allows the reader to see how he takes great care to make sure that the not only are his needs met, but also that he does not do any damage to the car. The narrator also comments that he was impressed by the first ride and the results of his approach to breaking in his brand new car.
On another level, "she being Brand/-new" can also be interpreted as an extended metaphor for a sexual encounter with a new partner. The extended metaphor completely transforms the meaning of the poem, yet the narrator's approach to sex comes off as mechanical and not sensual. One of the questions that arises due to this metaphor is how the narrator views women; does the comparison of a woman to a car insinuate that the narrator sees women as possessions?
"since feeling is first" by e.e. cummings, is reminiscent of many 17th century carpe diem poems, including "To the Virgins, Who Make Much of Time" by Robert Herrick. "since feeling first" features a spontaneity in writing...
William Carlos Williams comments on the brutal persistence of patriarchy in "The Raper from Passenack." The title immediately conjures the imagery of rape, and the title fuses into the first line of the poem. "The Raper from Passenack" is written in a narrative format, describing a scene in which the titular character is driving home the nameless girl who he just violated. Most of the narrative takes place inside the
William Carlos Williams' "Pastoral" and "Proletarian Portrait" William Carlos Williams' poem "Pastoral" is narrated in an introspective, confessional voice that describes the narrator's attitude toward the streets in which he was raised. There is very little plot in the poem, and it consists mainly of details concerning the street locale. Given the minimal plot that occurs, the details assume great significance. The reader must therefore be cognizant of how the details
Proletarian Portrait" is a poem by William Carlos Williams that presents a brief snapshot of a working class woman, a proletarian. She is bogged down by two stigmas: class and gender. Because the reader has no other cues of the woman's identity, it is also possible that she is not white, either. Being of the non-dominant culture would make the woman an emblem of the underclass, presuming the setting
684). Arguably the first line in which Williams introduces an aesthetic sensation, "glazed with rain water" lends itself to a bit of a play on words. Water is redundant after the word rain, but rain modifies water as well. Easterbrook writes of Williams as being a poet unique in his ability to "present imagistic pictures." The whole poem "The Red Wheelbarrow," the title itself, and the line "glazed with rain
Tract" by William Carlos Williams Throughout the poem, Williams uses free verse, which results in "Tract" reading more like prose than traditional poetry. This is one of the main concerns Williams an other modern poets had with creating their work. They were concerned with creating new forms of creating art an poetry. A sense of poetic evolution is at the heart of this type of art. In his essay, William
Gradually, the viewer's pleasure of being the knowing doctor shifts to the pleasure of socially-sanctioned unwilling penetration: "But the worst of it was that I too had got beyond reason. I could have torn the child apart in my own fury and enjoyed it. It was a pleasure to attack her. My face was burning with it," says the doctor as he grows angry with the girl's intransigence. Mulvey might
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