English B Poems (CSEC)

8/18/2019 English B Poems (CSEC)

1/34

A Contemplation Upon Flowers - Literature Notes

BRAVE flowers--that I could gallant it like you,

And be as little vain!ou co"e abroad, and "ake a har"less show, And to your beds of earth again#

!ou are not $roud% you know your birth%

&or your e"broider'd gar"ents are fro" earth#

!ou do obey your "onths and ti"es, but I

(ould have it ever )$ring%

*y fate would know no (inter, never die,

Nor think of such a thing#

+ that I could "y bed of earth but view

And s"ile, and look as cheerfully as you

+ teach "e to see eath and not to fear,

But rather to take truce

ow often have I seen you at a bier,

And there look fresh and s$ruce

!ou fragrant flowers then teach "e, that "y breath

Like yours "ay sweeten and $erfu"e "y death##

)tan.a /, line 01% 2his is another co"$arison between the $ersona and the $lant# 2he $ersona wishes that

he could look death in the face and be cheerful, like the $lant# Again, this e"$hasi.es that he fears death#

/# E34E*I)*

2his $hrase is a re$lace"ent for the word death# It softens death and "akes it a$$ear welco"ing and

$leasant#5# IR+N!

It is ironic that the flowers look so fresh and alive, when they are facing their very "ortality, on the to$ of

a casket# eath is a sad affair, yet the flowers are at their best when ushering $eo$le back to the earth#

1# 4ER)+NI&I6A2I+N

2he $ersona is s$eaking directly to the flowers and giving the" hu"an 7ualities, therefore, the whole

$oe" is an e8a"$le of the use of $ersonification at its best# e even goes as far as to ask the flowers to

teach hi" things that will allow hi" to ac7uire their 7ualities#

2+NE

2he tone of the $oe" is ad"iration, because the $ersona literally ad"ires the flowers for its acce$ting

attitude towards death#

*++9 A2*+)4ERE

2he "ood, or at"os$here of the $oe" is a $ensive one# 2he $ersona is thinking about death, how he

relates to it versus how others relate to it#

6+N2RA)2 A contrast in this $oe" is the $ersona's fear of death, versus the flowers' acce$tance of it#

2E*A2I6 6A2E:+R!

eath, nature,

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2/34

O'l Higue - Literature Notes

You think I like this stupidness! -gallivanting all night without skin,

burning myself out like cane-fireto frighten the foolish?

And for what? A few drops of baby blood? You think I wouldn't rathertake my blood seasoned in fat

black-pudding, like everyone else? And don't even talk 'bout the pain of saltand having to bend these old bones downto count a thousand grains of rice!

If only babies didn't smell so nice! And if I could only stophearing the soft, soft call

of that pure blood running in new veins,singing the sweet song of lifetempting an old, dry-up woman who beenholding her final note for years and years,afraid of the dying hum

hen again, if I didn't fly and cometo that fresh pulse in the middle of the night,"how would you, mother,name your ancient dread?

And who to blamefor the murder inside your head ?#elieve me -

As long as it have women giving birtha poor ol' higue like me can never dead

LI2ERAL *EANIN:

In this $oe", the +l' igue 9 soucouyant tells of her frustration with her lifestyle# )he does not

like the fact that she so"eti"es has to $arade

around, in the for" of a fireball, without her

skin at night# )he e8$lains that she has to do

this in order to scare $eo$le, as well as to

ac7uire baby blood# )he e8$lains that she

would rather ac7uire this blood via cooked

food, like every-one else# er worst co"$laint

is the $ain of salt, as well as having to count

rice grains# )he e8hibits so"e regret for her

lifestyle but i"$lies that she cannot resist a

baby's s"ell, as well as it's $ure blood# 2he'newness' of the baby te"$ts the +l' igue, and

she cannot resist because she is an old wo"an

who fears death, which can only be avoided by

consu"ing the baby's blood# )he affir"s her

usefulness in the sche"e of things, however, by

clai"ing that she $rovides "others with a na"e

for their fears ;this being the death of a child


3/34

• )tan.a 5, lines //-/5% At this $oint the +l' igue is "aking e8cuses for her $resence, clai"ing

that she serves an actual $ur$ose in the sche"e of life# If a child dies of unknown causes, she can

be sca$egoated for it#

• )tan.a 5, lines /1-/>% '2he "urder inside your head' refers to the "o"ents, when out of $ure

frustration and tiredness, a "other "ight wish ill on her child# 2he +l' igue is i"$lying that,

again, she can be used as a sca$egoat if so"ething unfortunate ha$$ens to the child# 2he "other

is relieved of bearing the burden of guilt#

5# RE4E2I2I+N

2he re$etition of the word 'soft' e"$hasi.es the fact that the call of the child's blood has ca$tured and

beguiled the +l' igue'# )he i"$lies that she cannot resist that call#

1# ALLI2ERA2I+N

2his device e"$hasi.es the +l' igue's de$endence, even addiction, to the sweet blood of the baby#

*++9 A2*+)4ERE

2he "ood of the $oe" is reflective#

2+NE

2he tone of the $oe" is slightly bitter and resigned# )he acce$ts that the cycle of her life cannot change#

2E*A2I6 6A2E:+RIA2I+N

)u$ernatural



4/34

A Stone's Throw - Literature Notes

(e shouted out

'(e've got her ere she is

It's her all right '#

(e caught her#

2here she was -

A decent-looking wo"an, you'd have said,

;2hey often are<

Beautiful, but dead scared,

2ousled - we roughed her u$A little, nothing "uch

And not the first ti"e

By any "eans

)he'd felt "en's hands

:reedy over her body CBut ours were virtuous,

+f course#

And if our fingers bruised

er shuddering skin,

2hese were love-bites, co"$ared2o the hail of kisses of stone,

2he last assault

And battery, frigid ra$e,

2o co"e

+f right#

&or ustice "ust be done

)$ecially whenIt tastes so good#

And then - this guru,

4reacher, :od-"erchant, :od-knows-what -)$oilt the whole thing,

)$eaking to her

;)hould never s$eak to the"<

)7uatting on the ground - her level,

(riting in the dust

)o"ething we couldn't read#

And saw in her

)o"ething we couldn't see

LI2ERAL *EANIN:

A crowd has caught a wo"an# 2he $ersona

i"$lies to the reader that the wo"an is not

decent# )he was beautiful, but scared because

she had gotten 'roughed u$' a little by the

crowd# 2he $ersona states that the wo"an has

e8$erienced "en's hands on her body before,

but this crowd's hands were virtuous#

e also "akes a $roviso that if this crowd

bruises her, it cannot be co"$ared to what she

has e8$erienced before# 2he $ersona alsos$eaks about a last assault and battery to co"e#

e ustifies this last assault by calling it ustice,and it is ustice that feels not only right, but

good# 2he crowd's 'ustice' is $laced on hold by

the interru$tion of a $reacher, who sto$s to talk

to the lady# e s7uats on the ground and writesso"ething that the crowd cannot see#

Essentially, the $reacher udges the", thereby

allowing the lady to also udge the crowd,

leading to the crowd inevitably udging itself#

2he crowd walks away fro" the lady, still

holding stones Dwhich can be seen as a"eta$hor for udg"ents that can be thrown

another day#

LI2ERAR! EVI6E)

0# )AR6A)*2he $ersona is "aking the $oint that the lady

was in fact N+2 decent looking#

/# 4ER)+NI&I6A2I+N

2his device is $articularly effective because theword 'kisses' is used# Fiss i"$lies so"ething

$leasant, but it is actually utili.ed to e"$hasi.e

so"ething $ainful that has ha$$ened to the

ladyG she was stoned#

5# 43N


5/34

At least until

e turned his eyes on us,

er eyes on us,

+ur eyes u$on ourselves#

(e walked away

)till holding stones2hat we "ay throw

Another day

:iven the urge#

• 2itle% 2he title of the $oe" is itself a

$un on two levels# A stone's throw is

used by "any $eo$le in the 6aribbean

to describe a close distance# eg# H)he

lives a stone's throw awayH# 2he otheruse of the title is to highlight the

content of the $oe"# It is a figurative

stoning, or udging, of a wo"an#

• Line /5% 2here is a $lay on the word 'co"e'# 2he $ersona is telling the reader that the crowd is

$lanning to ra$e the lady# 2his act is to co"e, or occur, in the near future# 6o"e, in this conte8t,

also "eans to eaculate, the cul"ination of the act of se8# 2he ra$ists in the crowd also $lan to

'co"e'#

1# ALL3)I+N ;biblical<

2he content of the $oe" alludes to the story of *ary *agdalene in the 6hristian Bible# )ee ohn @ v >-J#

2+NE

2he tone of the $oe" is "i8ed# At ti"es it is al"ost braggadocious, then it beco"es sarcastic, "oving to

scornful#

2E*A2I6 6A2E:+R!

iscri"ination, religion, survival, hy$ocrasy, o$$ression, alienation#

http://www.biblegateway.com/passage/?search=john%208:5-7&version=NIVhttp://www.bulbsoup.com/ln-comprehension.htmlhttp://www.biblegateway.com/passage/?search=john%208:5-7&version=NIVhttp://www.bulbsoup.com/ln-comprehension.html


6/34

Dreaming Black Boy - Literature Notes

I wish "y teacher's eyes wouldn't

go $ast "e today# (ish he'd know

it's okay to hug "e when I kick

a goal# (ish I "yself wouldn't

hold back when an answer co"es#I'" no woodcho$$er now

like all ancestor's#

I wish I could be educatedto the best of tune u$, and earn

good "oney and not sink to lick

boots #I wish I could go on every

crisscross way of the globe

and no $ersons or $owers or

hotel kee$ers would "ake it a waste#

I wish life wouldn't s$end "e out

o$$osing# (ish sa"e way creation

would have "e stand it would have "e stretch, and

hold high, "y voice

4aul Robeson's, "y inside eyea sun# Nobody wants to say

hello to nasty answers#

#I wish torch throwers of night

would burn lights for decent ti"es#

(ish $lotters in $ya"as would $ray

for the"selves# (ish $eo$le wouldn't

talk as if I dro$$ed fro" *ars

I wish only boys were scared

behind bravados, for I could suffer#

I could suffer a big big lot#I wish nobody would want to earn

the terrible burden I can suffer#

LI2ERAL *EANIN:

2he $oe" is about a black boy who wishes that hecould have regular things in life# 2hings such as

a congratulatory hug, to be educated to the highest

level and to travel without harass"ent# 2he $ersona yearns to sto$ fighting for the basic rightto be successful and to rise above societal

e8$ectations#

LI2ERAR! EVI6E)

0# RE4E2I2I+N%

2he constant re$etition of the $hrase 'I wish' $oints

to a yearning, a des$eration even, for the basic

things that life has to offer# 2he re$etition gives

credence to the idea that the $ersona

"ight believe that his wishes are actually drea"s

that "ight not co"e true#

/# ALL3)I+N%

• )tan.a 0, lines ? and J, alludes to slavery,

the state of lacking control over one's own

life and destiny# 2he fact that reference is

"ade to this hints to how the $ersona feels

about his life# e does not feel as if he has

control over it#

)tan.a 5, lines 0K to /, alludes to 4aul Robeson, a black intellectual, who attained success des$ite

difficult circu"stances# 2he $ersona yearns to be like this $erson# e wants roo" to stretch intellectually#

http://en.wikipedia.org/wiki/Paul_Robesonhttp://en.wikipedia.org/wiki/Paul_Robesonhttp://en.wikipedia.org/wiki/Paul_Robesonhttp://en.wikipedia.org/wiki/Paul_Robeson


7/34

• )tan.a 1, lines // to />, alludes to the klu klu8 klan# Burning lights refers to the burning of

crosses and the $ya"as alludes to their white outfits that look like $ya"as# 2he $ersona wants

the" to leave hi" alone, find so"ething else to do other than "ake his life difficult by

contributing to his wishes re"aining in the real" of the drea"s#

• 2+NE

2he tone9"ood of the $oe" is one of sadness# 2he $ersona is thinking about how he is treated and

he reacts to this in a sad way# e kee$s wishing that things were different#

2E*A2I6 6A2E:+R!%

Racis", survival, o$$ression, desire9drea"s#

http://en.wikipedia.org/wiki/Ku_Klux_Klanhttp://en.wikipedia.org/wiki/Ku_Klux_Klanhttp://www.bulbsoup.com/ln-comprehension.htmlhttp://en.wikipedia.org/wiki/Ku_Klux_Klanhttp://www.bulbsoup.com/ln-comprehension.html


8/34

Dulce et Decorum st - Literature Notes

Bent double, like old beggars under sacks

Fnock-kneed, coughing like hags, we cursed through sludge,

2ill on the haunting flares we turned our backs

And towards our distant rest began to trudge#

*en "arched aslee$# *any had lost their boots

But li"$ed on, blood-shod# All went la"eG all blindG

runk with fatigueG deaf even to the hoots

+f tired, outstri$$ed &ive-Nines that dro$$ed behind#

:as :as =uick boys - An ecstasy of fu"bling,

&itting the clu"sy hel"ets ust in ti"eG

But so"eone still was yelling out and stu"bling,

And flound'ring like a "an in fire or li"e ###

i", through the "isty $anes and thick green light,

As under a green sea, I saw hi" drowning#

In all "y drea"s, before "y hel$less sight,

e $lunges at "e, guttering, choking, drowning#

If in so"e s"othering drea"s you too could $ace

Behind the wagon that we flung hi" in,

And watch the white eyes writhing in his face,is hanging face, like a devil's sick of sinG

If you could hear, at every olt, the blood

6o"e gargling fro" the froth-corru$ted lungs,

+bscene as cancer, bitter as the cud

+f vile, incurable sores on innocent tongues,-

*y friend, you would not tell with such a high .est

2o children ardent for so"e des$erate glory,

2he old Lie% ulce et decoru" est

4ro $atria "ori#

• )tan.a 1, line 5K% 6ancer is a horrible disease that takes "any lives on a daily basis# 2herefore, to

co"$are this dying soldiers face to this disease is to e"$hasi.e the agony that the soldier was

going through, which was reflected on his face#


9/34

• )tan.a 1, lines 5K-1% 2his is another gra$hic co"$arison that co"$ares the soldier's face to

incurable sores# ')ores' is a disgusting visual i"age of degradation which, in turn, highlights the

soldier in the throes of death#

ALLI2ERA2I+N

• )tan.a 0, line J% 2his device $oints to the level of fatigue that the soldiers were undergoing#

• )tan.a 0, lines J-K% 2his highlights not only the fatigue that the soldiers were feeling, but the fact

that they were inured as well#

• )tan.a 1, lines /K-5% 2his device highlights a visually gra$hic death "ask# 2he soldier is in the

throes of i"$ending death#

*++9 A2*+)4ERE2he "ood of the $oe" is reflective# 2he $ersona9 $oet is thinking about his e8$eriences in ((0#

2+NE2he general tone of the $oe" is both sarcastic and ironic# 2he $ersona9 $oet tries to $resent a visual of the

realities of war while using the haunting words that contradict that reality# It is, in fact, N+2 sweet and

honourable to die for one's country#


(ar, death, survival, o$$ression, $atriotis"



10/34

pitaph - Literature Notes

2hey hanged hi" on a 1# cle"ent "orning, ># swung

between the falling sunlight and the wo"en's

breathing, 0#like a black a$ostro$he to $ain#

All "orning while the children /#hushed

their ho$scotch oy and ?#the cane ke$t growing

5#he hung there sweet and low#

At least that's how

they tell it# It was long ago

and J#what can we recall of a dead slave or two

e8ce$t when we @#$unctuate our island tale

0#they swing like sighs across K#the brutal sentences, and 0#anger $auses

till they $ass away#

LI2ERAR! EVI6E)

0# )I*ILE

• )tan.a 0, line 1% 2he swinging body of the slave is co"$ared with an a$ostro$he to $ain# 2his

co"$arison is very $owerful because, in English gra""ar, an a$ostro$he re$resents ownershi$#

2herefore, it is i"$lying that the $ain of the black race is so $al$able that it is al"ost so"ething

that they own# It e"$hasi.es the $ainful nature of their history#

• )tan.a /, line 01% 2he dead slave's body's swing is co"$ared to sighs# A sigh is an e8halation of

breathe that can signal "any feelingsG relief, agitation, oy, etc#, with the "aor 7uality being brevity# 2herefore, the e"$hasis is not necessarily on the feeling that the dead slave elicits, u$on

being re"e"bered, but the brevity with which he is re"e"bered#

• /# *E2A4+R

2his "eta$hor e"$hasi.es the fun that the children $aused, out of res$ect for the swinging body

of the dead slave#

5# ALL3)I+N

2his line alludes to the Negro )$iritual ')wing Low'# 2his s$iritual s$eaks of an individual's

ourney to heaven# 2his relates to this $oe" because it carries the i"$lication that the slave's soul

has gone to heaven# e hung 'sweet and low' and the chariot ca"e for hi", his soul is at rest#

*++9 A2*+)4ERE

2he "ood of the $oe" is reflective

2+NE

2he tone of the $oe" is reflective and slightly sarcastic#

http://en.wikipedia.org/wiki/Swing_Low,_Sweet_Chariothttp://en.wikipedia.org/wiki/Swing_Low,_Sweet_Chariothttp://www.bulbsoup.com/ln-comprehension.htmlhttp://www.bulbsoup.com/ln-comprehension.htmlhttp://en.wikipedia.org/wiki/Swing_Low,_Sweet_Chariothttp://www.bulbsoup.com/ln-comprehension.htmlhttp://www.bulbsoup.com/ln-comprehension.html


11/34


eath, racis", desires and drea"s

Forgi!e "y #uilt - Literature Notes

Not always sure what things called sins "ay be, I a" sure of one sin I have done#

It was years ago, and I was a boy,

I lay in the 0#frost flowers with a gun,

/#the air ran blue as the flowersG I held "y breath, /#two birds on golden legs sli" as drea" things /#ran like 7uic

(ith 0#agged ivory bones where wings should be# &or days I heard the" when I walked that headland, crying ou

the", 0#2hose slender flutes of sorrow never cease, 5#2wo airy things forever denied the air I never knew how th

Airy, and beautiful will forgive "y guilt#

Line @% 2he sand is being co"$ared to gold, the colour# It is e"$hasi.ing how beautiful the setting was#

Line 0/% 2his "eta$hor e"$hasi.es the inuries that the birds sustained# 2he bones are co"$ared

to agged ivory, which is a direct contrast to the s"ooth feathers that e8isted before the inury#

Lines /-/0% 2he birds are co"$ared to a flute, an instru"ent that $lays beautiful "usic# 2his e"$hasi.es

the sadness that is related to their death#

/# )I*ILE

Line >% 2he air and the flowers are being co"$ared, both are blue#

Lines ?-J% 2his si"ile offers a beautiful visual i"age of the birds# rea"s are beautiful, and the birds are

co"$ared to this#

• Line J% 2he s$eed of the birds is being highlighted, while also "aintaining that beautiful visual

i"agery#

5# 43N

2he $un is between the words 'airy' and 'air'# 'Airy' "eans light and beautiful, while 'air' refers to the sky

and flying# 2he $oet is la"enting that these light and beautiful things can no longer fly and feel the

$leasure of air rushing $ast the"#

*++9 A2*+)4ERE

2he "ood of the $oe" is nostalgia and guilt#

2+NE

2he tone of the $oe" is sad# 2he $oet's res$onse to his guilt is sadness#

2E*A2I6 6A2E:+R!

eath, childhood e8$eriences, nature, guilt, loss of innocence, desire9drea"s#



12/34

#o$'s #ran$eur - Literature Notes

2he world is J#charged with the @#grandeur of :od#

0#It will fla"e out, like shining fro" shook foil%

0#It gathers to a greatness, like the oo.e of oil

6rushed# /#(hy do "en then now not reck 5#his rodM

1#:enerations have trod, have trod, have trodGK#And all is seared with tradeG bleared, s"eared with toilG

>#And wears "an's s"udge and shares "an's s"ell% the soil

is bare now, 0#nor can foot feel, being shod#


13/34

And for all this, nature is never s$entG

>#2here lives the dearest freshness dee$ down thingsG

And though the last lights off the black (est went

+h, "orning, >#at the brown brink eastward, s$rings -Because the 00#oly :host over the bent

?#(orld broods with war" breast and with ah bright wings#

/# RE2+RI6AL =3E)2I+N

2he $ersona 7uestions why "en do not care about :od's wrath# e i"$lies that this wrath is sure because

the Earth is charged, or co""anded with the grandeur of :od#

5# ALL3)I+N ;biblical<

2his 'rod' refers to the rod of correction that is found in the 6hristian Bible# )ee / )a"uel J%01# 2his line

i"$lies that :od will $unish "an for being reckless with the world#

1# RE4E2I2I+N2his device highlights the da"age that "an has done to the world# 2rodding i"$lies that one walks, or

tra"$les, in order to crush or inure#

># ALLI2ERA2I+N

• Lines 0-00% 2his device e"$hasi.es the i"$act that "an has had on his environ"ent# e has

i"$acted every crevice of the world in so"e negative way, as i"$lied by words such as 's"udge'#

• Lines 01-0>% 2his device clarifies that the Earth is resilient, no "atter what "an does to har" it, it

will bounce back#

• Lines 0@-0K% 2his device si"$ly re-iterates the resilience of the Earth, we can actually visuali.e

the sun rising#

?# 4ER)+NI&I6A2I+N

(hen one broods, they are $ondering on so"ething# 2herefore, the world $onders, but in a $ositive way,

with war" breasts# 2his i"$lies that it feels good because it has $ersevered des$ite of "an's interference#

*++9 A2*+)4ERE

2he "ood of the $oe" is $ensive because the $ersona is reflecting on "an's influence on the world#

2+NE

2he tone of the $oe" is one of confidence and for"ality#

2E*A2I6 6A2E:+R!

Nature, religion

http://www.biblegateway.com/passage/?search=2%20samuel%207:14%20&version=NIVhttp://www.bulbsoup.com/ln-comprehension.htmlhttp://www.bulbsoup.com/ln-comprehension.htmlhttp://www.biblegateway.com/passage/?search=2%20samuel%207:14%20&version=NIVhttp://www.bulbsoup.com/ln-comprehension.htmlhttp://www.bulbsoup.com/ln-comprehension.html


14/34

%t is the Constant %mage o& your Face - Literature Notes

It is the 5#constant i"age of your facefra"ed in "y hands as you knelt before "y chair

the 1#grave attention of 0#your eyes

surveying "e a"id "y >#world of knives

that stays with "e, 0#$erennially accusesand convicts "e of /#heart's-treachery%

and neither you nor I can $lead e8cuses

for you, you know, can clai" no loyalty -

"y land takes $recedence of all "y loves#

!et I beg "itigation, $leading guilty

for you, "y dear, acco"$lice of "y heart

"ade, without words, ?#such black"ail with your beauty

and $roffered "e such dear $rotectiveness

that I confess without re"orse or sha"e

"y still-fresh treason to0#"y country


15/34

and ho$e that she, "y other, dearest love

will $ardon freely, not attaching bla"e

being your "istress ;or your "atch< in tenderness#

LI2ERAR! EVI6E)0# 4ER)+NI&I6A2I+N

• Lines 1, ?-J% 2he love interest's eyes constantly accuses and convicts the $ersona# 2his device

highlights the e8tent to which the $ersona has hurt this $erson#

• Lines 0@-/% 2he $ersona ho$es that his country, his other dearest love, will forgive hi" for the

treasonous act of loving another# 2his highlights the $atriotis" that defines the $ersona's

relationshi$ to his country#

/# +!*+R+N

2he ter" heart's-treachery i"$lies that the heart, so"ething so vital and indicative of love, has co""itted

a terrible cri"e# It highlights the heartbreak that the $ersona has caused his love interest#

*++9 A2*+)4ERE

2he "ood of the $oe" is reflective# 2he $ersona is thinking about his two loves and how he is torn

between the"# 2+NE

2he tone of the $oe" is sadness and guilt# 2he $ersona is guilt ridden over this love triangle and sadness

$er"eates the words that he uses to describe it#

2E*A2I6 6A2E:+R!

Love, guilt, $atriotis", $laces, desires9 drea"s

e oupgarou - Literature Notes

A >#curious 0#tale that threaded through town

2hrough greying wo"en sewing under eaves,

(as how his greed had brought old Le Brun down, 0#greeted by slowly shutting alouses

(hen he a$$roached the" in ?#white linen-linen suit,

4ink glasses, cork hat and /#ta$-ta$$ing cane,

5#A dying "an licensed to sell sick fruit,

Ruined by fiends with who" he'd "ade a bargain#

It see"s one night, these 1#6hristian witches said,

e changed hi"self into an J#Alsatian hound,

A slathering lycenthro$e, hot on a scent,0#But his own watch"an dealt the thing a wound

(hich howled and lugged its entrails, trailing wet

(ith blood back to its doorste$, al"ost dead#

LI2ERAR! EVI6E)

0# ALLI2ERA2I+N



16/34

• Lines 0-5% 2his alliteration gives the reader a visual i"agery of the "anner in which the gossi$

about Le Brun s$read# A thread is thin and fine and can weave itself in any crevice, so"eti"es in

a very non-linear and sinuous "anner# 2his describes the way in which the gossi$ s$read# It

"anaged to touch the whole village in an al"ost insiduous, and co"$lete, "anner#

• Line >% 2his literary device s$eaks to the results of the gossi$# Le Brun is alienated fro" the

$eo$le of the town# 2heir fascination with hi", however, is evident by the fact that they slowly

shut their alouses9windows# 2he lack of s$eed i"$lies that they are watching hi", while also

alienating hi"#

• Lines 0J-/0% 2his alliteration highlights the severity of the lou$garou's inuries# !ou can al"ost

see and hear the wetness of the blood, as well as see the entrails trailing wet through the use of

this device#

/# +N+*A2+4+EIA

2he ta$-ta$$ing cane is a $art of Le Brun's $hysical descri$tion# e a$$ears to stand out, in ter"s of his

$hysical a$$earance, down to the use of his cane#

5# 4ARA+

2his state"ent a$$ears nonsensical at first, but actually "akes sense in the long run# 2he lou$garou is, in

fact, a "an who is leading a half life as "an and beast, so he is not really 'living'# 2he fact that he can $ass

on the 'gift' of beco"ing a werewolf clarifies the fact that Le Brun is actually 'licensed to sell sick fruit', or $ass on his sick 'gift'#

1# +!*+R+N

2he words '6hristian' and 'witches', $laced together, e"$hasi.es the dual nature of the wo"en in the

village# 2hey are good 6hristian wo"en who "ean no har", but their fear of the 'difference' that they

sense in Le Brun ;contributed by his "ode of dress


17/34

Once Upon A Time - Literature Notes(

5#+nce u$on a ti"e, son,they used to laugh with their hearts

and laugh with their eyesG

but now 1#they only laugh with their teeth,

while 0#their ice-block eyes

>#search behind "y shadow#

2here was a ti"e indeed

they used to ?#shake hands with their heartsG

but that's gone, son# Now they shake hands without hearts

while their left J#hands search

"y e"$ty $ockets#

'&eel at ho"e' '6o"e again' G

they say, and when I co"e

again and feel

at ho"e, once, twice

there will be no thrice -

for then I find doors shut on "e#


18/34

)o I have learnt "any things, son#

/#I have learnt to wear "any faces

like dresses - ho"eface,

officeface, streetface, hostface

cocktail face, with all their /#confor"ing s"iles like a fi8ed $ortrait s"ile#

And I have learned, too#to laugh with only "y teeth

and shake hands without "y heart

I have also learnt to say, ':oodbye',

when I "ean ':ood-riddance' G

to say ':lad to "eet you',

without being gladG and to say 'It's been

nice talking to you', after being bored#

But believe "e, son#

I want to be what I used to be

when I was like you# I want

@#unlearn all these "uting things#*ost of all, I want to relearn

how to laugh, for /#"y laugh in the "irror

shows only "y teeth like a snake's bare fangs

)o show "e, son,

how to laughG show "e how

I used to laugh and s"ile

5#once u$on a ti"e when I was like you#

)tan.a ?, lines 5@-1 co"$ares the $ersona's laugh to a snakes# (hen you think of a snake, words such assneaky and deceitful co"e to "ind# 2herefore, the i"$lication is that the $ersona is fake, ust like the

$eo$le he des$ises#

5# RE4E2I2I+N

2his $hrase is re$eated at the beginning and the end of the $oe"# 2his usually signals the beginning of a

fairy tale# 2herefore, it is i"$lied that the $ersona is nostalgic about the $ast#

*++9 A2*+)4ERE

2he "ood of the $oe" is nostalgic# 2he $ersona is re"e"bering how things used to be when he was

young and innocent, like his son#

2+NE

2he tone of the $oe" is sad# 2he $oet's res$onse to his nostalgia is sadness#


eath, childhood e8$eriences, hy$ocrasy, loss of innocence, desire9drea"s#

O It is IR+NI6 that the $ersona is behaving in the e8act way that he des$ises# owever, and there is an



19/34

i"$lication that things cannot go back to what he re"e"bers, due to the influence of societal

e8$ectations#

Orchi$s - Literature Notes

I leave this house

5#bo8 $ieces of the five week life I've gathered#

I'll send the" on

to fill s$aces in "y future life#

+ne thing is left

a s$ray of orchid so"eone gave

1#fro" bou7uet one who

"akes a ritual of flower-giving sent#

2he orchids have no fragrance

but $ur$le $etals draw you

to look at the /#$ur$le heart#

I watered the" once

when 0#the blosso"s were full blownlike $olished $oe"s#

I was sure they'd wilt

and I would toss the" out with the five week litter#


20/34

2hey were stubborn#

I starved the"#

2hey would not die#

2his "orning the bud at the stalk's ti$ >#unfurled#

I think I'll $luck the ?#full-blown bloo"s $ress the" between J#$ages of "e"ory#

4erha$s in their thin dried trans$arency

I'll discover their @#$eculiar $oetry#

/# 43N

2he $ur$le heart literally refers to the s$lash of color in the center of the orchid's bloo", but it could also

refer to the bravery of the flower# 2his is so because a $ur$le heart, in the ar"y, is a "edal that a soldier

receives for bravery#

*++9 A2*+)4ERE

2he "ood of the $oe" is $ensive, or thoughtful# 2he $ersona is thinking about the lack of value that she $laces in the orchid#

2+NE

2he tone of the $oe" is one of al"ost bored "using#

2E*A2I6 6A2E:+R!eath, nature, survival, desire9 drea"s#

Sonnet Compose$ Upon )estminster Bri$ge* Septem+er ,* ./0

Earth has not anything to show "ore 1#fair%ull would he be of soul who could $ass by

A sight so touching in its >#"aesty%

0#2his 6ity now doth, like a gar"ent, wear

2he beauty of the "orningG silent, bare,

)hi$s, towers, do"es, theatres and te"$les Lie

o$en u$on the fields, and to the skyG

All bright and glittering in the s"okeless air#

/#Never did sun "ore beautifully ?#stee$

In his first s$lendour, valley, rock, or hillG

Ne'er saw I, never felt, a cal" so dee$

5#2he river glideth at his own stee$ will%

ear :od 1#the very houses see" aslee$GAnd all that "ighty heart is lying still

LI2ERAL *EANIN:

2he $ersona in this $oe" is reflecting on the

$erfection of the city# e believes that there is

nothing on Earth so beautiful as the city in the

"orning# +nly a dull $erson would not a$$reciate

such a "aestic sight# e is awed by the cal" of

the city#

LI2ERAR! EVI6E)

0# )I*ILE

2he $ersona co"$ares the "anner in which the beauty of the "orning settles over the city, to that of a

gar"ent on a body# 2his e"$hasi.es the $erfection of the beauty of the "orning, ust as a gar"ent flows

s"oothly over a body#



21/34

/# 4ER)+NI&I6A2I+N

• Lines K-0% 2he sun is referred to as a "ale who rises shar$ly and beautifully# 2his e"$hasi.es

the beauty of the city in the "orning# 2he use of this $ersonification also hel$s the reader to $ersonali.e this beauty#

• Line 0/% Like the sun, the river is $ersonali.ed as well# 2his allows the reader to see the river as

real, instead of a thing# It co"es alive and we can visuali.e it's "ove"ent, gliding, as beautiful#

• Line 05% (hen so"e-one is aslee$, they are usually $eaceful# 2herefore, when the $ersona

describes the houses as slee$ing, he is e"$hasi.ing the $eace that e8ists in the city in the

"orning# 2he inhabitants of the houses are aslee$, therefore the houses are 7uiet and $eaceful#

*++9 A2*+)4ERE

2he "ood of the $oe" is $ensive, or thoughtful# 2he $ersona is e8$ressing his thoughts, and

reaction to, the city in the "orning#

2+NE

2he tone of the $oe" is one of awe#


Nature, $laces#

•

South - Literature Notes

0#But today I 1#reca$ture the islands

bright beaches% blue "ist fro" the ocean

rolling into the fisher"en's houses#

0#By these shores I was born% sound of the sea

ca"e in at "y window,/# life heaved and breathed in "e then

with the strength of that turbulent soil#

>#)ince then I have travelled% "oved far fro"

the beaches%

?#soourned in stoniest cities, walking the lands of the north0#In shar$, slanting sleet and the hail,

crossed countless saltless savannas and co"e

to this house in the forest /#where the shadows o$$ress "e

and the only water is rain and the te$id taste

of the river#

J#(e who are born of the ocean can never seek solace



22/34

in rivers% 5#their flowing runs on like our longing,

@#re$roves us our lack of endeavour and $ur$ose,

K#$roves that our striving will founder on that#

(e resent the" this wisdo", this freedo"% $assing us

toiling, waiting and watching their cunning declensions down to the sea#

Bright waves s$lash u$ fro" the rocks to refresh us,0#blue sea-shells shift in their wake

and 0#there is the thatch of the fisher"en's houses, the $ath

"ade of $ebbles, 00#and look

)"all urchins co"bing the beaches

look u$ fro" their tra$s to salute us%

they re"e"ber us ust as we left the"#

2he fisher"an, hawking the surf on this side

of the reef, stands u$ in his boat

and halloos us% a starfish lies in its $ool#

0#And gulls, white sails slanted seaward,

fly into li"itless "orning before us#

Brathwaite, F# ')outh' in A (orld of 4rose# Edited by *ark *c(att and a.el )i""onds *conald# 4earson E

• )tan.a 1, line 55% 2his device gives the reader a visual i"age of the scene# It is si"$le i"age that

highlights the $ersona's e8cite"ent at being ho"e and seeing scenes, even see"ingly

inconse7uential ones, that he knows and loves#

• )tan.a >, line 15% 2his alliteration gives the reader a visual of what the $ersona sees as $leasant

and cal"ing, as o$$osed to the alliteration in stan.a /# 2he sound that the alliteration illicits is a

cal" one, i"$lying that the $ersona is at $eace#

/#4ER)+NI&I6A2I+N

• )tan.a 0, lines ?-J% 2his device gives a beautiful i"$ression of the effect that the island had on

the $ersona# e felt whole when he was there, at $eace#

• )tan.a /, lines 0?-0J% 2he shadows, in this conte8t, re$resents his $ast life and e8$eriences on the

island# 2he "e"ories of his island illicits feelings of sadness, even ho"esickness# 2hese

"e"ories cast an o$$ressive shadow over his life in the north#

5#)I*ILE

2he $ersona co"$ares the flowing of the rivers, which re$resents the north, to his longing for his islandho"e# 2his co"$arison indicates that his longing is an intense one, he is ho"esick#

*++9 A2*+)4ERE

2he "ood of the $oe" is reflective# 2he $ersona is thinking about his island ho"e, as well as $laces that

he has visited in the north#

2+NE

2he tone of the $oe" goes fro" being reflective, to being elated#



23/34


4atriotis", $laces, desires and drea"s

Test "atch Sa+ina 1ark - Literature Notes

4roudly wearing the 1#rosette of "y skin

I >#strut into )abina

5#England boycotting e8cite"ent bravely,

?#so"ething badly a"iss#

6ricket# Not the ga"e they $lay at Lords,

the crowd - 0#whoever saw a crowd

at a cricket "atchM - are cagedJ#vociferous $artisans, 7uick to take offence#

@#England si8ty eight for none at lunch#

0#'(hat sort o battin dat "anM

de" kaaan $lay cricket again, $ra$s de" should-a-borrow /#Lawrence Rowe'

And on it goes, K#the wicket slow

as the batting and the crowd restless#0#'Eh white bwoy, how you brudders de"

does sen we slee$ soM *e a $ay "onies

fe watch dis foolishnessM 6ho

)o I try to e8$lain in "y a"$shire drawl

about conditions in Fent,

about 0#sticky wickets and "uggy days

and the "onsoon season in *anchester

but fail to convince even "yself#

2he crowd's 00#loud 'busin drives "e out


24/34

0/#skulking behind a tarnished rosette

so"ewhat frayed now but unable, 7uite,

to conceal a 05#blushing nationality#

Brown, )# '2est *atch )abina 4ark' in A (orld of 4rose# Edited by *ark *c(att and a.el )i""onds *con

• )tan.a 5, line 0% 2his 7uestion re$resents the general frustration of the (est Indians in the

crowd# 2hey are annoyed that the cricket "atch is $rogressing so slowly#

• )tan.a 1, lines 0?-0@% 2hese 7uestions i"$ly that the (est Indian crowd's level of frustration has

escalated#

/# ALL3)I+N

2he allusion to Lawrence Rowe, a very colourful and successful (est Indian cricketer, e"$hasi.es the

fact that the "atch is slow and boring#

5# )AR6A)*

2o 'boycott' is to abstain fro", or to sto$, doing so"ething# 2herefore, the $ersona is being sarcastic

because e8cite"ent is a good thing# 4eo$le usually boycott for so"ething negative, therefore the $ersona

is, again, highlighting the slow and boring $ace of the cricket "atch#

O2here is a distinct 6+N2RA)2 between the beginning of the $oe" when the $ersona is $roud, and

'struts'# owever, by the end of the $oe", he is e"barrassed and 'skulking'

V+I6E)

2here are two distinct voices in this $oe"# 2he English "an's and the (est Indian's#

*++9 A2*+)4ERE

2he "ood of the $oe" is tense#

2+NE

2he tone of the $oe" is one of frustration ;(est Indian< and e"barrass"ent ;English "an


25/34

The )oman Speaks to the "an )ho Has mploye$ Her Son

er son was first known to her

as a sense of unease, >#a need to cry

for little reasons and a "etallic tide

rising in her "outh each "orning#

)uch signs "ade her know

that she was not alone in her body#

)he carried hi" ?#full ter"

J#tight u$ under her heart#

0#)he carried hi" like the $oorcarry ho$e, ho$e you get a break or a visa, ho$e one child go through

and re"e"ber you# e had no father#

2he "an she "ade hi" with had "ore

like hi", /#he was fair-"indedhe treated all his children

with e7ual and unbiased indifference#

)he raised hi" twice, once as "other

then as father, @#set no ceiling

on what he could be doctor

earth healer, $ilot take wings#But now he tells her is working

for you, 5#that you value hi" so "uch

you give hi" one whole sub"achine gun

for hi" alone#

e says 0#you are like a father to hi"

she is wondering what kind of father would 1#give a son hot and e8$loding

LI2ERAL *EANIN:

2he $ersona in this $oe" is telling the story of

a "other who loved her son# 2he "other

beca"e aware of the child's $resence when she

e8$erienced "orning sickness# )he $laced all

her ho$es in the child and raised hi" as a single

$arent because his father was indifferent to the

child's e8istence# 2he "other had set no

barriers on what the child could beco"e, but istold that he has an e"$loyer who values hi" so"uch that he is given his own sub"arine gun#

2he son tells his "other that his e"$loyer is

like a father to hi", but the "other wonders at

the father figure who $ur$osefully endangershis child# )he $re$ares for her son's death by

going downtown to buy funeral a$$arel# 2he

"other feels $owerless, so she $rays for her

child and says $rotective $sal"s for hi"# +n

the other hand, she reads $sal"s of retribution

for the e"$loyer and wee$s for her son# er

situation does not look good and is likened to a $artner syste" in which she draws both the first

and the last hand#

LI2ERAR! EVI6E)0# )I*ILE


26/34

death, when he asks hi" for bread#

)he went downtown and bought three

and one-third yard of black cloth

and a dee$ crowned and veiled hat

for the day he draw K#his bloody salary#

)he has no $ower over you and thisat 0#the level of earth, what she has

are $rayers and a "other's tears

and at 00#knee city she uses the"#

1#)he says $sal"s for hi"

she reads $sal"s for you

she wee$s for his soul

her 0/#eyewater covers you#

)he is throwing a 05#$artner

with 1#udas Iscariot's "other

the thief on the left hand side

of the cross, his "other is the 01#banker, 0>#herdraw though

is first and last for she still throwing two hands

as "other and father#

)he is $re$ared, she is done#1#Absalo"#

•

Lines 0-/% 2he $ersona e"$hasi.es thatthe "other $laced all her ho$es in her

son# (hen you are $oor, generally, you

have no $ros$ects, you only drea" and

ho$e# 2herefore, the $ersona uses this

"eta$hor to e"$hasi.e the "other's

de$endence on her son's success#

• Line 0J% 2he e"$loyer is being

co"$ared to a father figure# 2his

i"$lies that this $erson fills a ga$ inthe son's life#

/# )AR6A)*

2he $ersona a$$ears to $raise the child's father by referring to hi" as 'fair-"inded'# )he is, however,

chastising hi" for not only ignoring his son, but all of his other children#

5# IR+N! ;situational<

2he son innocently tells his "other that his e"$loyer values hi" so "uch that he gave hi" a whole

sub"achine gun for hi"self# 2he irony in this situation is that if you really care about so"eone, you do

N+2 give the" a gun due to the negative results that are bound to occur#1# ALL3)I+N ;biblical<

• Lines /@-/K% 2his line alludes to a $articular verse in the 6hristian Bible, Luke 00 vs 00# 2he

verse 7uestions what the actions of a good father should be#

• Lines 5@-5K% 4sal"s is a $articular cha$ter in the 6hristian Bible# In this cha$ter there are verses

for $rotection, the "other uses those for her son, as well as verses for retribution and rebuking# It

is i"$lied that the "other chooses those for the e"$loyer#

• Lines 15-1>% In the 6hristian Bible, udas Iscariot betrayed esus# 2herefore, it does not bode well

for the "other if she is in a '$artnershi$' with this $erson's "other because she "ight also be

betrayed# 2he banker in the '$artnershi$' also ha$$ens to be the thief on the left hand side of the

cross' "other# 2his also does not bode well for the "other if the a$$le does not fall far fro" the

tree#

• Line 1K% Absalo" is the son of avid, in the 6hristian Bible# Absalo" betrayed his father, which

i"$lies that the "other feels betrayed by her son because she has $laced all her ho$es in hi"#

http://www.biblegateway.com/passage/?search=luke%2011:%2011&version=NIVhttp://www.biblegateway.com/passage/?search=luke%2011:%2011&version=NIVhttp://www.biblegateway.com/passage/?search=luke%2011:%2011&version=NIV


27/34

*++9 A2*+)4ERE

2he "ood of the $oe" is reflective# 2he $ersona is thinking about a "other's res$onse to her son's life

choices#

2+NE 2he tone of the $oe" is $rag"atic and $essi"istic# 2he $ersona is telling the tale as it is, with no

$ositive energy#

2E*A2I6 6A2E:+R!eath, love, survival, desires9 drea"s, childhood e8$eriences#

Theme For nglish B - Literature Notes

2he instructor said,

Go home and write

a page tonight.

And let that page come out of you -

Then it will be true.

0#I wonder if it's that si"$leM

I a" twenty-two, colored, born in (inston-)ale"#

5#I went to school there, then urha", thenhere to this college on the hill above arle"#

I a" the only colored student in the class#

2he ste$s fro" the hill lead down into arle",

through a $ark, then I cross )t# Nicholas,

Eighth Avenue, )eventh, and I co"e to the !,

the arle" Branch !, where I take the elevator

u$ to "y roo", sit down, and write this $age%

It's not easy to know what is true for you or "e

at twenty-two, "y age# But I guess I'" whatI feel and see and hear, arle", /#I hear you%

hear you, hear "e - we too - you, "e, talk on

this $age#

;I hear New !ork, too#< 0#*e - whoM

(ell, I like to eat, slee$, drink, and be in love#

I like to work, read, learn, and understand life#

I like a $i$e for a 6hrist"as $resent,

LI2ERAL *EANIN:

2he $ersona's lecturer gave hi" an assign"ent

to write a $age that reflects 'hi"', or his

character# 2he $ersona wonders if this is a

si"$le task, and begins to think about his life#

2hings like his age, $lace of birth, race and

$lace of residence# Based on these "usings, hesur"ises that he is confused due to his youth#

e guesses that he is what he feels, sees andhears, which is arle", New !ork# e

continues his "using about what he likes, and

concludes that he likes the sa"e things that

$eo$le of other races like# +n this basis, he

7uestions whether or not his $age will be

influenced by race# e concludes that it will not

be white# e ad"its that his instructor, as well

as the fact that this instructor is white, will have

so"e influence on his $age# e states that they

both influence each other, that is what beingA"erican is about# e believes that both of

the" "ight not want to influence each other,

but it cannot be hel$ed# e concludes that both

of the" will learn fro" each other, des$ite thefact that the instructor has the advantage of

being older, white and '"ore free'# All of these

"usings and conclusions beco"e his $age for

http://www.bulbsoup.com/ln-comprehension.htmlhttp://www.bulbsoup.com/ln-comprehension.htmlhttp://www.bulbsoup.com/ln-comprehension.htmlhttp://www.bulbsoup.com/ln-comprehension.htmlhttp://www.bulbsoup.com/ln-comprehension.htmlhttp://www.bulbsoup.com/ln-comprehension.html


28/34

or records - Bessie, bo$, or Bach#

I guess being colored doesn't "ake "e not

like the sa"e things other folks like who are

other races#

0#)o will "y $age be colored that I writeM

Being "e, it will not be white#

1#But it will be

a $art of you, instructor#

!ou are white -

yet a $art of "e, as I a" a $art of you#

2hat's A"erican#

)o"eti"es $erha$s you don't want to be a $art

of "e# Nor do I often want to be a $art of you#

But we are, that's true

>#As I learn fro" you,

I guess you learn fro" "e -although you're older - and white -

and so"ewhat "ore free#

2his is "y $age for English B#

English B#

LI2ERAR! EVI6E)

0#RE2+RI6AL =3E)2I+N

• )tan.a /, line ?% 2he $ersona $onders

the ease of what he is asked to do# 2his

7uestion, in turn, actually highlights the

difficult nature of the task#

• )tan.a 5, line/1% 2his 7uestion

highlights the $ersona's confusion as to

who he is, or his character# e is

unsure#

• )tan.a 1, line 5/% 2he $ersona is

wondering whether his race will affect

what he writes on the $age# 2his isdes$ite the fact that he concludes that

race does not hinder $eo$le, in general,

liking the sa"e things#

/# RE4E2I2I+N

2his re$etition e"$hasi.es the $rofound i"$act that arle", New !ork, has had on the $ersonality of the

$ersona#

O It is interesting to note that the $ersona's '$age for English B' beco"es a ourney of self discovery that

actually does not end# e for"s no conclusion as to who he is because his $ersonality is still 'in $rocess'

*++9 A2*+)4ERE2he "ood of the $oe" is reflective#

2+NE

2he tone of the $oe" is also reflective#


Racis", $laces



29/34

)est %n$ies* U(S(A - Literature Notes

6ruising at thirty thousand feet above the endlessgreen 0#the island see"s like dice tossed on a

casino's bai.e, so"e co"e u$ lucky, others not#

4uerto Rico takes the $ot, /#the allas of the (est

Indies, /#silver linings on the clouds as we descend

are hall-"arked, 0#)an uan glitters like a

"averick's gold ring#

All across the 6aribbean we'd

collected ter"inals - 0#air$orts are like calling

cards, cultural finger$rintsG the hand written signs

at 4ort-au-4rince, 4iarco's slea.y tourist art, the

lethargic conte"$t of the baggage boys at 'Vere

Bird' in )t# ohns ####

And now for 1#$lush )an uan#

But the $ilot's bland you're

safe in my hands drawl crackles as we land, '3)

regulations de"and all $assengers not

dise"barking at )an uan stay on the $lane, Ire$eat, stay on the $lane#' 5#)ubtle 3ncle )a",afraid too "any >#des$erate blacks "ight re-

enslave this I sland of the free, "ight u"$ the

barbed

electric fence around

?#'A"erica's back yard' and clai" that vaunted

sanctuary ##### 5# 'give "e your $oor #####' 2hrough

LI2ERAL *EANIN:

2he $ersona is travelling in a $lane, looking downat )an uan, 4uerto Rico, as the $lane descends# e

is saying that this island is the wealthiest in the

6aribbean because it has won the ack$ot, it has

co"e u$ lucky# e then $oints out that he, and

others, had travelled to "any 6aribbean islands

and received a hint of the flavour of each island

through it's calling card, - its air$ort - all of which

fail when co"$ared to $lush )an uan# As they

land, they are instructed to stay on the $lane if their

destination is not )an uan# 2he $ersona takes

offence and states that A"erica does not want

blacks in )an uan, i"$lying that they "ight be a

disru$tive force# e notes the efficiency with

which things flow, enabling the" to take to theskies once "ore# uring the ascent, the $ersona

notes the contrast between the influences of the

6aribbean and A"erica# e likens )an-uan to a broken 2V, it Iooks good on the outside, but broken on the inside#

LI2ERAR! EVI6E)

0# )I*ILE


30/34

toughened, tinted glass J#the contrasts tantaliseG

3) $atrol cars glide across the shi""ering tar"ac,

containered baggage trucks unload with @#fierce

efficiency# )o soon we're cli"bing,

low above the $ulsing citystreetsG galvani.ed shanties overseen by

condo"iniu"s $olished 6adillacs shi""ying with $ushcarts and as we cli"b, )an-uan's K#fools-

glitter calls to "ind the shattered innards of a 2V

set that's fallen off the back of a lorry, all $ainted

valves and circuits 0#the road like twisted wires,

the bright cars, "icro-chi$s#

0#It's shar$ and agged and dangerous, and

belonged to so"e-one else#

• Line /% 4uerto Rico is co"$ared to dice

that is tossed on a casino's bai.e, it can

either co"e u$ with winning nu"bers, orlosing nu"bers# 4uerto Rico co"es u$with winning nu"bers in the ga"e of

chance, as reflected in its wealthy e8terior,

which is su$$orted by A"erica#

• Lines J-@% )an uan's glitter is co"$ared to a "averick's gold ring# 2he word "averick i"$lies

non-confor"ist, an individualist# 2his i"$lies that )an uan, 4uerto Rico is in the 6aribbean, but

not a $art of the 6aribbean# It belongs to A"erica#

• Lines 0-00% Air$orts are co"$ared to calling cards# 2his "eans that, like a calling card, the

7uality of the air$ort gives you an idea of the island's econo"ic status# 2he air$ort is also

co"$ared to a cultural finger$rint# A finger$rint is an individual thing, therefore the air$ort givesthe traveler an idea of the island's cultural landsca$e#

• Line 5K% 2he road is co"$ared to twisted wires# 2his "eans that the roads, fro" above, look both

$lentiful and curvy# 2his does not carry a $ositive connotation, but i"$lies confusion#

/# ALL3)I+N Line >% allas is an oil rich state in A"erica# 2herefore, "any of its inhabitants are

wealthy, and the state itself, is wealthy# By stating that )an uan is the allas of the (est Indies, it i"$liesthat it is a wealthy island in the (est Indies#

• Lines >-J% An allusion is being "ade to the well known clicheG 'every cloud has a silver lining'# It

"eans that behind everything that is see"ingly bad, there is good# In the conte8t of this $oe", it

"eans that the good, the silver lining, has a "ark, or sta"$, that authenticates its good 7ualityG it

is hall"arked# 2his i"$lies that it will always have its silver lining showing#

5# )AR6A)* Line /% 2his state"ent "eans the e8act o$$osite of what is stated# 2he $ersona is

disgusted that 3ncle )a" ;A"erica< would have such a regulation# 2his regulation bars anyone fro"

ste$$ing a toe on 4uerto Rican soil, if it is not your intended destination# !ou ust have to re"ain in the air

craft, no "atter the waiting $eriod, until it is ti"e for takeoff# 2he $ersona believes that the A"ericans are

being blatantly discri"inatory, and are atte"$ting to ca"ouflage it through the use of regulations# edoes not believe that they have achieved their goal of subtlety#

• Line /?% 2he $ersona i"$lies that A"erica is all talk and no action# 2hey really do not want the

$oor because they bar the" fro" entering and e8$ediently sends the" on their way when they

enter their air$ort# 2he state"ent is sarcastic because it is loaded with an alternate "eaning, due

to the contrast in state"ent and action#

http://dictionary.reference.com/browse/baizehttp://dictionary.reference.com/browse/baizehttp://dictionary.reference.com/browse/baize


31/34

6+N2RA)2

2he contrast in this $oe" is found in stan.a ># 2he A"erican cars etc, against the $ushcarts# 2he

A"erican culture versus the 4uerto Rican culture#

*++9 A2*+)4ERE2he "ood of the $oe" is sarcastic#

2+NE

2he tone of the $oe" is slightly bitter, which is fueled by the sarcastic at"os$here#


iscri"ination, o$$ression, $laces, culture#

Balla$ o& Birmingham - Literature Notes

'*other dear, "ay I go downtowninstead of out to $lay,

0#and "arch the streets of Bir"ingha"

in a freedo" "arch todayM

0#'No, baby, no, you "ay not go,

for the dogs are fierce and wild,

and clubs and hoses, guns and ails

ain't good for a little child#'

'But "other, I won't be alone#

+ther children will go with "e,

0#and "arch the streets of Bir"ingha"

to "ake our country free#'

0#'No baby, no, you "ay not go,

for I fear those guns will fire#

But you "ay go to church instead,

and sing in the children's choir#'

)he has co"bed and brushed /# her night dark hair, and /# bathed rose $etal sweet,

and drawn white gloves on her s"all brown hands, and white shoes on her feet#

2he "other s"iled to know her child

was in the sacred $lace,



32/34

but that s"ile was the last s"ile

to co"e u$on her face#

&or when she heard the e8$losion,

her eyes grew 1#wet and wild#)he >#raced through the streets of Bir"ingha"

calling for her child#

)he ?# clawed through bits of glass and brick,

then lifted out a shoe#

'+, here's the shoe "y baby wore,

but, baby, where are youM

5# IR+N! ;situational<2he overwhel"ing irony that e8ists in this $oe" is the fact that the "other was so ada"ant about N+2

sending her child to the freedo" "arch, because she considered it to be so dangerous# !et it is while inchurch, the $lace that she thought was sacred and safe, that the child got killed#

2E*E

eath is the overwhel"ing the"e in this $oe"# A "other's over $rotectiveness does not, and see"ingly

cannot, $revent this tragic event fro" occurring#


33/34

The ynching - iterature 2otes

is s$irit in s"oke ascended to high heaven#

0#is father, by the cruellest way of $ain,

ad bidden hi" to his boso" once againG

2he 5#awful sin re"ained still unforgiven#

0#All night a bright and solitary star ;4erchance the one that ever guided hi",

!et gave hi" u$ at last to &ate's wild whi"<

ung $itifully o'er the swinging 1#char#

ay dawned, and soon the >#"i8ed crowds ca"e to view2he ?#ghastly body swaying in the sun%

2he wo"en thronged to look, but never a one

/#)howed sorrow in her eyes of J#steely blueG

And little lads, lynchers that were to be,

anced round the dreadful thing in @#fiendish glee#

Claude McKay A (orld of 4oetry ;/><

/# ALLI2ERA2I+N 9 *E2A4+R

• 2he alliteration serves the $ur$ose of drawing the readers' eye to this $articular $assage in the

$oe"# 2his line also doubles as a "eta$hor# In this case, the "eta$hor tells the reader that the

wo"an is white, because blue eyes are a feature of the 6aucasian race# It also highlights the level

of racis" in the society# 2his is the case because if wo"en, who are su$$ose to be nurturing andcaring, show steel ;unfeeling, clinical< in their eyes, then it is an echo of the views of the society#

2E*E

!acism

2he $oe" confronts a ti"e in history when Black $eo$le were not viewed as hu"an# +n this $re"ise,

they could be lynched without it causing a ri$$le in the "oral fiber of their society# 2he fact that wo"en

and children could view the charred re"ains with little or no feeling s$eaks volu"es about the e8tent to

which racist values were entrenched in the society#


34/34

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English B Poems (CSEC)

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