Weekly Poem: ‘Highlights and Interstices’ | PBS NewsHour
When Jack Gilbert won the Yale Younger Poets prize in for Views of Jeopardy, he attained a kind of allure usually foreign to poets. A self-described “serious romantic,” Gilbert had a relationship with poet Linda Gregg, and was later married to sculptor Michiko Nogami, who. Quotes for Gardeners and Lovers of the Green Way "The domestic relations precede, and in our present existence are worth more than all our other social ties. Frank L. Baum, The Wizard of Oz Josiah Gilbert Holland. Stanzas on Oz Poems By David M. Katz David M. Katz, curtained off in his new collection, Stanzas of Oz, pulls the levers of . He writes of old Marxists, security guards and his relationship to his deceased . Celia Gilbert ( Pushcart Prize in Poetry) "Doug thanks so much for that fine shout out.
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However, when she insists on leaving, they assume a more threatening and aggressive attitude: They trod and hustled her, Elbowed and jostled her, Clawed with their nails, Barking, mewing, hissing, mocking, Tore her gown and soiled her stocking, Twitched her hair out by the roots, Stamped upon her tender feet, Held her hands and squeezed their fruits Against her mouth to make her eat.
The sexual import is also apparent in the successive use of action verbs. There is a sense of stoicism in her resistance to the goblin men and their fruit: She plays the game but at the same time cheats the goblins because she does not taste their fruit: She gets back her money, which the goblins have not accepted. In the next scene, the female body encounters not the male body but another female one. When Lizzie comes home she shares the juice with her ailing sister so as to appease her hunger.
The scene is full of associations of lesbian love: Tears once again Refreshed her shrunken eyes, Dropping like rain After long sultry drouth; Shaking with anguish fear, and pain, She kissed and kissed her with a hungry mouth. Although there is a kind of pleasure involved in the kissing of the sisters, Rossetti does not present it as pure pleasure since this erotic exchange is described in incongruous and contradictory terms: Through such oxymorons as a loathsome feast and juice like wormwood, the poet attempts to eradicate implications of lesbianism in the poem.
Still, the effects of this seemingly innocent intimacy are indicative of orgasmic convulsions: Writhing as one possessed she leaped and sung, Rent all her robe, and wrung Her hands in lamentable haste, And beat her breast.
Her locks streamed like the torch Borne by a racer at full speed, Or like the mane of horses in their flight, Or like an eagle when she stems the light Straight toward the sun All these similes create a sense of indulgence in pleasure and breaking free from restraint, and their kissing and hugging each other imply a kind of sexual orgasm.
Despite her attempts to desexualize her narrative poem, Rossetti ends up implying that the predicament of the female body can be remedied through same-sex jouisance and solidarity. Yet, at the end of the poem, the idea of the female body as capable of deriving sexual pleasure is discarded. Eventually, Laura and Lizzie emerge as conscious female subjects who have discovered the perils confronting the female body.
This narrative twist turns the poem into a palindrome, in which the homodiegetic narrator retells a story which we readers have already heard. The palindromic nature of the narrative reduces the role of the poet, and the narrative turns into a text in which Laura tells the story without any mediation. Laura, in a sense, is like Scheherazade performing a vital function for survival. Thus, she helps build a tradition of awareness and resistance in her family.
However, the female body is associated with flowers, gums and juices, which all suggest the female body and its erotic urges. The poem calls forth themes common to Chivalric Romances and courtly love poems such as the damsel in distress, and the knight setting out to save her.
The opening of the poem heralds the existence of a pining lady who is waiting to be delivered from loneliness and distress: Till all sweet gums and juices flow, Till the blossom of blossoms blow, The long hours go and come and go, The bride she sleepeth, waketh, sleepeth, Waiting for one whose coming is slow: The events in the story are unmistakably suggestive of a Quest Romance: Power, Change and Social Worlds, London,9.
Sexuality in the Narrative Poems of Christina Rossetti work on a fire in return for a life potion, then he crosses a dangerous river, and finally comes to a green valley where his Bride lives. Nevertheless, through narrative and stylistic devices, this Romance is subjected to deliberate interrogation.
Rossetti also demeans the Prince and his deeds through an extensive use of adjectives that denote his inefficiency and fickleness. The Prince is presented as a satiric fiction, a parodic construction, whereas the Bride is a real woman, not an ideal, for she is mortal. At the outset of his journey, the Prince seems nonchalant and drained of energy and he wastes his time fantasizing about the Bride by means of floral imagery: At the end of his journey, the Prince muses about his Bride: Stevenson, text by David V.
He further loses his knightly traits when he is tempted by the milkmaid: So he stretched his length in the apple-tree shade, Lay and laughed and talked to the maid, Who twisted her hair in a cunning braid And writhed it in shining serpent-coils, And held him a day and night fast laid In her subtle toils.
Overpowered by a mere milkmaid, he proves to be both weak and disloyal. In a sense, in contrast to the goblins, he is impotent. Furthermore, he is presented as a ridiculous figure incapable of acting without any outside prompt. He is always reminded of his task by other characters or beasts, who act as a kind of chorus. At the beginning of the poem his attendants or subjects urge him to embark on his journey at once: The appealing voices are directed at the Prince — summoning him to consummate his affair with his Bride.
The cave the Prince goes into can be interpreted as a metaphorical vagina, which he fails to penetrate in real life. He is like the old magician in the cave, who is too weak to move a finger. This elixir of life, which needs to be heated through bellowing, is, in a sense, the cure for his unmanliness.
The potion is ready only after the old magician dies and his finger slips into the simmering water. This implies that it is not the Prince who manages to activate the potion of life and virility but the magician.
In his attempt, he is almost drowned, which indicates his unmanliness. After the river incident, his attendants reprimand him once again for his tardiness: The description of the Prince as a man lacking valour, strength, and sexual desire for his beloved produces a comic effect. The tragic death of the Bride changes the mood of the parody.
The final criticism comes from the attendants of the late Bride: You loitered on the road too long, You trifled at the gate: The enchanted dove upon her branch Died without a mate; The enchanted princess in her tower Slept, died, behind the grate; Her heart was starving all this while You made it wait.