In high school, I was part of everything. My name that is. I registered for many, many clubs: just never showed up. In college, I didn't only join a ton of clubs, I also showed up a lot. Even when I was so uncomfortable and didn't want to be there. For instance, the first thing I joined was the school newspaper. I wanted to be like Elizabeth Wakefield from Sweet Valley High. Don't ask. I soon realized that my mates at the newspaper typed like crazy, and they like knew stuff that I hadn't even smelled. While it took me a minute to search for letters on the keyboard to write a word, they would be on their third paragraph or so. Man. I was so shy and so embarrassed. I didn't know how to use Photoshop or inDesign back then, I was always on the verge of tears since I was a 'Layout Designer.' When I couldn't torture myself anymore I disappeared. I did stay for two semesters, though. The literary club I tried to join in Grad school brought back memories of my experience with my college newspaper. It was like there is this language and everyone in our little group understood but me. I wanted to say "Wait? Wait? What?Huh?" Then I thought man! Maybe grad school will be where I don't bother. My excuse is Brooklyn is too far away from Queens. The truth is I'm sadly not very interested.
Safe upon the solid rock the ugly houses stand:
Come and see my shining palace built upon the sand!
There has been a little conversation between myself and Edna St. Vincent Millay’s speaker in “Second Fig” for months now. Sometimes I would forget to think or talk to her for days or even weeks, then run into her riding the shades of a slow afternoon or merging with the shadows of an eerie night. Most recently, though, I have been finding her lisping within conversations shared with others and reading her on pages here and there. The thing is, often, in polite society, we speak only of our minor headaches in such ways that arouse neither genuine pity nor concern for our wellbeing but shine a dim light on our shared struggles in the search of infinite satiation. And this is why the lines of “Second Fig” are irritating––they are shamelessly honest. They can even be called coarse in that they seem to mock and brag simultaneously without apology. T…
By day she woos me, soft, exceeding fair:
But all night as the moon so changeth she;
Loathsome and foul with hideous leprosy
And subtle serpents gliding in her hair.
By day she wooes me to the outer air,
Ripe fruits, sweet flowers, and full satiety:
But through the night, a beast she grins at me,
A very monster void of love and prayer.
By day she stands a lie: by night she stands
In all the naked horror of the truth
With pushing horns and clawed and clutching hands.
Is this a friend indeed; that I should sell
My soul to her, give her my life and youth,
Till my feet, cloven too, take hold on hell?
Christina Rossetti’s "The World" is one of extremes. A heaven seeming hell occurring within spheres of light and darkness. Read one way, “The World” holds light as liar and night as truthful. Often, light is used as medium of truth and darkness that of falsehood and although the poem seems to be doing the opposite, when a…
Crazy Jane Talks with the Bishop
by William Butler Yeats
I met the Bishop on the road
And much said he and I.
`Those breasts are flat and fallen now
Those veins must soon be dry;
Live in a heavenly mansion,
Not in some foul sty.'
`Fair and foul are near of kin,
And fair needs foul,' I cried.
'My friends are gone, but that's a truth
Nor grave nor bed denied,
Learned in bodily lowliness
And in the heart's pride.
`A woman can be proud and stiff
When on love intent;
But Love has pitched his mansion in
The place of excrement;
For nothing can be sole or whole
That has not been rent.'
William Butler Yeats’ "Crazy Jane Talks With the Bishop" is one of my favorite poems. The humor and wit in the exchange between the speakers are excellent and give one much to chew on. The interest of this analysis is to try and decipher whether Jane is indeed crazy or mistakenly identified as such. The title tells us what is happening in the rest of the poem: a woman, ref…