Compare And Contrast 35/10 And The One Girl At The Boys Party

Teenage rebellion is typically portrayed in stories, films, and other genres as a testosterone-based phenomenon. There is an overplayed need for one to acknowledge a boy’s rebellion against his father, his life direction, the “system,” in an effort to become a man, or rather an adult. However, rarely is the female addressed in such a scenario. What happens when little girls grow up? Do they rebel? Do they, in a sudden overpowering rush of estrogen, deny what has been taught to them from birth and shed their former youthful façades? Do they turn on their mothers? In Sharon Olds’ poem, “The Possessive,” the reader is finally introduced to the female version of the popular coming-of-age theme as a simple

The tone of the poem changes as the poem progresses. The poem begins with energetic language like “full of heroic tales” and “by a mere swing to his shoulder”. The composer also uses hyperboles like “My father began as a god” and “lifted me to heaven”. The use of this positive language indicates to the responder that the composer is longing for those days – he is nostalgic. It also highlights the perspective of a typical child. The language used in the middle of the poem is highly critical of his father: “A foolish small old man”. This highlights the perspective of a typical teenager and signifies that they have generally conflicting views. The language used in the last section of the poem is more loving and emotional than the rest: “...revealing virtues such as honesty, generosity, integrity”. This draws attention to a mature adult’s perspective.

After telling her daughter she can go to the church, the mother gives her a bath in rose petal water, dresses her in her best clothes, and even gives her a pair of gloves to wear and little white shoes. This is the most ironic part of the intire poem because the mother believes she is sending her to a safe place, but is unaware of the fact, that she is doing the exact opposite

In the poem “XIV,” Derek Walcott utilizes the use of inhumane imagery that is being counterpointed with the use of happy imagery to show the view of an elderly woman with his experiences with her; the speaker recalls this information by describing his experiences with her with a sense of happiness, fear and appreciation.

In conclusion, Gwen Harwood deals with the constant relevant issues of loss and consolation by the enduring power of poetic treatment of age and youth. In my opinion, on the most profound of universal truths, there is no certainty in life and we must deal with events and situations as we encounter them. Harwood’s poetry distinctly presents a

In the poem, “35/10” by Sharon Olds, the speaker uses wistful and jealous tones to convey her feeling about her daughter’s coming of age. The speaker, a thirty-five year old woman, realizes that as the door to womanhood is opening for her ten year old daughter, it is starting to close for her. A wistful tone is used when the speaker calls herself, “the silver-haired servant” (4) behind her daughter, indicating that she wishes she was not the servant, but the served. Referring to herself as her daughter’s servant indicates a sense of self-awareness in the speaker. She senses her power is weakening and her daughter’s power is strengthening. It also shows wistfulness for her diminishing youth, and sadness for her advancing years. This

This trait of a submissive female is reversed within Rrap’s exhibition; Persona and Shadow: Puberty 1984. This piece is an appropriation and deconstruction of Edvard Munch’s work; Puberty 1894 which

The poem “35/10” by Sharon Olds is about a mother's envy towards her daughter's youth and beauty. She shows this through a negative connotation of herself and positive connotation for her daughter. In lines 1-4, she writes, “Daughter’s brown/Silken hair before the mirror/ I see the gray gleaming on my head/ The silver haired servant behind her.”

Throughout the poem it is said that even though the girl has tragically lost some of her siblings, she still believes that they are seven. Having the urge to correct the young girl, the man tries to convince that she is incorrect. Not even the man’s persuasion could change her mind, “The little Maid would have her will, And said, “Nay, we are seven!”” ( Wordsworth, 279 ). With the use of this poem, one can understand the author’s view of humanity by portraying a young child free of negative thoughts while older individuals are prone to seeing the negative aspects of a situation.

“Lipsticks the color of cherry candy” (line 4), were provided for her to look pretty and cover any flaws. The “magic of puberty” hits her and a classmate criticizes her for having a “big nose” and “fat legs” (line 5-6). Being made fun of caused the girl child to feel insure and question her appearance. In the second stanza it describes the positive qualities she has as a human being.

In this stylistic analysis of the lost baby poem written by Lucille Clifton I will deal mainly with two aspects of stylistic: derivation and parallelism features present in the poem. However I will first give a general interpretation of the poem to link more easily the stylistic features with the meaning of the poem itself.

While reading both “On Growing Up Between Genders”, by Stephen Burt and “The Female Body” by Margaret Atwood, I was so moved by both poets writing that I felt as though I was living their experiences with them. Throughout the course of both pieces, I felt emotionally drawn to obstacles of both writers, while understanding their wants of an experience very different from the ones previously given to them.

In Lives of Girls and Women, people grow out of reading. As the protagonist Del says, reading “persisted mostly in unmarried ladies, would have been shameful in a man” (Munro, 117). As in The Bell Jar, women in Lives of Girls and Women who are educated and who are professionals are seen as masculine and immature. Mature and marriageable women learn to use make-up and to flaunt their physical beauty. Del overturns this rule by memorizing poetry and doing well academically. Both Esther and Del feel that academic achievements best define and express their sexuality, though not necessarily enhancing their sexual lives. While the bored, rich girls in The Bell Jar spend most of their time painting their nails and getting a tan, Esther feels out of place among the idle and the fashion-conscious. Her friend Doreen admits that at her college, all the girls “had pocket-book covers made out of the same material as their dresses”(Plath, 5). The night that Doreen returns drunken from the apartment of a stranger named Lenny, Esther closes her door on her friend but does not have the heart to lock it. Thus, Esther successfully shuts out the false societal values of female sexuality for a while, but acknowledges that her form of sexuality must co-exist with that of Doreen and of other females in her society.

A mother teaches her daughter at an early age about values and morals. Most lessons reflect society’s expectations about what it means to be a woman. Throughout Kincaid’s poem titled Girl, I noticed the use of “how to”, followed by “duties” of a woman. Kincaid’s poem is flooded with variety of emotions, and I feel a personal connection to it. Reading the poem the time setting was in the past days. Women did not take a stand, and felt

Jamaica Kincaid’s Girl explores these controversies and writes a long form poem that includes a list of rules for young girls to follow as advice that will help them be more likeable and become a reputable “woman”. These rules are delivered in a direct emphasis with strict undertone. The guidelines given to the young girl can be inferred as a mother teaching her daughter who is at the age of adolescence. Jamaica Kincaid’s long form poem Girl highlights the stereotypical social responsibilities of young girls which is heavily defined by language, culture, and mothers. In the poem the mother figure covers everything from how to