Compare and Contrast Assignment | Online Assignment

forgetting as commodity By Jax NTP | 1 August 2018 grandma disembodies her youth as if famine isn’t a weapon of war once she was pregnant for the fourteenth time but her husband doesn’t know my mother’s name from Vietnam’s humidity to knowing snow in her bones Oklahoma she said privilege is the ability to plan your burial plot or to know where your ashes will be disseminated after mating mother octopuses don’t starve to death her protoplasm betrays her epiphanies are nutritious my grandma said if you can afford them my frustration of inheriting cultural loss is equal to Aristotle’s declaration that octopuses were dumb ocean mass dear three hearted cephalopods, the reflexes from grandma’s left fingers are gone infected from scrounging aluminum recyclables the past orbits her present strength oh the difficulty of guessing a tree’s age when admiring its crisp shadow an octopus’s production of natural pigment harms enemies and the self sometimes knowing where you come from prevents growth old leaves fall to make space for new buds what is post fragmentation if emptiness is a pretense what is queer visibility in commodity culture but spatial subversions grandma taught me that when octopuses can’t escape their own ink cloud they cease dear women who are not embarrassed when their nipples get hard in public, did you know that deserts are the first place to thirst because they were the ancient oceans that dried first evolution of consciousness and totems for a sea witch nautilus, squid, cuttlefish, octopus: locomotion defense i haven’t been able to process joy since i’ve inherited my mother’s trauma while she was pregnant with me it is easier to thread the needle if you lick it first, mother taught me feminine etiquette at a young age i had to let go erect motion and bait, a simple love story in three parts cut the deck and draw the strength, trilobite transformations con không được yêu đàn bà tell me about all the things we can’t undo threats are promises people want to keep at some point, you cannot live in rage, stop fighting to allow yourself a chance to heal, go on, draw the three of cups Poetic lens by Frank O’hara • Be Blunt = straight to the point • Keep poem modest = do not confuse reader • Be honest • Instinctual • Urgency • A poem should be between 2 people NOT 2 pages • Content must be alive • Poems should go on Nerves • Poems should be written with knee-jerk reaction moment/ person • Sexy pants metaphor • Intimacy • NY’s: I do this, I do that poet • Do not use excessive imagery • Do not overanalyze ideas • Don’t force subject or poems upon readers • Avoid technical apparatus = avoid using intentional poetic devices • Don’t consider reader’s feeling during composition • Logic Use #1, 2, 7 as suggestions for organizational units / body paragraphs ideas to discuss your poet’s theme: identity devices/techniques – are they effective or not? – and apply level of (in)effectiveness to theme 1. How does the explicit (obvious) and implicit (indirect) meaning of the poem affect theme? How does rereading each poem, unpacking ambiguity, allow readers to create multiple interpretations of the poem? 2. Discussion “power dynamics,” as in, relationships between: -speaker and audience and/or person directly addressed, or -speaker and time/setting/culture/history/self, or -“title, first line, and last line’s” isolated meaning vs. the entire poem (similar effect or different? which one is more effective?) 7. How does punctuation (or lack thereof) style, syntax, grammar, tone, voice affect the theme/audience? Each body paragraph must compare and contrast all poems via one poetic device.Do not analyze poems in isolation (do no analyze one poem per body paragraph). Topic for both poems: unlearning traditional feminine values Theme: need to produce in introduction and repeat in conclusion