poetry Flashcards

(54 cards)

1
Q

nature topic

A

exposure
kamikaze
storm on the island

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2
Q

ptsd

A

exposure
remains
war photographer

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3
Q

honour

A

cotlb
kamikaze

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4
Q

violence

A

cotlb
remains

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5
Q

futility

A

bayonet charge
cotlb
exposure
remains
kamikaze

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6
Q

effects of war

A

poppies
effects of war
war photographer
kamikaze

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7
Q

kamikaze topic sentence

A
  • conflict is personal as well as national
  • nature is the cause of him to turn home
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8
Q

kamikaze structure

A
  • tight structure - 6 lines. tight control of military and national expectation of what soldier should do
  • contrastingly: free verse & enjambment.
  • contrast of tight and free shows inner conflict between personal desires and freedom and national duty
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9
Q

kamikaze quotes (6)

A

“flashing silver as their bellies swivelled twards the sun”
- sibilance creates the smooth movement and natural wonder and serenity of the sea. natural world is a reminder of the beauties that he will deprive both himself and the enemy targets from
- “silver”, also repeated when describing “loose silver of whitebait” could be perceived as a connotation of war, like a medallion, demonstrating the glorification and supposed utmost honour of the mission. however “silver” describes coming in second place. insight to soldier’s motivation to retreat, as it suggests that even if he does complete the mission and achieve honour, he will never be the true “winner”, as he has caused the death of himself and others. futility of war

“her father embarked at sunrise”
- another reminder of the power of nature, the sun will continue to rise
- “sunrise” cleverly alludes to japanese military, as japan is known as “the land of the rising sun”, with the military flag being a rising sun. this, along with title “kamikaze” itself describing japanese aircraft, is a clear notion to garlands westernised criticism of japanese war cultures, where fighter pilots were sent on suicide missions. imagery of nature is conflicted by violence and human conflict, further depicting the constant battle of power of man vs power of nature

idea of natural imagery such as “sunrise” being conflicted with natural imagery can also be seen through the:
fish swim “like huge flags” in “figures of eight”
- flags: war imagery, a reminder of the gravity of his mission. also alludes back to japanese “rising sun” flag, images of nature are plagued by warfare and duty
- “figure of eight” illustrates something infinite, and how the soldiers mission is inevitably futile as war will always be present

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10
Q

kamikaze context

A

“kamikaze” used to describe japanese fighter pilots sent on honourable suicide missions. garland’s westernised views evidently seen through her criticisms of these japanese cultures

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11
Q

war photographer structure

A

very orderly - 4 stanzas each with 6 lines, with abbcdd rhyme - contradicts chaos of war
- reflect how efforts to bring awareness to the sufferings of war is futile, as nothing changes. reflects the ignorance of the public, how easily we forget

the readers eyeballs prick with tears between the bath and pre lunch beers
internal rhyme “tears” “beers”. only time the rhyming pattern changes: changes the pace - shows how fast people forget/ignore

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12
Q

war photographer quotes

A

“spools of suffering set out in ordered rows”
- sibilance demonstrates how easily the photographers may lose grips of reality, as it physically slips off the readers tongue
- following imagery of “ordered rows” depicts photographer’s attempts to reform control into their life. however also has imagery of a graveyard, criticising how the public attempts to organise and beautify their ideas of war, like corpses being organised into neat rows in a graveyard. shows futility of photographers job as their efforts to bring attention and knowledge of the sufferings of war become almost romanticised and glorified by the public

“half formed ghost”
- initially seen as description of photograph as it forms and develops in the not only present violence of war before the photographer
- also could describe the violence of war, depicting a soldier that is physically deformed and mutilated due to fighting and injury, highlighting the incomprehensible suffering of war that the photographer aims to share
- could metaphorically suggest that the soldier is only half remembered, stripped of his individuality in the machinery of war. we cannot even mourn for this soldier, as he is unidentifiable. duffy criticises the sheer amount of dishonoured soldiers that have been merely forgotten

“the readers eyeballs prick with tears between the bath and pre lunch beers”
- criticises public for how easily they forget and continue with their privileged lives
- internal rhyme “tears” “beers” quickens the pace - shows how fast people forget/ignore

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13
Q

war photographer overall message

A

criticising how we dont have grips on actualy reality of war

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14
Q

war photographer context

A

duffy was friends with war photographers

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15
Q

poppies context

A

weir is a textile designer
refers to it to try to make sense or bring comfort to the grief

mother of two boys
“treid to put across how i might feel if they were fighting”

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16
Q

structure poppies

A

free verse, varied stanza length, enjambment, caesura. very chaotic structure - grief cannot be organised - ever changing
long stanza: trying to stay in past

enjambment between stanzas: words “flattened, rolled, turned to felt, —- slowly melting”.
- break in line reflects the breaking emotions of mother, grief cannot be organised.
- “flattened” “rolled” felt” connote fabric, could be seen as reference to weir’s work as a textile designer

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17
Q

poppies quotes

A

describes the poppy she pins on her son’s blazer as
“spasms of paper red, disrupting a blockade of yellow bias”
- intimate act of motherly love
- however “spasms” describes injury and suffering and “blockade” can have war imagery of something being closed off by troops. memories of intimacy are plagued by reminders of sons danger, her fears are inescapable
- “bias” describing fabric, could be seen as reference to weir’s work as textile designer. could suggest how she refers to it to bring comfort, and make sense of grief, as weir wrote poem influenced by her role as a mother. “tried to put across how i might feel if they were fighting”

“sellotape bandages around my hand” she is trying to remember tender moments but cannot keep violence oht of mind : disruptive

“to run my fingers through the gelled blackthorns of your hair”
- physically painful memory
- blackthorns - barbed wire. gelled - trying to make pain look presentable
- blackthorns: biblical reference to jesus thorned crown. soldier believes he is heroic, doing gods work

“leaned against it like a wishbone”
simile- wishing for son to return.
-fragility: mothers fragility. she could break at any moment- unsure of how she will turn out

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18
Q

remains context

A

based on true story
guardsman troman, iraq 2003

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19
Q

remains structure

A

repetition
“somebody else and somebody else”
- make it clear that he was accompanied, not solely to blame
- dominates line, trying impose blame on others to relieve his own
- further explored in same stanza “three”, chant like, perhaps depicts speaker trying to convince or reassure himself that it was not wholly his fault
- shifts by end; “his bloody life in my bloody hands”, “my” signifying raking responsibility. accepting that now he is “home on leave”, he faces his consequences alone.
- imagery of “bloody hands” could be perceived as an intertextual reference to lady macbeth trying to scrub hallucinated blood stains from her hands. demonstrates how guilt is inescapable, and consumes and disorientates someones life

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20
Q

remains quotes

A

“somebody else and somebody else” “three” “his bloody life in my bloody hands”

“remains”
- describes something left after being used, mirrors how soldier has been used purely as a machine in war, and is now left as “remains” to face the effects trauma. like the “remains” of a building, he is a broken, destroyed, perhaps empty ruin.
- describes body after death (someones “remains”). not only a literal reminder of the man he killed, whos remains were “sort of inside out”, also an idea that speaker is metaphorically dead inside

“sun-stunned, sand-smothered land”
- sibilance: demonstrates lack of control, as it slips off the tongue. creates image that the speaker’s life almost spills away from his grips, and he is helplessly unable to order his words and daily life
- assonance “sun-stunned” can be physically difficult to say, demonstrates the messiness and disorientation of soldiers life

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21
Q

exposure about the author

A
  • died in battle
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22
Q

exposure structure

A
  • each stanza cleverly structured: blunt, powerful, emotive sentences, builds climactic tension, mirrors adrenaline and alert of soldiers. then anti-climactic line: “but nothing happens”, mirrors futility and exhaustion of adrenaline
  • reinforced by unchanging rhyme scheme
23
Q

exporsure quotes

A

“exposure”
- exposure and vulnerability to nature on battlefield
- how the poem itself exposes the reality of war, revolutionary as war poetry up to this point praised bravery and glorified battle

“the burying party” “pause over half known faces”
- describes sheer cruelty of nature and the cold, as it disfigures and deforms soldiers. nature is presented as more violent than artillery
- “half-known” no individuality, lack of grips on true reality of war leads to many unhonoured soldiers

“merciless iced east winds that knive us”
- sibilance depicts both bullets and noise that soldiers may make from cold
- “knive” suggests an intimate, purposeful murder rather than guns of other artillery typically seen in war, as “kniving” someone involves close, forceful, almost strenuous effort. shows sheer malevolence and reinforces “mercilessness” of nature

“for love of god is dying”
- difficult to believe in god when exposed to horrors of war
- could refer to how jesus died for our sins. allusion between soldiers and christ suggests that soldiers are christ-like characters, as they sacrifice themselves for others

“like a dull rumour of some other war”
- simile has biblical reference of jesus talking about the end of the world, “you will hear of war and rumours of war”. suggests how situation feels like the end of the world

24
Q

bayonet charge about the author

A
  • not alive during wars, father served in ww1
25
bayonet charge quotes
"raw in raw-seamed hot khaki" - "raw" could describe how soldier is unprotected & exposed. could also describe the raw nature of war, as we see the unfiltered, unglamourised reality of war. - repetition creates clunky, clumsy tone, stress and disillusion of soldier - lack of vocabulary presents war as indescribable "king, honour, human dignity, etcetera" - mocking, these concepts of virtue and honour mean nothing when in reality of war "sweating like molten iron" - simile: war is inexplicably indescribable, write must resort in attempting to explain through similes and comparisons - artillery imagery "molten iron" illustrates inescapability of war - even their humanly features such as sweating are corrupted by war, it seems to control their entire life. also illustrates soldier as robotic, simply a machine to be used in war & discrediting his human values
26
cotlb about the writer
- had marriage declined by fiance's upper class father due to his poverty - criticism of upper class
27
cotlb context
crimean war: - "light bridage" (lightly-armoured troops) ordered to ride in to stop russians stealing guns, sent by upper class men who had bought their way into control. - miscommunication between these leaders, brigade charged into wrong valley into heavy artillery, still committed, brutally killed
28
cotlb form
ballad - often used to remind future generations of important story, should never be forgotten - tennyson reminds of bravery and honour of soldiers, and the idiocy of aristocratic leadership for their irresponsible blunder - refrain: six hundred
29
cotlb structure
- 6 stanzas: represents the refrain of poem: 600 - dactylic dimeter quickens pace, mirroring rhythm of horse hooves. reader feels part of brigade and can appreciate bravery on another level. - "someone had blundered" break in dactylic diameter. direct criticism of leadership error that resulted in suicide mission - also "blundered" directly links to the real-life brigade, as "blunder" was used in the news report and inspired tennyson to write
30
cotlb quote
“some one had blunder’d” "theirs but to do and die: into the valley of death" - biblical reference, shows awe-inspiring, "god-like" valiance of soldiers, a biblical act. - from structural viewpoint, use of biblical imagery in first paragraph: immediately recognised by victorian audience "all the world wonder'd" - "wondered" bravery is admired and honoured. perhaps alliteration of "w" illustrates the astonishment and marvelled response of the world - "wondered" confusion, world questions how such mistake can be made. perhaps the alliteration of "W" rather illustrates the confusion and shock of the public - aligns with rhyming couplets on fourth and last line of each stanza: wonder'd, hundred, blunder'd, sunder'd, creating a drum-like effect. mirrors beat of horses galloping; reader feels part of brigade, enhanced respect - repetition of "ered" could be perceived as reminder of the "err" or error made
31
storm on the island strcuture
half rhyme e we build our houses squat., with good slate - "squat" "slate" and "air" "fear" - reflects uncontrollable storm, storm can only be somewhat controlled despite efforts - start and end, cyclical. inescapable conflict, storm will simply occur again
32
storm on the island quotes
"squat" "slate" "air" "fear" half rhyme - cannot be organised, nature is truly dominating and mocks man for his attempts to control it. start and end - cyclical - inescapable, will inevitably continue. "bombarded" "blows full blast" "strafes" "salvo" heaney also creates semantic field of war, creating a malicious and murderous nature to the storm. plosive alliteration "blows full blast" mirrors bullets, depicting storm as physical battlefield, actively seeking to kill. this alludes to conflict within ireland that heaney was born into, which is further explored in title itself, of which first 8 letters "stormont" is the name of the parliament buildings in ireland
33
the emigree strucutre
- free verse, enjambment, caseura: lack of structure, chaos of home country, lack of power in that she cannot go there - similar stanza length: speakers way of imposing control over her chaos
34
the emigree quotes
"there once was a country..." - imitates fairytale, memory is idealised and cherished. - ellipsis: clings onto past "i comb its hair" "my city hides behind me" - speaker takes on motherly role, depicts city as child, unable to speak for itself and prove that it is not just a war zone "bright, filled paperweight" - memory of old city provides stability and support to speaker in same way a paperweight stabilises paper - could illustrate her being weighed down and restrained by memory, unable to move on - epistrophe of light at end of each stanza, turning from "sunlight-clear" and "bright" to "tastes of sunlight" to "shadow" and "evidence of sunlight". fading light suggests how she feels as though she is growing distant from the happiness and "sunlight" from her city
35
ozymandias about the writer
- shelley was expelled from uni for atheist writing - unsuccessful and unknown writer in his time
36
ozymandias context
• during king george iii reign - large number of military conflicts, shelley wished to criticise his oppression • shelley was one of “the Romantics” - embrace nature over urban life, love supernatural, colloquial language. use of foreign, past setting, common for romantics • ozymandias is ramesses, egyptian pharaoh, believed to be in charge of egypt during exodus of moses - biblical connotation - led many battles to protect egypt and take new land - caricature of king george iii
37
ozymandias main themes
• power is temporary - those with power are plagued by belief that they are invincible and superior • real power lies in art and nature, more powerful than any being • attack on religion and politics
38
form of ozymandias
- sonnet, genre of love poetry. suggests how ozymandias, king george iii, and jesus, are in love with themselves. - combination of three sonnet forms. suggests transience of power, it ultimately gives way to new power
39
ozymandias quotes
the hand that mocked them boundless and bare my name is ozymandias king of kings - “boundless and bare” - alliteration illustrates vast emptiness, echo-like effect - “the hand that mocked them” suggests that true power lies in art. “mock” - to create, artist’s skill is eternal - despite the statue being broken, the art still remains. “mock” also imply ridiculing ozymandias. ironic as this places the artist with more power than the “all-ruling” pharaoh. idea of artist outliving the power is interesting as it could be a metaphor for his own work. in his own time, shelley was unsuccessful, and died before his poetry could arise. However his work is now respected and valued, while the work of the influence of the poem, king G, was simply one in a long list of kings. direct criticism of the monarchist reign of king G. - “my name is ozymandias, king of kings” directly presents the extent of Ozymandias’s belief of his sheer power. the translation of the word “ozymandias” itself, “ozy” meaning to breathe and “mandias” meaning to rule, suggests that the pharaoh simply lives purely to exert or “breathe” his dominance over all. “king of kings” also has biblical connotations, as it is what jesus is referred to in the bible. outlines his belief that his power is god-like and eternal alliteration of “king of kings” creates harsh and abrupt effect, perhaps reflecting harsh and abrupt nature of ozymandias however shelley exposes the transience of this power, with plosive alliteration “boundless and bare”
40
london context
- comes from blake's collection "songs of experience", which focused on harsher views of the corruption of humans, was a companion piece to "songs of innocence", which focused on simple moral lessons for children about nature. two were often found in the same collections. London being from "songs from experience" outlines the poem's criticism of people in control misusing their power, and causing inescapable suffering - blake experienced industrial revolution, was very against the exploitation and pollution
41
london structure
- repetition: quatrains & ABAB rhyme scheme throughout: repetition depicts the repetitive, overwhelming, relentless suffering in the city repetition of words "chartered" "mark" "every", further illustrates inescapability of suffering - cyclical: starts & ends with focus on those suffering, also outlines the inescapable suffering - irregular meter: mostly in iambic tetrameter -inescapable suffering however some lines eg "marks of weakness, marks of woe" does not follow this meter, as it has fewer syllables. this weakens the line in comparison to the rest of the poem. the fact the line itself describes humans suggests that perhaps blake aims to reflect the weakness of those suffering, and their helplessness and neglect.
42
london quotes
“chartered street” where the “chartered thames does flow” “mind-forged manacles i hear” “man is born free, but everywhere he is in chains” “black’ning church” blake condemned the expoitation during industrial revolution, thus uses "chartered street" to criticise the pervasive privatisation of properties in the victorian era. "chartered street" where the "chartered thames does flow" - repetition of "chartered" suggests the inescapability of suffering - blake condemned the expoitation during industrial revolution, thus uses "chartered street" to criticise the pervasive privatisation of properties in the victorian era however chartered "thames" could be perceived as a satirical attack, where blake conveys the irony of man trying to control and own the natural world "mark in every face i meet -- marks of weakness, marks of woe" repetition of "mark" - insecapable suffering in same sentence, "mark" is used for two separate purposes, one where the narrator registers or "marks in" passer-bys, and one where the narrator notices signs for weakness and woe "mind-forged manacles i hear" exposes the immorality of the government - demonstrates how the suffering of people is prison-like. allusion to philosopher Rousseau "man is born free, but everywhere he is in chains", demonstrating how man's lack of freedom is self-made, and comes from ideas imposed by patriarchy - corrupt government also seen through "black'ning church". churches are known as places of support, where people can go for help. however the the image that it is "black'ning" describes malevolence, as even the bible itself connotes "black" with evil and sin. blake demonstrates how even places of worship and support are corrupted by the selfishness of those with power "marriage hearse" oxymoronic imagery of marriage and death could allude to how the good of the what the city once was is destined to be destroyed by those in power
43
extract from the prelude quotes
“circles glittering” “sparkling light” “little boat” “elfin pinnace” “like a swan” huge peak, black and huge "circles glittering" "sparkling light" - magical, almost celestial quality to his journey. his boat also grows from a "little boat" to an "elfin pinnace" depicting an almost fantasy world that the speaker enters, as if he is the hero of a mythical story. this demonstrates his egotistical nature, as he automatically views himself as having power over nature. this is reinforced by the simile "like a swan", as swans are typically known for their elegance and regal presence within nature, illustrating the perception the speaker has of himself language suddenly becomes simpler at the volta of the poem, when the mountain is revealed: "huge peak, black and huge" perhaps conveying how the speakers reversal of power and sudden inferiority has degraded his pride and knowledge, almost as if he has emotionally shrunk to a scared boy. never explicitly calls it a mountain, rather personifies it as a beast or creature "upreared its head" "strode after me". suggests speaker tries to justify his cowardice by making himself seem like a hero. true power of nature is underestimated
44
extract from the prelude context
wordsworth was one of the romantics, evident in poem through dislike of urban life and embrace of nature
45
extract from the prelude structure
one long stanza - creates overwhelming sense for reader, perhaps inviting them too to experience the overwhelming sense that the speaker feels toward the mountain
46
my last duchess form and structure
dramatic monologue tight & consistent rhyme scheme (couplets) and single stanza reflect tight control of duke. enjambment in "notice neptune.... cast in bronze for me!" the sentence runs over three lines, suggesting that the duke does not actually have complete control, and rather has an uncontrolled , wild nature in his anger. this contrasts the tightly consistent use of iambic pentameter and rhyming couplets, suggesting that despite his ability to take power over others, he is incapable to control himself. lack of stanza also reflects underlying lack of control
47
my last duchess language
notice neptune, though, taming a sea horse “willt you please rise” “sir” addresses emissionary as "you" and "sir". although polite to a modern reader, they rather demonstrate the duke's sense of superiority over everyone he speaks to, as "thou" and "thee" would have typically been used instead. the duke's arrogant and egotistical nature continues outside of his relationship with the duchess. reference to a sculpture "notice neptune, though, taming a sea-horse", where Neptune is the Roman sea god - a masculine, domineering god. the depiction of this strong god could be perceived as a metaphor for the duke himself, as he feels as though his power is god-like and honourable. furthermore, the depiction of the god taming a wild animal could allude to the duke's possessive and dominating manner over women. however, browning cleverly diminishes the dukes facade of superiority through the use of enjambment. the sentence runs over three lines, suggesting that the duke does not actually have complete control, and rather is uncontrolled and wild in his anger. this contrasts the tightly consistent use of iambic pentameter and rhyming couplets, suggesting that despite his ability to take power over others, he is incapable to control himself. as the poem was written and published during victorian era, this could be perceived as a criticism of victorian attitudes towards women. once married, women became legal property of their husbands and were expected to serve and entertain, which can be seen through the duke obsessing over fixing his wife's behaviour
48
tissue structure
enjambment - "paper thinned by age or touching ---- the kind you find in well-used books" - lack of control that mankind truly has. also perceived through the free verse - suggested power is undermined repetition of "transparent" - fragility of human power, transient - honesty: true power lies with those who are honest and open
49
tissue language
“sun shines through their borderlines” “let daylight break through capitals and monoliths” “the light of the world” “the light of the heavens and the earth” “might fly our lives like paper kites” repetition of "transparent" - fragility of human power, transient - honesty: true power lies with those who are honest and open "the sun shines through their borderlines" (maps) maps epitomise how man attempts to organise and control nature. undermined by the light that "shines through", which illustrates that man will never succeed, nature will always have power. further explored through "let daylight break through capitals and monoliths". light is seen throughout the poem, and can be perceived as a religious notion to Dharker's identity as a "muslim calvinist", as jesus is referred to in the bible as "the light of the world", and allah as "the light of the heavens and the earth" in the quran, demonstrating how the power of god and religion "outshines" the power of man receipts and money "might fly our lives like paper kites" demonstrates how money controls and dominates humans, and how easily we are transfixed and submissive to man-made systems such as money. however, imagery of receipts as "paper kites" ridicules this obsession, as it depicts man-made power as fragile, like paper. furthermore, the childlike imagery of "paper kites" could suggest that if we relied less on materialism and money, perhaps we would regain child-like wonder. these ideas could suggest that humans have overcomplicated life through obsession over power, power which is ultimately fleeting.
50
checking out me history context
agard criticises european attitude to education despite going to school in guyana. however when he was in school, guyana was a british colony
51
checking out me histo ry structure/form
all stanzas end with image of historical black figures, makes reader stop and think about them, perhaps allowing them to recognise and honour their actions form: oral poetry simple, child like rhyme scheme in verses about white people, perhaps mocking the education of history as childish and naive contrasts the free-verse stanzas about black people, suggesting the freedom of these people; nobody controls them lots of enjambment: unrestrained anger. agard purposefully includes connectives such as "but" to combine two separate sentences. this forces reader to combine black and white figures into same sentence, and think of them together, which was exactly what was not happening when the speaker was in school. "
52
checking out me history quotes
i carving out me identity dem, all dat "bandage up me eye with me own history" image is his eye being bandaged up depicts how he is deliberately restricted from seeing his own history, like a blindfold "i carving out me identity" "carving" suggests exploring territory that is unexplored by any other man, illustrating perhaps how we must actively seek out and find our truths ourselves. however there could also be an underlying criticism of the eurocentric power over education of history "carving" could also depict being man-made, like a sculptor creating his own art. this could suggest that those in power remain secretive and withholding of the truth, leaving people to create their own ideas of identity colloquial, caribbean diction, agard directly refuses to conform to english language "dem" "all dat". it is as if he is actively protesting the oppressive and domineering control of european rules. also forces reader to take on this role as they read it, allowing then to understand the need for desegregation, where white people and black people dont belong in seperate places. the idea of the reader taking the caribbean diction could also perhaps invite them to step into the shoes of agard himself, allowing them to first hand experience his anger, frustration, and his perception and grips of his identity.
53
technique for listing with commas, no conjuction
asyndetic listing
54
technique for listing using connectives, no commas
polysyndetiv