Showing posts with label Annotation. Show all posts
Showing posts with label Annotation. Show all posts

Monday, November 28, 2011

Death of Marilyn Monroe Analysis/Annotation (LONG BLOG!!!!)


In the historical remembrance poem, Death of Marilyn Monroe, by Sharon Olds is the recounting of the day Marilyn Monroe was pronounced dead and the reactions of the ambulance men who were forced to carry her cold body away forever. Although no initial evident rhyme scheme is found in the poem, there is significance and symbolism flowing through each line.
The opening is the most descriptive and realistic section of the entire poem. It describes Marilyn as completely lifeless, and cold. Not the warm and sweet Monroe that the public and media know but a woman that lies there helplessly. “…tried to close the mouth, closed the eyes, tied the arms to the sides, moved a caught strand of hair, as if it mattered,” this quote sets the melancholy and hopeless tone for the rest of the poem.
Olds introduces the ambulance men into the poem by continuing to describe the horrifying scene of the dead Marilyn Monroe. The detail that is provided allows the reader to truly understand the scars and issues the men will experience later down the road because of this single incident. It describes Monroe’s body as being “heavy as iron” and the line, “the shape of her breasts, flattened by gravity” would be symbolic of the body being found face down, on her stomach.
The next line of the poem is my favorite because it reminds me of a scene in a movie. Imagine a crime scene taking place and as they are lifting the body onto the stretcher the screen suddenly, in the same frame, the screen blinks to flashbacks of this person’s life. It goes back and forth between the glorious, lively past and the terrifying, truthful present. The line reads like this, “under the sheet carried her (ambulance men), as if it were she, down the steps.” This line symbolizes Marilyn Monroe’s grace, beauty, and liveliness during her lifetime. I can imagine the men feeling very vulnerable and fragile as they carry the dead body of America’s sex symbol and showgirl. The caution they must carry the body with and the elegance they must possess within themselves as they descend the stairs, as if Marilyn was walking right beside them, holding her own.
The best part about the poem is the depiction of the aftermath the ambulance men experienced following the death of the lovely Monroe. If it weren’t for the title of the poem, the reader may have never known that the poem was referring to Marilyn Monroe’s death. Although it does give a brief of the death scene, the poems main focus is on the men not the woman. The woman is dead and lifeless in a literal sense but the men have the life sucked out of them figuratively. The next line begins with “these men were never the same” and then elaborates on each man’s struggle following the death scene. It is their job to recover and move on with their lives, so why couldn’t they?
“One did not like his work, his wife looked different, his kids. Even death seemed different to him – a place where she would be waiting…” Let’s focus in on the idea of death and how it can possible seem different to this particular ambulance man. Oxford English Dictionary first defines death as “the act or fact of dying; the end of life.” Next the dictionary defines death as “the final cessation of the vital functions of an animal, plant, or individual.” Now how could a definition that seems so simple be so hard to grasp? How could “the end of life” even begin to be viewed as differently than what it is? Let’s put it in today’s terms for analysis’s sake. Let’s take September 11th for example: if you lived in New York and heard of this terrible tragedy, then you walked outside of your apartment and saw the twin towers falling, would that not have an effect on you? Or maybe you were a firefighter on call that day, or a radio tower operator, would your life not be changed? It is the significance of the event that changes a person’s perspective, it is the real life experience that changes their attitude, and it is the “life flashing before your eyes” experience that makes you take a step back and look at life situations differently. These men had no idea what they were about to see, but the toll it took on them was an emotion they would never forget, an emotion evoked from the reader that makes this poem memorable.
The most effective part of the poem would be the elaboration provided throughout. The author makes sure that the reader fully grasps the horrific crime scene so that as the poem continues on, the reader will be emotionally drawn in. Olds does a great job at tapping into the reader’s pathos and making sure that it sets the mood for the entire poem.
The second thing that I find interesting about this poem is the intense focus on the ambulance men that have to remove the body. Yes, it is sad that Monroe has passed on but it is worse that these men have to live with the image for the rest of their life. The author does a nice job at setting the scene but uses that to her advantage as the poem comes to a close.
Next is the fact that the poem is a free verse poem. After reading it over and over and trying to analyze it to the best of my ability, I cannot find any particular rhyme scheme that happens during the poem. Olds does a fantastic job of telling a story that it is easy to forget that it is supposed to be a poem. Although the poem can be described as pattern-like, containing five grammatical sentences arranged into twenty-six lines and divided into four verse paragraphs.
As a reader, we must keep in mind that without the title, “Death of Marilyn Monroe,” we would not have a clue which celebrity Olds was referring to unless we knew exactly how Monroe died. Without the title of the poem present, there would be no apparent sense of time and no significant importance to the person who died that tragic day. For all we know, it could have been a husband who just lost their wife who he cared about very much and to handle his anger he decides to sit down and write a poem that just so happens to get published. The only line that implies that it is someone of real importance is “carried her, as if it were she, down the steps” which could signify an important historical figure or celebrity. So why does the author not go into great detail? In my opinion, it is to provide a greater sense of prominence and meaning behind each line. It is considered a historic remembrance poem not only because it describes the death of the great Marilyn Monroe, but because it urges the reader to research and desire to find out more about what is truly behind each line.
Lastly, the focus is shifted to the last four lines, “In the doorway to a room of sleep, listening to a woman breathing, just an ordinary woman breathing.” There is great significance to these concluding lines of the poem, sure it is referring to the final ambulance man’s aftermath, but there is an underlying message and placement of the word “breathing.” In the introduction, the poem began with death yet concludes with a form of life. This minor detail puts emphasis on the beauty of living and the contrast between Marilyn Monroe’s dead body and this woman’s lively one. This proves that it does not matter whether you are the most famous person in the world, or just an ordinary individual that gets up and goes to work each day with no one even knowing your name, life comes to an end. By the end of the poem, we can respect the different stages of emotions the men experienced and can appreciate the gift of life that much more. The sounds of a breath must sound different to that particular ambulance man, the luxuries of life must look different, and he has to accept that life may not look the same for a long time.
Overall, the poem was very easy to understand and connect with. The one issue that I have noticed in poetry, especially in free verse, is the lack of grammatical guideline. I feel like a lot of poems like this have to be read over and over again before you can begin to analyze them because common comma placement fails to exist. Somehow it does not qualify as a story that can simply be written out in a paragraph because the author writes the poem with the intention of a specific rhyme scheme, even if the reader cannot initially understand. On the surface, this poem is nothing more than a recounting of events that happened to three random men after another famous person dies. But looking within, the author’s purpose is slowly unraveled as we read each line.
                                                             
                                                        References
Home : Oxford English Dictionary. Oxford University Press Copyright © 2011Oxford University Press. Web. 28 Nov. 2011. <http://www.oed.com/view/Entry/47766?rskey=We5W7D>.
Olds, Sharon. ""Death of Marilyn Monroe"" Redirect to Teaching Writing with Computers. Web. 28 Nov. 2011. <http://cai.ucdavis.edu/gender/oldspoem.html>.
"The Death of Marilyn Monroe Summary - Sharon Olds - Masterplots II: Poetry, Revised Edition." ENotes - Literature Study Guides, Lesson Plans, and More. Web. 28 Nov. 2011. <http://www.enotes.com/death-marilyn-monroe-salem/death-marilyn-monroe>.

Wednesday, October 12, 2011

Once upon a time there was a father and his son... (Annotation)

The Road by Cormac McCarthy is about the struggles of a father and son as they try to survive in a post-apocalyptic society. If we think about the typical relationship between father and son today it might go a little like this: the father wants to be a good influence on his son, he makes sure he grows up with steady morals, and love in his heart. The father usually plays ball with his son when he is young with high hopes that he will grow to be a star athlete, but ultimately he wants his son to be happy. While the son is young, he usually becomes attached to his father and strives to be like him. As he gets older, the son may become more distant and independent from his father. In a typical father-son relationship disagreements are expected to happen and strains begin to push the son towards his own freedom, this is not the case in The Road. Janet Maslin of the New York Times describes the relationship best, “The father’s loving efforts to shepherd his son are made that much more wrenching by the unavailability of food, shelter, safety, companionship or hope in most places where they scavenge to subsist.” This relationship between the father and son surpasses the norm in the twenty-first century.
Although the reader does not know the son’s age, because there is no sense of time, we can assume that he is still a young boy. He is small enough that the father, in his own weakness, is still able to carry the boy when times get tough. Yet it is evident that the boy is old enough to experience fear, ask questions about the past, and challenge his father on decision-making. One simple word sticks out to me in all of the conversations between the father and son, “okay.”
From the very beginning of the book whenever disagreement is evident between the father and son, one of them always relents, whether they want to or not, with one word: “okay.” Whether it is convincing or sincere is up to the reader to decide based on the context of the word in that chapter. Regardless, it is a word that always pops up in conversation and somehow seems to play a significant role in the dialogue.
Oxford English Dictionary defines okay as an adjective, “all correct, all right, satisfactory, good; well, in good health or order. Another definition (verb) is “to endorse, esp. by marking with the letter ‘OK’; to approve, agree to, sanction or pass.” If we look at the word at its surface we see that it is just a term of reassurance that everything is in good order, but in The Road it breaks the norm of the use of the term in the 21st century because the reader knows that everything is not alright.
The beginning of the book is where we see the first example play out on page ten and eleven when the boy asks his father what he would do if the boy died. The very last word of the dialogue is when the boy responds with “okay.” It would be very easy for the reader to miss out on the importance of this term because it is the first time we see it appear in the text. Next, on page forty three when the father and son are discussing the bareness of the road the son responds with “okay.” There are a total of thirteen instances so far where the only response the boy gives to his father is “okay,” and is usually occurs at the end of the dialogue. In the text, “okay” is ironic because the reader recognizes that everything they are going through is far from okay and that the struggles they experience could potentially be the end of their life. We have to assume that the term “okay” in the story is not one of endearment and understanding but of acceptance regardless of whatever trials the father and son must go through. The boy begins to understand but fear still overcomes him in most circumstances. The “okay” is implying that the father and son will keep fighting for their lives as long as possible. But how much longer will the son be able to respond with this term without reality catching up to him and overwhelming him with a desire to give up? How can the father prevent this from happening?


Works Cited
Maslin, Janet. http://www.nytimes.com/2006/09/25/books/25masl.html. September 25,2006. Online. October 12, 2011.
McCarthy, Cormac. The Road. 2006.

Wednesday, September 21, 2011

The Yellow Wallpaper Annotation

This blog will be an annotation of The Yellow Wallpaper by Charlotte Perkins Gilman. The word “creeping” or “creep” is used multiple times throughout the story as the narrator makes references to the woman behind the wallpaper. The narrator makes a significant shift from the word “crawl” to “creep” which makes the images more impactful on the reader as we are able to connect with the horror of the oppression of women during this time.
Oxford English Dictionary defines the word “creep” as the action of creeping; slow or stealthy motion and “creeping” as the action of moving on the ground, as a reptile, or a human being on hands and knees. This term comes to life in the story in the very last line, “Now why should that man have fainted? But he did, and right across my path by the wall, so that I had to creep over him every time!”
The word crawl in Oxford English Dictionary is defined as a verb and describes the word like this: to move slowly in a prone position, by dragging the body along close to the ground, as a child upon its hands and knees, any short-limbed quadruped or reptile, an insect, serpent, worm, slug. This word is used in the text on page 298, “Sometimes I think there are a great many women behind, and sometimes only one, and she crawls around fast, and her crawling shakes it all over.”
Although these two words are very similar the significance of using the work creep instead of crawl is very different. Crawl implies a movement that is very simple; when the term crawl is used I tend to immediately think of a newborn child just learning how to move on their own for the first time. It is a very innocent and childish term. Creep is a completely different word in my vocabulary, to creep on someone would imply a very dangerous and potentially harmful action. The use of the word creep towards the end of the story allows the readers to see how delirious the narrator had become following the uncontrollable and unfair treatment as a result of her post-partum depression.
The word can also represent the cultural side of the story by bringing out the absolute worst in a woman. The narrator got to the point where she could no longer handle being locked up in a room with hideous wallpaper and a chained bed. As a result, we discover that the woman behind the yellow wallpaper was in fact a representation of herself.
Lastly, after reading a review on Gilman’s The Yellow Wallpaper it is easy to conclude that she did reach the point of insanity. And the fact that Gilman chose to use the term “creep” in the very last sentence of the short story proves most people’s assumptions about the narrator’s mental state to be true.  In response to Gilman’s story, a blog is posted with this quote to sum up all of the nameless narrator’s emotions, “she is the physical manifestation of her imprisonment-- she has become the bedroom's effect. Creeping about stealthily, the narrator acts out her very interiority. She reveals, in turn, "all" that the bedroom hides, parading the bedroom's architectural charade as she circles its perimeter. Her insanity makes her a spectacle, but John is unable to see, unable to understand, and cannot, finally, accept the threat of exposure.” (Dr. Beth Snyder-Rheingold)

Works Cited
              Perkins-Gilman, Charlotte. The Yellow Wallpaper.1899.
Dr. Beth Snyder-Rheingold. http://www.womenwriters.net/domesticgoddess/snyder.htm. November 2003. Online. Sep. 21 2011