essay on poem of return

Welcome to Mrs F.M. Richards English online resource site. I hope that you will find the tools provided an invaluable asset to your learning.

Poem of Return

Recorded Lesson

• Terms and Conditions
• Privacy Policy
• Services and Assistance
• _Featured Posts
• _Post ShortCodes
• __Left Sidebar
• __Right Sidebar
• __Full Width
• _Post Cards
• _Post Split
• _Error Page
• _RTL Supported

The complete Analysis of the poem Poem of Return by Jofre Rocha.

 title of the poem .

The title "Poem of Return" by Jofre Rocha suggests that the poem is centered around the theme of returning from a period of exile and silence. It implies a sense of homecoming or reintegration after a prolonged absence or isolation. The poem delves into the emotions, memories, and experiences of those who have been in exile and are now returning. It explores the complex feelings and experiences associated with this return, as well as the profound impact it has had on the individuals involved. The poem seems to emphasize the idea that this return is not necessarily a joyous occasion, as indicated by the refrain "do not bring me flowers," suggesting that the returning individuals may have gone through difficult and painful experiences during their exile. Instead, the poem calls for the remembrance of the struggles, emotions, and sacrifices endured during the period of exile, symbolized by the request to bring dews, tears, and the memories of heroes.

Overall, the title "Poem of Return" sets the stage for a reflective and thought-provoking exploration of the complex emotions and experiences associated with returning from exile and silence.

Themes of the poem

The poem "Poem of Return" by Jofre Rocha explores several themes:

1. **Exile and Return:** The central theme of the poem is the experience of exile and the subsequent return. It delves into the emotions and challenges faced by those who have been exiled from their homeland and are now coming back. The poem conveys the complexity of such a return, emphasizing that it may not be a straightforward or joyful process.

2. **Memory and Nostalgia:** The poem highlights the importance of memory and nostalgia in the return of the exiled. It asks for the remembrance of dews, tears, and the experiences of the past, suggesting that memory is a vital part of the return journey.

3. **Sacrifice and Loss:** The poem alludes to the sacrifices and losses endured during exile, with references to heroes who fell at daybreak. It reflects on the price paid for the cause or ideals that led to the exile.

4. **Social and Political Commentary:** The poem carries political and social undertones, as it speaks of mothers mourning the loss of their sons and heroes who may have fought for a cause. It may be seen as a commentary on the impact of exile and political conflict on individuals and society.

5. **Human Emotions:** The poem explores a range of human emotions, from hunger for love to the lament of the dispossessed. It delves into the depth of human experience and emotion in the context of exile and return.

6. **Contrasts and Irony:** The poem uses contrasts and irony to convey its message. The request not to bring flowers but instead to remember the harsher aspects of exile and the fallen heroes creates a sense of contrast and irony.

Overall, "Poem of Return" touches on the multifaceted nature of the return from exile, incorporating elements of memory, sacrifice, loss, and human emotion in its exploration of this theme.

Tone and Mood of the poem

The tone of "Poem of Return" by Jofre Rocha is somber, reflective, and even somewhat mournful. It conveys a sense of seriousness and contemplation. The poem does not express overt joy or celebration but instead focuses on the complex emotions and experiences associated with returning from exile. It calls for the remembrance of past hardships and sacrifices, which contributes to the overall tone of solemnity.

The mood of the poem is one of nostalgia, longing, and a certain heaviness. It evokes a sense of looking back on a painful past and the experiences of exile. The use of phrases like "tears of dawns which witnessed dramas" and "mothers mourning, their arms bereft of sons" contributes to a mood of sadness and reflection. The poem does not create a particularly uplifting or cheerful mood; instead, it invites the reader to contemplate the challenges and emotions tied to the return from exile.

Imagery of the poem

"Poem of Return" by Jofre Rocha employs vivid imagery to evoke a sense of the experiences and emotions associated with exile and return. Here are some key examples of imagery in the poem:

1. **"tears of dawns which witnessed dramas"**: This imagery combines the tears of dawns with the witnessing of dramas, creating a visual and emotional image of the difficult and dramatic events that occurred during the exile.

2. **"plaint of tumid sexes in star-studded night"**: This image of the plaint (lament) of "tumid sexes" in a star-studded night conveys a sense of longing, desire, and perhaps even sensuality amid the night sky.

3. **"long night of sleeplessness"**: This image captures the restlessness and anxiety experienced during the exile, emphasizing the hardships endured.

4. **"mothers mourning, their arms bereft of sons"**: This image is poignant and sorrowful, depicting the heart-wrenching scene of mothers grieving the loss of their sons, highlighting the human cost of the exile.

5. **"wingless stone in hand"**: The image of a hero holding a "wingless stone" suggests the futility of their actions, as if their efforts were in vain or lacked the means to bring about the desired change.

6. **"thread of anger snaking from their eyes"**: This imagery portrays the intensity of the heroes' emotions with the "thread of anger snaking from their eyes," conveying their determination and passion.

These images collectively contribute to the vivid and evocative nature of the poem, allowing readers to visualize and emotionally connect with the experiences and emotions of those returning from exile.

Symbolism of the poem

"Poem of Return" by Jofre Rocha incorporates various symbols to convey its themes and messages. Here are some of the key symbols in the poem:

1. **Flowers**: The absence of flowers in the poem symbolizes the rejection of conventional, celebratory symbols of return. Instead of flowers, the poem calls for the remembrance of more profound and painful aspects of exile, such as the sacrifices and losses endured during the period of exile.

2. **Dews and Tears of Dawns**: These represent the emotional and difficult experiences of the past, emphasizing the importance of memory and nostalgia in the return from exile. The dews and tears symbolize the collective tears shed during challenging times.

3. **Heroes' Last Wish**: The heroes mentioned in the poem symbolize individuals who have sacrificed for a cause. Their "last wish" and the "wingless stone in hand" represent the persistence of their ideals and the unfulfilled nature of their mission. They symbolize the enduring spirit and commitment of those who have faced adversity.

4. **Thread of Anger**: The "thread of anger snaking from their eyes" is a symbol of the intense emotions and determination of the heroes. It signifies their unwavering commitment to their cause and their readiness to continue the struggle.

5. **Mothers Mourning**: The mothers mourning the loss of their sons symbolize the profound human cost of exile and conflict. They represent the suffering and grief experienced by families torn apart by political turmoil.

6. **Exile and Return**: The concept of exile and return itself serves as a symbol in the poem. It symbolizes the broader human experience of being uprooted from one's home and the desire to come back, even though that return may be bittersweet and fraught with complex emotions.

These symbols add depth and complexity to the poem, allowing readers to interpret its themes and emotions on multiple levels.

"Poem of Return" by Jofre Rocha contains several metaphors and similes that enrich the poem with figurative language. Here are some examples:

1. **Metaphor**: "dews, tears of dawns which witnessed dramas."

   - In this metaphor, "dews" and "tears of dawns" are compared to witnesses of dramas. This implies that the natural elements have observed and absorbed the emotional turmoil and hardships experienced during the exile, turning them into silent witnesses.

2. **Simile**: "plaint of tumid sexes in star-studded night."

   - This simile compares the "plaint" (lament) to "tumid sexes" (intensely passionate or aroused) in a star-studded night. It suggests that the lament is as intense and passionate as the heightened emotions of lovers on a romantic night.

3. **Metaphor**: "wingless stone in hand."

   - The "wingless stone" is a metaphorical way of describing the object held by the heroes. It implies that their efforts or actions lack the ability to soar or achieve their intended goals, emphasizing the futility or difficulty of their mission.

4. **Simile**: "thread of anger snaking from their eyes."

   - This simile compares the anger to a "thread" that snakes from the heroes' eyes. It vividly portrays the intensity and focus of their anger as if it were a tangible, weaving element emanating from their gaze.

These metaphors and similes contribute to the poetic and evocative nature of the poem, allowing readers to connect with the complex emotions and experiences described within it.

Language and diction

The language and diction of "Poem of Return" by Jofre Rocha are carefully chosen to convey the poem's themes and emotions. Here are some characteristics of the language and diction in the poem:

1. **Poetic and Symbolic Language**: The poem employs poetic and symbolic language to create a vivid and evocative atmosphere. It uses imagery, metaphors, and symbols to paint a rich picture of the emotions and experiences associated with exile and return.

2. **Sensory Language**: The poem often appeals to the reader's senses by describing sights and sounds, such as "dews," "tears of dawns," and "star-studded night." This sensory language enhances the reader's connection to the poem.

3. **Elevated and Reflective Tone**: The diction is elevated, reflecting the seriousness and contemplative nature of the poem. It is not a casual or colloquial language but rather a more formal and reflective style.

4. **Concise and Precise Language**: The poem uses concise and precise language to convey its message. Each word and phrase seems carefully selected to carry a specific meaning and emotional weight.

5. **Repetition**: The poem employs repetition for emphasis. The refrain "When I return from the land of exile and silence" is repeated, underscoring the central theme of return and the emotions associated with it.

6. **Figurative Language**: The poem is rich in figurative language, including metaphors and similes, to create layers of meaning and to evoke strong emotions and imagery.

7. **Symbolic Words**: Certain words, such as "heroes," "wings," and "thread of anger," carry symbolic weight and add depth to the poem's meaning.

Overall, the language and diction of the poem are integral to its poetic and reflective nature, allowing readers to explore the complex themes and emotions tied to the experience of returning from exile.

Structure of the poem

The poem "Poem of Return" by Jofre Rocha has a structured form that contributes to its overall impact. Here are some key elements of its structure:

1. **Refrain**: The poem features a repeated refrain, which is the line "When I return from the land of exile and silence." This refrain appears at the beginning and end of each stanza, creating a sense of continuity and emphasizing the central theme of return. The repetition of this line serves as a structural anchor for the poem.

2. **Stanzas**: The poem is divided into stanzas, with each stanza containing a specific set of thoughts and imagery. The stanzas are not uniform in length, but they serve to separate different aspects of the poem's exploration of exile and return.

3. **Parallelism**: The poem employs parallelism by repeating the request "do not bring me flowers" at the beginning and end of each stanza. This repetition reinforces the idea of rejecting conventional symbols of celebration in favor of a deeper remembrance.

4. **Enjambment**: The poem uses enjambment, where lines do not end with punctuation, flowing from one line to the next without a pause. This technique creates a sense of continuity and fluidity, connecting the thoughts and images throughout the poem.

5. **Imagery and Symbolism**: The poem's structure allows for the incorporation of vivid imagery and symbolism, each stanza building on the previous ones to create a multi-layered exploration of the themes.

6. **Progression of Thought**: The poem follows a logical progression of thought, starting with the request not to bring flowers and moving on to the specific elements and memories the speaker wants to be brought back from the land of exile. This progression guides the reader through the poem's thematic development.

Overall, the structure of the poem is purposeful and contributes to the effectiveness of the poem in conveying its themes and emotions. The use of refrains, stanzas, and poetic techniques enhances the impact of the poem's message.

Sound and rhythm

"Poem of Return" by Jofre Rocha exhibits a distinct sound and rhythm that contribute to its overall impact:

1. **Sound Patterns**:

   - The poem features a lyrical and melodic quality in its use of language, with alliteration, assonance, and consonance contributing to the sound. For example, in the line "the immense hunger for love," there is an alliteration of the "m" sound, which adds a musical quality to the line.

   - Consonance can be observed in phrases like "dews, tears of dawns" and "arms bereft of sons," where the repetition of consonant sounds creates a harmonious effect.

2. **Repetition**:

   - The repeated refrain, "When I return from the land of exile and silence," enhances the poem's rhythm and sound. This repetition creates a sense of musicality and reinforces the central theme of return.

3. **Rhythm**:

   - The poem has a structured and rhythmic quality, aided by the consistent use of refrains and stanza breaks. The enjambment and line breaks also contribute to the flow of the poem, with the lines often smoothly transitioning from one to the next.

4. **Cadence**:

   - The poem's cadence varies, reflecting the changing emotional tones within the poem. It can be both reflective and solemn in its rhythm, aligning with the contemplative nature of the poem.

5. **Internal Rhyme**:

   - While not pervasive, the poem includes internal rhyme, where words within a line or between lines rhyme. For example, "dews" and "dawns" in the phrase "tears of dawns" create an internal rhyme.

In summary, "Poem of Return" employs sound and rhythm to create a musical and contemplative quality, making the poem both aesthetically pleasing and emotionally resonant. The repetition, sound patterns, and structured form contribute to the poem's overall auditory impact.

The syntax of "Poem of Return" by Jofre Rocha is carefully structured to convey the poem's themes and emotions effectively. Here are some key aspects of the poem's syntax:

1. **Parallel Structure**: The poem exhibits a parallel structure, with each stanza beginning and ending with the same phrase, "When I return from the land of exile and silence." This parallelism emphasizes the central theme of return and sets a consistent structural pattern for the poem.

2. **Repetition**: The poem makes use of repetition not only in the refrain but also in the request not to bring flowers. This repetition emphasizes the rejection of conventional symbols and the speaker's desire for something deeper and more meaningful.

3. **Enjambment**: The poem often uses enjambment, where lines continue to the next without a pause or end punctuation. This technique contributes to the flow of the poem and allows for a continuous stream of thought and imagery.

4. **Descriptive Phrases**: The poem is rich in descriptive phrases that provide vivid and detailed imagery. These phrases are woven into the sentences, adding depth to the poem's meaning and emotions.

5. **Complex Sentences**: The poem contains complex sentences that extend over multiple lines, allowing the poet to explore the intricacies of exile and return in depth.

6. **Questions and Commands**: The poem contains both questions and commands. The questions prompt reflection on the speaker's desires and the experiences of exile, while the commands emphasize the speaker's requests for what should be brought upon their return.

7. **Descriptive Clauses**: The poem uses descriptive clauses to expand on certain aspects of the imagery and themes, such as describing "tears of dawns which witnessed dramas."

The careful use of syntax in the poem serves to structure the poet's exploration of the complex emotions and experiences related to exile and return. It creates a sense of continuity and purpose in the poem's narrative.

I don't have specific information about the historical or biographical context of "Poem of Return" by Jofre Rocha because the poem appears to be relatively lesser-known, and information about the poet and the context of the poem is limited in my training data. It's possible that the poem is a work of contemporary or relatively obscure poetry.

To fully understand the context of the poem, it would be helpful to research the poet, Jofre Rocha, and the time period in which the poem was written. Examining the poet's life, influences, and the historical events or social issues of the time could provide valuable insights into the poem's themes and meaning. You might also consider looking for literary analyses or scholarly articles that discuss the poem and its context if available.

You Might Like

Post a comment.

Leave a comment behind

#buttons=(Ok, Go it!) #days=(20)

Contact form.

• school Campus Bookshelves
• menu_book Bookshelves
• perm_media Learning Objects
• login Login
• how_to_reg Request Instructor Account
• hub Instructor Commons
• Download Page (PDF)
• Download Full Book (PDF)
• Periodic Table
• Physics Constants
• Scientific Calculator
• Reference & Cite
• Tools expand_more
• Readability

selected template will load here

This action is not available.

13.4: Sample essay on a poem

• Last updated
• Save as PDF
• Page ID 225950

Example: Sample essay written on a Langston Hughes' poem

The following essay is a student’s analysis of Langston Hughes’ poem “I, Too” (poem published in 1926) I, too, sing America. I am the darker brother. They send me to eat in the kitchen When company comes, But I laugh, And eat well, And grow strong. Tomorrow, I’ll be at the table When company comes. Nobody’ll dare Say to me, “Eat in the kitchen,” Then. Besides, They’ll see how beautiful I am

And be ashamed — I, too, am America.

Last name 1

Student Name

Professor Name

English 110

Creating Change by Changing Minds

When I log onto Facebook nowadays and scroll through my feed, if it's not advertisements, it's posts talking about the injustices of the world, primarily from racism. These posts are filled with anger and strong hostility. I'm not saying anger is the wrong emotion to feel when faced with injustice, but when that hostility is channeled into violence, this does not bring about justice or change. Long lasting and effective change can only be made through non-violent methods, which is demonstrated by Langston Huges in his poem, "I, Too." In this short poem, Hughes gives many examples of how to effectively and on-violently address and combat racism.

Huges first uses people's religious morality to enlist his readers to resist racism. He starts the poem with his black narrator asserting, "I am the darker brother" (2). Brother to whom? In the Christian religion, a predominate religion during the times of slavery in the U.S and beyond, the terms brother and sister are used to show equality and kinship, and this human connection transcends race. Everyone is equal as children of God, and are all heirs to the promises of divine love and salvation. Simply by the black narrator calling himself a brother, Hughes is attempting to appeal to white Christian Americans, and to deny this connection is to go against the teachings in the Bible about brotherhood. This is very powerful in multiple ways. Firstly, establishing a sense of brotherhood and camaraderie should make anyone who tarnishes that unity feel ashamed. Secondly if anyone truly wishes to receive God's mercy, they would have to treat everyone as equals, or be punished by God, or even be denied eternal life in heaven all together. This technique is effective and long-lasting because the fear or violence inflicted on a person is temporary, but damnation is eternal.

Hughes further combats racism, not through threats of uprisings or reprisals, but rather by transforming hatred into humor and positivity. In response to his segregation, the narrator says, "They send me to eat in the kitchen/When company comes,/But I laugh,/And eat well/And grow strong" (3-7). With this, Hughes rises about racial exclusion and asks his reader to see it for what it is, ridiculous. He also shows how to effectively combat this injustice which is to learn from it and to feel empowered by not letting racists treatment from others hurt, define or hold you back. Additionally, this approach is an invitation to Hughes' white readers to be "in on the joke" and laugh at the mindless and unwarranted exclusion of this appealing and relatable person who is full of confidence and self-worth. Through his narrator, Hughes diffuses racial tensions in an inclusive and non-threatening way, but the underlying message is clear: equality is coming soon. We know he believes this when the poem's speaker states, "Tomorrow,/I'll be at the table/When company comes" (8-10). There is a strong assertion here that racism will not be permitted to continue, but the assertion is not a threat. Hughes carefully navigates the charged issue of racial unity here, particularly at the time he wrote this poem when segregation was in many places in the U.S. the law. The different forms of segregation-emotional, physical, financial, social-that blacks have suffered has and continues to result in violence, but Hughes here shows another path. Highes shows that despite it all, we can still make amends and site down at a table together. As a human family, we can overcome our shameful past by simply choosing to peacefully come together.

Finally Hughes uses American patriotism as a powerful non-violent method to unite his readers to combat racism. The poem concludes, "Besides,/They'll see how beautiful I am/And be ashamed-/I, too, am American" (15-18). Notice how he uses the word American and not American. He is not simply just an inhabitant of America he IS American in that he represents the promise, the overcoming of struggle, and the complicated beauty that makes up this country. He is integral to America's past, present and future. He is, as equally as anyone else, a critical piece in America's very existence and pivotal to its future. As Hughes united his readers through religion and the use of "brother," here he widens the net beyond religion and appeals to all Americans. As we say in our pledge of allegiance, we stand "indivisible with liberty and justice for all." To hate or exclude someone based on race, therefore, is to violate the foundational and inspirational tenants of this country. Hughes does not force or attack in his poem, and he does not promise retribution for all the harms done to blacks. He simple shows that racism in incompatible and contradictory to being truly American, and this realization, this change of heart, is what can bring about enduring change.

It has been shown over and over that violence leads to more violence. Violence might bring about change temporarily, but when people are stripped of choice, violence will reassert itself. Some of the most dramatic social movements that have brought about real change have used non-violent means as seen in Martin Luther King Jr's non-violent protests helping to change U.S. laws and ensure Civil Rights for all, as seen in Gandhi's use of non-violent methods to rid India of centuries of oppressive British rule, and as seen in Nelson Mandela's persistent and non-violent approaches of finally removing Apartheid from South Africa. However, we are not these men. Mos tof us are not leaders of movements, but we are each important and influential. We as individuals can be immensely powerful if we choose to be. We can choose to apply the examples and advice from enlightened minds like Hughes, King, Gandhi, and Mandela. When we see on Facebook or in the news on in-person people targeting or excluding others, or inciting violence againist a person or group based on race, or sexual orientation, or religion, or any other arbitrary difference selected to divide and pit us against one another, we can choose instead to respond with kindness, with humor, with positivity, and with empathy because this leads to the only kind of change that matters.

Works Cited

Hughes, Langston. "I, Too." African-American Poetry: An Anthology 1773-1927 , edited by Joan R.

Sherman, Dover Publications, Inc. Mineola, New York. 1997, p. 74.

• Themed Months
• What to Read When
• The First Book
• Funny Women
• Voices on Addiction
• We Are More
• Conversations With Writers Braver Than Me
• All Columns
• Poetry Book Club
• Letters in the Mail (from Authors!)
• Rumpus Shirts & Sweatshirts

Back into The Garden: The (Re)turn at the End of Ross Gay’s Poem “To the Mulberry Tree”

Dan hodgson.

• April 19, 2024

Close Reads is an essays column exploring a specific page, paragraph, or sentence from a book, film, piece of music, or other media. This essay focuses on a section of the poem “ To The Mulberry Tree ” from Ross Gay’s Catalog of Unabashed Gratitude .

and seeing me seeing into the terrible future she put softly one hand on my chin and the other in my hair turning my head away from what wreckage waited in there and back into the leaves, which too I will do to you,

Ross Gay’s alliterative turn away “from what wreckage / waited in there” is the coolest move. A no look pass to a cutting wingman who doesn’t just soar, but ascends with all of us on his back. The teenage girl turning the boy’s gaze back “into the leaves” is my favorite poetic trick. But, no, that’s wrong. It is not a trick. Trick implies deception. Trick denotes a game played on reality. This is trick’s opposite. A genuine, organic insight not gaming reality but revealing the possibility of a different reality. A reality away from eons of exiles, away from Edens forever lost, away not from tragedy, but from the tragic disposition of so much great art to concretize the tragic at the expense of all else. Instead, Gay permits us to (re)turn back, whenever we so choose, to the garden—here, specifically, the leaves and fruit of the mulberry tree—from which we are often warned a cherubim and flaming sword now protect against our return. “To the Mulberry Tree” offers a different read on human frailty—our fallenness and brokenness—and it extends an invitation to forever transcend linearity through a poetic moment—now in us and, therefore, out of time—back to “lips and fingers blushed purple, / the faint sugar ghosting our mouths.”

Although it is not the final turn or image of the poem, I get chills when the teenage girl with the glasses and the “terrible future” gently turns the child that will become the poem’s speaker away from “what wreckage / waited in there” and “back into the leaves” of the mulberry tree because I have been taught that there is no turning away from “wreckage;” that, in fact, great or, at least, serious art is always a turn to the “wreckage.” So when I read first of her realizing what the child is figuring out—“seeing [him] seeing / into [her] terrible future”—and then reacting not with shame or embarrassment, but gentleness—“she put softly one hand on [his] chin”—and care—“turning [his] head away”—I am shocked and heartened.

But it is when Gay, breaking the fourth wall (which, yes, he does often and does well), turns us—“which too I will do to you”—like that child “back into the leaves,” that I am not only shocked and heartened, but baptized in the possibility of a different poetic reality. A reality that doesn’t ignore or try to rewind the tragic in some attempted erasure, some prelapsarian trick—here, yes, I mean trick—but, instead, opens the possibility that the tragedy of a story, of a life, even of a moment, need not singularly define that moment. How easy it would be to make that girl into “what wreckage / waited in there.” How easy it would be to make that girl into the details under the tree—“a filthy blanket / and a pack of cigarettes / and tinfoil wrappers crumpled and shimmering / and the frayed remnants of a rope.” How easy it would be to make that girl into just another Eve. And for those, like me, who use literature as a filter, as a lens from which to try and understand what the hell it might mean to be human in this world, not making her into those details—into that “wreckage”—but, instead, giving her both insight and the most gentle and caring of actions is somewhat miraculous.

The ascending of the boy’s gaze from “beneath the tree”—where that “terrible future lies”—to “back into the leaves” is a poetic transcendence that reminds me in a different way of how I felt reading the Juliana Spahr line: “immersed in a pain that has an analogy only to the intensity of pleasure.” Spahr’s line from a poem in the collection this connection of everyone with lungs is about the fracturing of those grieving death by “human hands”—it imagines the pit of pain at the peak of pleasure. But the poem is also about air—the collected “space between the hands”—that through our breathing connects all of us: the killers and the killed and the grieving. I feel a similar mimetic ascension in Gay’s delineation of the upward turn “back into the leaves”—how much different that is than “back to picking berries” or some other grounded iteration. In that rise, I hear the same rebellion against dichotomous thinking. Gay is writing about how we break and are broken, but also about how it is in our very brokenness that we can find earthly transcendence or ascension in the caring we give and get from other broken folks—even caring we get from those who continue (or whose memories continue) to break us.

Let us not forget, that Gay first introduces the taste of the mulberry—a fruit that he goes to great lengths in this poem to defend from those “numbskulls” who call it “insipid”—in the most disturbing, hilarious way. The poem opens with the speaker barefoot and in his garden, “mouth agape and swooped in a grin” about to eat a gold currant tomato when a bird shits “half in / and half on [his] / sun-warmed chin.” Revolting, yes. But although this “jiggles” the speaker from his “reverie,” it doesn’t stop him from “detect[ing] swirled in the shit / the sweet of the [mulberry].” Now, there are many ways to defend a berry, to get folks to understand how tasty a fruit is, but I have yet to read another that goes to such lengths to disgust in the name of gustatory praise. And I could write so much more about the opening of this poem, but, instead, I want to stay focused on the turn “away from what wreckage / waited in there.”

Wreckage does not disappear. The “terrible future” is always under the tree, just a short line in front (or behind, depending on how you see a poem) from the turn back “into the leaves.” And the “sweet of the thing”—in this poem, anyway—is always going to be “swirled in the shit.” The sacred with the profane. It is here in this emulsion, this mixed and liminal—or as Fred Moten might say “sublime”—space of shit and sweet, that Gay lifts the restrictions that archetypally exile us from the garden; and, instead, shows how innocence is not something to be lost—just like a life is never one act or action or event: no matter how hard this is for us to remember. But luckily, earlier in the poem, during that transitionless transition from the speaker’s present day garden to the flashback, the girl gives us brilliant advice for remembering:

                        …for jumping and grabbing at once like this a soft thing is hard be gentle she said…

And, true to the girl’s advice—and his own falling line break—Gay is gentle in the final lines of the poem when he lets us know that there is a “tree now grown inside” us that we can return to when things get hard and “[gather] fruit / for good.” This final line is a rereading, a recalculation of linearity, or really just a reminder that if we are “gentle,” we can travel back to any part of a memory and experience it again because it is always part of us—we are always all parts of our past. And, for me, this explicit invitation for return—this reminder of the never lost—is an invitation also at redemption and forgiveness and care; this intentional swirling of the innocent and the broken is a gift as gentle and caring as the girl’s turning of the boy’s eyes “back into the leaves.” And it is a joy to read.

Dan Hodgson is a writer and teacher based in a fertile river valley.

You May Also Like

National Poetry Month: Suzi F. Garcia

• Suzi F. Garcia

National Poetry Month: Chrysanthemum

• Chrysanthemum
• April 18, 2024

National Poetry Month: KB Brookins

• KB Brookins
• April 17, 2024

How to Feed a Dying Body

• April 16, 2024

Input your search keywords and press Enter.

Love poetry and connecting with authors? Join the Rumpus Poetry Book Club to receive a new collection every month and an invite to a subscriber-only conversation with the author and a Rumpus Editor.

The Poem “The Spoiler’s Return” by Derek Walcott Essay (Critical Writing)

One can study this work of literature regardless of its context or the author’s intention. In the poem, the Spoiler is a calypsonian who has borrowed permission from his master Satan to visit Trinidad from hell. The Spoiler reflects of his time in hell and refers to Satan as the ‘hot boy’. Due to Satan’s favoritism towards Spoiler, he is sent back to earth not as a mere flea or bedbug but as a man wearing a suit.

From the psychoanalytic point of view, his meditations on Trinidad’s current social and political situation depict that those in power bring forth their predatory instincts – referred to as ‘sharks’ – to exploit ordinary people ‘small fry’ (Walcott). As such, Walcott projects the theme of corruption by denoting the Spoiler’s return in a suit as representative of the powerful people in society that have emerged from hell to bring terror to the Trinidadian people.

In his 1981poem, The Spoiler’s Return , Walcott uses the post-colonial methodologies to criticize the corruption in Trinidad. One of the important concepts for postcolonial theory is the concept of race. From this point of view, race is not a biological concept, but a social one. That is exactly what is seen in the poem where Walcott describes the exploitation of Trinidad people by minority group. The poem describes the Caribbean as having Edenic beauty but is ruled with a color and attire that is similar in intentions as that of the colonial government. In essence, the poem uses a lamenting tone in which Walcott cries out for aid to his fellow satirists Pope, Juvenal, and Martial (Walcott). The gloomy picture and dark characterization of the characters in the poem portrays the extent to which Trinidad has fallen in the pit of corruption, malice and exploitation from the wealthy and powerful in society.

Walcott, Derek. “ The Spoiler’s Return. ” Zoboko. 2022. Web.

• Chicago (A-D)
• Chicago (N-B)

IvyPanda. (2023, December 8). The Poem "The Spoiler's Return" by Derek Walcott. https://ivypanda.com/essays/the-poem-the-spoilers-return-by-derek-walcott/

"The Poem "The Spoiler's Return" by Derek Walcott." IvyPanda , 8 Dec. 2023, ivypanda.com/essays/the-poem-the-spoilers-return-by-derek-walcott/.

IvyPanda . (2023) 'The Poem "The Spoiler's Return" by Derek Walcott'. 8 December.

IvyPanda . 2023. "The Poem "The Spoiler's Return" by Derek Walcott." December 8, 2023. https://ivypanda.com/essays/the-poem-the-spoilers-return-by-derek-walcott/.

1. IvyPanda . "The Poem "The Spoiler's Return" by Derek Walcott." December 8, 2023. https://ivypanda.com/essays/the-poem-the-spoilers-return-by-derek-walcott/.

Bibliography

IvyPanda . "The Poem "The Spoiler's Return" by Derek Walcott." December 8, 2023. https://ivypanda.com/essays/the-poem-the-spoilers-return-by-derek-walcott/.

• Hibridity in Walcott poetry and drama
• We Wear the Mask by Dunbar and Crusoe’s Journal by Walcott
• Twentieth Century Literature: Derek Walcott and Lu Xun
• Coca-Cola Company’s Product Pricing
• Aircraft Accident and Human Factor
• Court Observation: Ausar Walcott’s Trial
• Mythology: The Garden of Eden Theory
• The Poem "The Flea" by John Donne
• Satire as a Tool for Fighting Political Impunity
• John Donne Poems "The Apparition" and "The Flea"
• The "On First Looking into Chapman's Homer" Poem by Keats
• Sonnet 55 by William Shakespeare
• The "Quinceañera" Poem by Judith Ortiz Cofer
• Achilles' Moral Ambiguity in "The Iliad" by Homer
• The Social Concern and Challenges in A Place to Stand by J.M. Baca

Advertisement

Supported by

Taylor Swift’s ‘Poets’ Arrives With a Promotional Blitz (and a Second LP)

The pop superstar’s latest album was preceded by a satellite radio channel, a word game, a return to TikTok and an actual library. For her fans, more is always welcome.

• Share full article

By Ben Sisario

Taylor Swift was already the most ubiquitous pop star in the galaxy, her presence dominating the music charts, the concert calendar, the Super Bowl, the Grammys.

Then it came time for her to promote a new album.

In the days leading up to the release of “The Tortured Poets Department” on Friday, Swift became all but inescapable, online and seemingly everywhere else. Her lyrics were the basis for an Apple Music word game . A Spotify-sponsored, Swift-branded “ library installation ,” in muted pink and gray, popped up in a shopping complex in Los Angeles. In Chicago, a QR code painted on a brick wall directed fans to another Easter egg on YouTube. Videos on Swift’s social media accounts, showing antique typewriters and globes with pins, were dissected for clues about her music. SiriusXM added a Swift radio station; of course it’s called Channel 13 (Taylor’s Version).

About the only thing Swift didn’t do was an interview with a journalist.

At this stage in Swift’s career, an album release is more than just a moment to sell music; it’s all but a given that “The Tortured Poets Department” will open with gigantic sales numbers, many of them for “ghost white,” “phantom clear” and other collector-ready vinyl variants . More than that, the album’s arrival is a test of the celebrity-industrial complex overall, with tech platforms and media outlets racing to capture whatever piece of the fan frenzy they can get.

Threads, the newish social media platform from Meta, primed Swifties for their idol’s arrival there, and offered fans who shared Swift’s first Threads post a custom badge. Swift stunned the music industry last week by breaking ranks with her record label, Universal, and returning her music to TikTok, which Universal and other industry groups have said pays far too little in royalties. Overnight, TikTok unveiled “The Ultimate Taylor Swift In-App Experience,” offering fans digital goodies like a “Tortured Poets-inspired animation” on their feed.

Before the album’s release on Friday, Swift revealed that a music video — for “Fortnight,” the first single, featuring Post Malone — would arrive on Friday at 8 p.m. Eastern time. At 2 a.m., she had another surprise: 15 more songs. “I’d written so much tortured poetry in the past 2 years and wanted to share it all with you,” she wrote in a social media post , bringing “The Anthology” edition of the album to 31 tracks.

“The Tortured Poets Department,” which Swift, 34, announced in a Grammy acceptance speech in February — she had the Instagram post ready to go — lands as Swift’s profile continues to rise to ever-higher levels of cultural saturation.

Her Eras Tour , begun last year, has been a global phenomenon, crashing Ticketmaster and lifting local economies ; by some estimates, it might bring in as much as $2 billion in ticket sales — by far a new record — before it ends later this year. Swift’s romance with the Kansas City Chiefs tight end Travis Kelce has been breathlessly tracked from its first flirtations last summer to their smooch on the Super Bowl field in February. The mere thought that Swift might endorse a presidential candidate this year sent conspiracy-minded politicos reeling .

“The Tortured Poets Department” — don’t even ask about the missing apostrophe — arrived accompanied by a poem written by Stevie Nicks that begins, “He was in love with her/Or at least she thought so.” That establishes what many fans correctly anticipated as the album’s theme of heartbreak and relationship rot, Swift’s signature topic. “I love you/It’s ruining my life,” she sings on “Fortnight.”

Fans were especially primed for the fifth track, “So Long, London,” given that (1) Swift has said she often sequences her most vulnerable and emotionally intense songs fifth on an LP, and (2) the title suggested it may be about Joe Alwyn, the English actor who was Swift’s boyfriend for about six years, reportedly until early 2023 . Indeed, “So Long” is an epic breakup tune, with lines like “You left me at the house by the heath” and “I’m pissed off you let me give you all that youth for free.” Tracks from the album leaked on Wednesday, and fans have also interpreted some songs as being about Matty Healy , the frontman of the band the 1975, whom Swift was briefly linked to last year.

The album’s title song starts with a classic Swift detail of a memento from a lost love: “You left your typewriter at my apartment/Straight from the tortured poets department.” It also name-drops Dylan Thomas, Patti Smith and, somewhat surprisingly given that company, Charlie Puth, the singer-songwriter who crooned the hook on Wiz Khalifa’s “See You Again,” a No. 1 hit in 2015. (Swift has praised Wiz Khalifa and that song in the past.)

Other big moments include “Florida!!!,” featuring Florence Welch of Florence + the Machine, in which Swift declares — after seven big percussive bangs — that the state “is one hell of a drug.” Jack Antonoff and Aaron Dessner, the producers and songwriters who have been Swift’s primary collaborators in recent years, both worked on “Tortured Poets,” bringing their signature mix of moody, pulsating electronic tracks and delicate acoustic moments, like a bare piano on “Loml” (as in “love of my life”).

As the ninth LP Swift has released in five years, “Tortured Poets” is the latest entry in a remarkable creative streak. That includes five new studio albums and four rerecordings of her old music — each of which sailed to No. 1. When Swift played SoFi Stadium near Los Angeles in August, she spoke from the stage about her recording spurt, saying that the forced break from touring during the Covid-19 pandemic had spurred her to connect with fans by releasing more music.

“And so I decided, in order to keep that connection going,” she said , “if I couldn’t play live shows with you, I was going to make and release as many albums as humanly possible.”

That was two albums ago.

Ben Sisario covers the music industry. He has been writing for The Times since 1998. More about Ben Sisario

Inside the World of Taylor Swift

A Triumph at the Grammys: Taylor Swift made history  by winning her fourth album of the year at the 2024 edition of the awards, an event that saw women take many of the top awards .

‘The T ortured Poets Department’: Poets reacted to Swift’s new album name , weighing in on the pertinent question: What do the tortured poets think ?  

In the Public Eye: The budding romance between Swift and the football player Travis Kelce created a monocultural vortex that reached its apex  at the Super Bowl in Las Vegas. Ahead of kickoff, we revisited some key moments in their relationship .

Politics (Taylor’s Version): After months of anticipation, Swift made her first foray into the 2024 election for Super Tuesday with a bipartisan message on Instagram . The singer, who some believe has enough influence  to affect the result of the election , has yet to endorse a presidential candidate.

Conspiracy Theories: In recent months, conspiracy theories about Swift and her relationship with Kelce have proliferated , largely driven by supporters of former President Donald Trump . The pop star's fans are shaking them off .

Return Migration and Human Capital Flows

We bring to bear a novel dataset covering the employment history of about 450 million individuals from 180 countries to study return migration and the impact of skilled international migration on human capital stocks across countries. Return migration is a common phenomenon, with 38% of skilled migrants returning to their origin countries within 10 years. Return migration is significantly correlated with industry growth in the origin and destination countries, and is asymmetrically exposed to negative firm employment growth. Using an AKM-style model, we identify worker and country-firm fixed effects, as well as the returns to experience and education by location and current workplace. For workers in emerging economies, the returns to a year of experience in the United States are 59-204% higher than a year of experience in the origin country. Migrants to advanced economies are positively selected on ability relative to stayers, while within this migrant population, returnees exhibit lower ability. Simulations suggest that eliminating skilled international migration would have highly heterogeneous effects across countries, adjusting total (average) human capital stocks within a range of -60% to 40% (-3% to 4%).

We thank seminar participants at UC Berkeley Macro-Lunch, CKGSB, West Coast Trade Workshop 2024, NBER Labor Studies 2024 Spring Meeting, West Coast Spatial Workshop 2024, and Wharton Real Estate. We are particularly grateful to Gaurav Khanna, Mathilde Muñoz, Emi Nakamura, Andrés Rodríguez-Clare and Benjamin Schoefer. This work was supported by the Fisher Center for Real Estate and Urban Economics and the Clausen Center at UC Berkeley. All remaining errors are ours. The views expressed herein are those of the authors and do not necessarily reflect the views of the National Bureau of Economic Research.

MARC RIS BibTeΧ

Download Citation Data

Working Groups

Conferences, more from nber.

In addition to working papers , the NBER disseminates affiliates’ latest findings through a range of free periodicals — the NBER Reporter , the NBER Digest , the Bulletin on Retirement and Disability , the Bulletin on Health , and the Bulletin on Entrepreneurship  — as well as online conference reports , video lectures , and interviews .