The poet's baby son gets a wild-eyed stare that can look “through the ceiling of the room, and beyond,” leading the father to suspect that he might have a budding poet to contend with.
The speaker in Rita Dove's "My Mother Enters the Work Force" dramatizes the irony of all the "work" her mother did before she actually "entered the work force."
James Weldon Johnson's speaker dramatizes his amazement that slaves could have produced a music that would uplift of a entire race from debasement to spiritual attunement.
Gwendolyn Brooks' versanelle offers a minimalist character sketch of three people whom the speaker disdains, and the vacant lot symbolizes her glee at being "all done" with them.
The piece by a very young Sylvia Plath displays some intriguing imagery, although the images remain unconnected and are often jolting.
According to noted poetry critic, Helen Vendler, Sharon Olds' poetry is "self- indulgent, sensationalist, and even pornographic."
Oscar Wilde has remained famous more for his plays and for his philosophical novel, The Picture of Dorian Gray, than for his poems. He was a proponent of "art for art's sake."
Claude McKay's speaker in his English sonnet, "I Shall Return," employs clusters of images that offer solace to a soul long steeped in sorrow.
Unbridled arrogance and overweening vanity have coupled to bring about the destruction of the marriage of Mr. and Mrs. Benjamin Pantier.
Stephen Dobyns' poem, "How to Like It," dramatizes the mental process of an aging man whose doubts and concerns translate into many questions, including, "Why is it all so difficult?"