Reviews of Selected Poems in Bite In 1 & 2

Reviews of Selected Poems

To the students and budding poets of the West Indies

—      Past, present and future.

A Brief Introduction to the Series: Bite In 1 & 2

Bite In is a three-book graded course for teaching students to understand and enjoy poetry at Secondary school level. This third edition offers a carefully graded selection of poems to cater for all abilities.

Both Bite In 1 & 2  are recommended to people who are just starting poetry, like children for example or preteens. Similarly, as with Bite In 1, this anthology (collection) of poems, Bite In 2, has poems arranged in several sections. They are “People and Stories”, “Creatures and Things”, “Places and Times” and “Looking at Life”. Each section consists of fairly simple poems which are usually easy to read and to interpret. A favourite poem for many is one which appears right before the contents page in the series called “How to Eat a Poem” by the poet Eve Merriam (from which the series gets the title Bite In); which compares enjoying and reading poetry to eating a delicious fruit. Indeed, this is the intention behind the Bite In series, that readers of poetry, particularly young readers, will discover a love and passion for reading, responding to and writing their own poems. It is hoped that through the teaching of poetry teachers of this literary genre will engender in their students a profound willingness to “bite into” the creative possibilities which the study of poetry offers to everyone exposed to this literary art form, especially young impressionable minds.

There are also a few poems in this series which introduces children to poems written by young poets of similar ages. Following each section are a few activities which tests the reader’s understanding of each poem presented in the text as well as to help the reader learn more about poetry in general. Most of it is comprehension.

Thus, without further ado, let us all (novice, student and teacher) …

Bite In! Bon appétit!

Bibliographic information

Title:    Bite In 1 & 2

Editor: Cecil Gray

Publisher: Thomas Nelson and Sons Ltd, © 1994

Selected poems:

Poem: “The Song of the Banana Man”

Poet: Evan Jones

Setting: Jamaica

Type/Style: Combines the genres of rhymed, rhythm, and dramatic narrative poems (form of poetry that tells a story; often presenting the voices of a narrator and characters as well).

Point of view: First person perspective (persona)

"The Song of the Banana Man"

Touris, white man, wipin his face,
Met me in Golden Grove market place.
He looked at m'ol' clothes brown wid stain ,
An soaked right through wid de Portlan rain,
He cas his eye, turn up his nose,
He says, 'You're a beggar man, I suppose?'
He says, 'Boy, get some occupation,
Be of some value to your nation.'
I said, 'By God and dis big right han
You mus recognize a banana man.

'Up in de hills, where de streams are cool,
An mullet an janga swim in de pool,
I have ten acres of mountain side,
An a dainty-foot donkey dat I ride,
Four Gros Michel, an four Lacatan,
Some coconut trees, and some hills of yam,
An I pasture on dat very same lan
Five she-goats an a big black ram,
Dat, by God an dis big right han
Is de property of a banana man.

'I leave m'yard early-mornin time
An set m'foot to de mountain climb,
I ben m'back to de hot-sun toil,
An m'cutlass rings on de stony soil,
Ploughin an weedin, diggin an plantin
Till Massa Sun drop back o John Crow mountain,
Den home again in cool evenin time,
Perhaps whistling dis likkle rhyme,
(Sung)Praise God an m'big right han
I will live an die a banana man.

'Banana day is my special day,
I cut my stems an I'm on m'way,
Load up de donkey, leave de lan
Head down de hill to banana stan,
When de truck comes roun I take a ride
All de way down to de harbour side—
Dat is de night, when you, touris man,
Would change your place wid a banana man.
Yes, by God, an m'big right han
I will live an die a banana man.

'De bay is calm, an de moon is bright
De hills look black for de sky is light,
Down at de dock is an English ship,
Restin after her ocean trip,
While on de pier is a monstrous hustle,
Tallymen, carriers, all in a bustle,
Wid stems on deir heads in a long black snake
Some singin de sons dat banana men make,
Like, (Sung) Praise God an m'big right han
I will live an die a banana man.

'Den de payment comes, an we have some fun,
Me, Zekiel, Breda and Duppy Son.
Down at de bar near United Wharf
We knock back a white rum, bus a laugh,
Fill de empty bag for further toil
Wid saltfish, breadfruit, coconut oil.
Den head back home to m'yard to sleep,
A proper sleep dat is long an deep.
Yes, by God, an m'big right han
I will live an die a banana man.

'So when you see dese ol clothes brown wid stain,
An soaked right through wid de Portlan rain,
Don't cas your eye nor turn your nose,
Don't judge a man by his patchy clothes,
I'm a strong man, a proud man, an I'm free,
Free as dese mountains, free as dis sea,
I know myself, an I know my ways,
An will sing wid pride to de end o my days
(Sung)Praise God an m'big right han
I will live an die a banana man.'

Evan Jones, "Song of the Banana Man," from The Penguin Book of Caribbean Verse in English. Copyright © 1986.

Historical Background

This poem belongs to the pre-independence era and does not represent the latest modernist or post-modernist developments in contemporary Jamaican literature. But it solidly represents Jamaica in several ways, rooted in one of the strong traditions of the country economically, industrially, and politically, and in very apposite addition to those, speaks to the development of the literature. It may be regarded as a highly representative specimen of Jamaican poetry.

“The Song of the Banana Man” by Evan Jones was written in 1956 and has never faded as a prominent poem. It has been published in many anthologies and has to be among the most frequently performed Jamaican poems, rivaling the works of Louise Bennett. Jones, who was born in Portland, Jamaica in 1927 and took up residence in England in 1956, was known as a prominent writer in that country, but was known for only two poems. The second one is “The Lament of the Banana Man”, released in 1962, the year of independence.

As a single poem, “Song of the Banana Man” has a place among the works that advanced West Indian literature in the 1950s. “Lament of the Banana Man” is much lesser in achievement, but relevant.

“Song of the Banana Man” is drawn from biography since it describes an environment in which Jones grew up as a boy. His father was a farmer in the hilly Portland countryside, and he went to Munro College, a prestigious boarding school for boys, also located in a rural setting. The poem belongs to the developing poetry of nationalism that has its origins in the 1930s, a movement in existence long before independence. But it includes the period during which Jamaica held its first election under universal adult suffrage in 1944. This is regarded as the long run-up to independence with roots even earlier – in the industrial unrests and the rise of working-class movements in the 1930s.

This poem is a striking piece of realism at a time when the strength of the Black worker, the industry of the farmer, the waterfront worker and the nobility of the Black race were celebrated.  It also included struggle, bearing in mind the riots of the late thirties and the rise of trade unions.

In literature, there was prevailing nationalism, consciousness, and liberation among West Indian writers. Jones’s power-driven celebration of the banana farmer takes in a number of factors. There is pride in the countryside, in the agricultural occupation and respect for the peasantry. Jamaica is still a major exporter of bananas, and there is a sense of the banana man’s contribution to industry and national economy in the description of the English ship, the docks, and the busy waterfront work.  The poem exploits irony, since the tourist mistakes the poem’s narrator (persona) for “a beggar man” who was of no “value to his nation”. The physical strength symbolised by “dis big right han” is in line with the masculinity inherent in Manley’s and Marriott’s works of sculpture and the poetry of Philip Sherlock. There is the acclamation of self-reliance and independence, transferred from man to developing nation.

The poem is stylistically a creature of its time. Jones attempts a narrative in Jamaican Creole (Patois). This is not perfected as it is still dominated by Standard English syntax. Jones achieved the rhythm of the patois speech that escaped more advanced writers like Claude McKay and Marson, although his creole is repeatedly Anglicised. But this is a mark of the time and a scribal issue that it took Louise Bennett to conquer. Like her, however, he made a success of heroic couplets in a dramatic narrative monologue.

“The Song of the Banana Man” then, is in many ways a representative Jamaican poem. While it is the work of a man whose poetic renown rested on a single poem, it is a poem that has expanded the poetic renown of a nation. It is also suggested by some critics that this is a fitting tribute to the agricultural workers (specifically the banana farmers) of rural Jamaica.

Adapted from In tribute to Jamaica, by Al Creighton August 16, 2020. https://www.stabroeknews.com/2020/08/16/sunday/arts-on-sunday/in-tribute-to-jamaica/

Analysis

While harvesting bananas might not be the most glorious and respected job, this poem is about a man that takes great pride in his work and his life. We could all use some inspiration to take pride in ourselves, to take inspiration from our work, to find joy in life. Here we have it from the “lowly” Banana Man.

The main character in the poem is a farmer who earns a living in the harsh hillsides of Portland, Jamaica. The farmer is proud of what he does and isn't afraid of facing those who criticize him. This poem was one of the first attempts by any Jamaican to use Jamaican creole in a way that could have a universal understanding. 

This poem directs its attention to the themes of diversity, pride, poverty, culture, judgment, self worth, stereotypes, racial prejudice, and classism.

Listening to “The Song of the Banana Man” read aloud is simply a must. The rhyme scheme (rhyming couplets), rhythmic (musical) melody, and dramatic overtones (setting words to music) suggest the poem is best understood and appreciated when recited as a choral performance. As such, students would have this poem stuck in their minds for days and months afterwards.

Aside from the wonderful lilt of the Jamaican accent, what probably most stands out about the poem is the simplicity of the subject matter. Poetry often gets perceived as being hard to understand, but many poems are written in user-friendly language about common subjects we all can relate to. You probably also noticed that is is written in rhymed couplets which means each set of two lines rhymes.

This poem is a reflection, celebration, and adoration of (bestowing honour on the) ordinary working class agricultural workers of Jamaica, specifically the banana farmers. It serves as a reflection and immortalized reminder to the reader of the songs, chants, poems, and folk tales of the lives of banana workers in a traditional context, and build learners’ understanding of where their food comes from and the hard work that goes into producing it.

Students will have insight from Evan Jones, as they develop an understanding of the role of music and poetry in shaping culture, identity and civil rights activism.

By using Jamaican folk songs and rhythms in oral presentation of this poem, Jones invites students to explore the history of banana workers, their identities, history and dialects. As such, it is great for lessons in English and History (particularly Black History), as well as Geography, issues related to food security, and sustainable economic development in Small Island Developing States (SIDS).

Bananas are grown both on small family farms and much larger commercial plantations. The banana industry provides employment for thousands of people in Latin America, the Caribbean, Southeast Asia, and West Africa. Workers in the banana industry often work for low wages, with no security, and they handle unhealthy and environmentally hazardous chemicals without adequate protection.

Smallholder farmers dependent on growing bananas for a living, face many difficulties such as, the rising costs of production and the severe impacts of changing climate which make production unpredictable and unsustainable. Fairtrade ensures that farmers and workers have rights to safe working conditions and improved incomes.

Activities

• Analyse the musical qualities (rhythmic overtones), lyrics and rhyming pattern of the poem to gain an understanding of the lives of banana workers.

Activity 1: Music and meaning - understanding The Banana Boat Song

You may have heard that music is a language, expressing feelings and ideas through the medium of sound. What exactly does this mean?

Music and verse can offer us an insight into the lives of other people and listening to music can be an engaging way for students to learn more about the working lives and cultures of people in other parts of the world.

As a class listen to Day-O (The Banana Boat Song) by Harry Belafonte. You can find these online on many music websites including here on YouTube from the Muppets show which is especially good for younger children.

https://www.youtube.com/watch?v=P-4xyg4PU-U

Harry Belafonte Banana Boat Song (Day O) + lyrics

https://www.youtube.com/watch?v=qKqOwWwOHKc

Distribute print outs of the lyrics. Students can listen, annotate and make notes on the verses, reacting or responding to anything in the lyrics, or in the music itself.

Respond to the music
In pairs or small groups students will use their English exercise books to answer these questions.

1. Have you ever heard this song? If so, where?
2. Where did you hear it?
3. What emotion(s) do you feel when you hear the song?
4. Write any words you think of in connection to this song.

Then, once students have written their answers, ask them to share with the class what they have written.

Discuss as a group

Consider the questions below.

1. Can the song give us any insight into the conditions and lives of those involved in the banana trade?
2. Why might songs like this have become so popular?
3. Do you think the song is effective in what it is trying to do? Why?

Activity 2: Song of the Banana Man

Poetry activity

Using this poem, allow students to highlight words and phrases to discuss and take notes on the verses, reacting or responding to anything in the poem of interest. You can give them the opportunity to read or perform verses of the poem.

Responding to the poem

In pairs or small groups give the students some

paper to answer these questions.

1. What can we assume about the tourist and his

attitude towards locals?

2. Why may this poem be called a song and in

what ways does it use rhythm and rhyme?

3. What historical aspects may have shaped the

response of the banana man?

4. What else is he other than a banana man? 

Come back together as a class and give students
the opportunity to present and discuss their ideas.

Additional activity: Students can write their own verse about their lives, identities and struggles. Use the articles and interviews on the Fairtrade Foundation website (use link below) to research more about what banana workers say about their work: http://www.fairtrade.org.uk/Farmers-and-Workers/Bananas

Responding to the music and meaning of the poem

Further information for Activity 1: Day-O (Banana Boat Song)

Day-O (Banana Boat Song) may sound like just pop song but it originated as a Jamaican folk song with its roots in a form of music known as mento which greatly influenced both ska and reggae. In the 1950s the song became famous worldwide when musicians such as Harry Belafonte, pictured here with his good friend Rev. Dr. Martin Luther King, Jr., 

released versions of it on record. Sung in unison by dock workers loading bananas all night long and looking forward to going home at sunrise, Belafonte describes it as a “cry from the heart of poor workers, a cry mingled with hope”1.

If you consider the ‘call and response’ in the song you can see how it emulates an assembly line at a dock where workers are passing on shipments and messages. Furthermore lyrics such as “Six foot, seven foot, eight foot, BUNCH,” evokes the monotony of labour they had to perform, with a collection of repetitive lyrics that call forth the idea of oppressive, never ending work2. It has been argued that the song “dramatizes the drudgery of alienated labour in the colonial produce trade”3. For more on the social criticism in the song lyrics see this article on the Alternative Rhetoric at the University of North Carolina.

Further information for Activity 2: Song of the Banana Man

It is always important to consider poetry from different cultures alongside that of Standard English. This Jamaican poem by Evan Jones is a great example where a Jamaican dialect or Creole is used and features range of vocabulary, such as "tek it to dem", that demands fairness and justice. 

The Jamaican vernacular is used to “fully express pride in his occupation, its contribution to the national economy, and to underscore his personal independence” whilst names of friends such as ‘Duppy Son’ and ‘Breda’ capture a “decidedly Jamaican cultural element” 4. The ability to earn a livelihood without being subject to the arbitrary demands of others is considered a widely held value across Caribbean society 5. At the time of writing the banana workers in Jamaica were undergoing a major struggle against a multinational corporation with colonial roots to form a selfreliant co-operative of farmers6.

_______________________

1Belafonte, H. (2012) ‘My Song: A Memoir of Art, Race & Defiance’.

2Alternative Rhetoric, University of North Carolina.

3Eldridge, M. & Belafonte, H., (2002) ‘Remains of the Day-O’ Transition, no. 92: 110-37. 

4Southwood-Smith, D. Language as a vehicle for national themes, Digital Research Archive. 

5Moberg, M. (2013) Slipping Away: Banana Politics and Fair Trade in the Eastern Caribbean. 

6Jamaican Observer (2014) The Song of the Banana Man.

Adapted from: http://fairtradejudaica.org/wp-content/uploads/2018/05/FTJ-FT-Banana-Lesson-Plan.pdf

___________________________________________________________________________

Essay sample….First Year

Question.

“Song of the Banana Man” highlights the hard work and skill that are needed for the growth and production of food.

a) According to the poem what are the tasks that the banana man does in order to have successful crops? (6marks)

b) What is the tourist’s attitude to the banana farmer? Refer to specific examples from the poem. (6marks)

c) Use specific examples from the poem to show the farmer’s attitude to the tourist and to his own work in general. (8 marks)

d) Identify one figure of speech and shoe how it is used to present the message of the poem. (5 marks)

The "Song of the Banana Man" is a poem that highlights the hard work and skill that are needed for the growth and production of food. Throughout the poem, Evans informs readers of the tasks that the banana man has to perform and invites us to see his attitude about his job and the attitudes of those who look on. Being a banana man is not an easy job. Not only was he a banana man but he was also a farmer, a family man and a productive member of the Jamaican agricultural sector and society.

Selected poems:

“First Fight”

“Ballad of an Old Woman”

“Dawn is a Fisherman”

“Unfolding Bud”

“Pencil in a Bowl”

Poem: “First Fight”

Poet: Vernon Scannell

Setting: England

Type/Style: Narrative Poem (form of poetry that tells a story; often presenting the voices of a narrator and characters as well).

Point of view: Third person perspective (persona)

A manifest glance at the poem:

In this poem we discover a young man preparing for his first boxing match. He is probably an inexperienced boxer, as this appears to be his first amateur match. While lying in his dressing room preparing to go before the “roaring… crowd” (l. 6) he experiences many mixed emotions; mainly fear of failure and embarrassment of being knocked down in the first round,

And bring the cunning fear

That he might not do well,

Nor fear of bodily pain

But that his tight-lipped pride

Might be sent crashing down,

His white ambition slain,

Knocked spinning the glittering crown.

How could his spirit bear

That ignominious fall?

Not hero but a clown

Spurned or scorned by all (ll. 10-20).

The persona (main speaking voice; styled as both “narrator” and boxing match commentator) relates the fighter’s concerns about not being able to bear the humiliation of being knocked out in the match and the ensuing scorn by the spectators; resulting in his public disgrace and shame. These unpleasant emotions evoke a sense of envy from the amateur boxer for the eagerly waiting crowd, who contemplates watching the fight rather than taking part in the event as a contender. In short, the fighter believes that being part of the audience (or anywhere other than in the ring) seems to be a better place than where he is (a first-time boxer about to enter the ring),

The thought appals, and he

Feels sudden envy for

The roaring crowd outside

And wishes he were there

Anonymous and safe,

Calm in the tolerant air,

Would almost choose to be

Anywhere but here (ll. 21-28).

The fighter’s internal disquiet or angst (fear) is further exemplified in the poet’s comparison of the Boy’s (young fighter’s) nervous disposition (outlook) to that of the boxing ring’s tightly stretched geometric ropes,

Geometric ropes are stretched as taut

As this boy’s nerves are tight (ll. 43-44).

A fitting and vivid use of figurative language, in this instance a simile. Here, the poet aptly captures the visually impactful image of the ring’s tight ropes with the young fighter’s tightened nerves.

Eventually the time comes for him to enter the ring as his dressing room is filled with the noise of the eagerly waiting crowd. His assistant tells him he is in the next fight and reassures him that everything will be okay. As he enters the ring he is very nervous but tries not to show it,

And now he’s in his corner where

He tries to look at ease; (ll. 45-46).

The crowd teases him with mocking stares (facial expressions evoking feelings of contempt and intimidation) as his adversary (opponent) comes out and he takes a quick glance at him,

He feels the crowd’s sharp eyes as they

Prick and pry and tease;

He hears them murmur like the sea

Or some great dynamo:

They are not hostile yet they wish

To see his lifeblood flow (ll. 47-52).

An indication that he is not the crowd favourite but rather the underdog (a competitor thought to have little chance of winning a fight or contest). Perhaps he is in his challenger’s hometown. Thus, having to suffer the insults of the crowd who have come out to support their hometown champion. Notwithstanding his apparent rejection as the crowd favourite, the fighter is resolved to face his rival (not as an enemy to be destroyed) but an object to be defeated with quick thinking, perfect timing and skill,

He does not see an enemy

But something there by chance,

Not human even, but a cold

Abstraction to defeat,

A problem to be solved by quile,

Quick hands and knowing feet (ll. 55-60).

Here, he mentally dehumanizes and objectifies his competitor (mocks his human status) much like how he too has been mocked by the crowd. One imagines that this is part of the Boy’s strategy for overcoming his nervousness and psychologically readying himself for the battle which is about to commence.

As the fighters’ names are called they greet and receive instructions from the referee, what the persona calls “The disciplines of war” (l. 64), then the bold and brassy onomatopoeic sound (the use of words whose sound suggests a vocal imitation of the sound associated with it) of the bell’s singular “clang” (l. 66) signals the start of the fight. 

The reader soon realizes that the structure of the poem (the way it appears in print, i.e. how it looks on the page and how it is meant to be read) is intended to mimic the persona’s racy (fast pace) observations and commentaries; the coach’s instructions to the fighter and the poet’s manipulations of events in the poem. All of which happens simultaneously. This change of pace helps the reader to appreciate the quickening action taking place in the ring, particularly during a much anticipated boxing match. Moreover, the hastening style with which the events are broadcasted by the persona/commentator/poet paints a realistic or believable depiction of an actual boxing match occurring in real time.

An interpolation (an insertion or addition) on the poetic structure of “First Fight”:

The poem is divided into four sections, delineated by the Roman numerals I, II, III, and IV. Each section varies in length and composition (i.e. fluctuations/changes occur in the number of lines per section and words per line). For example, Section II is the only section to be subdivided into three stanzas/verses. Section III, the longest section, begins at line 69 and ends at line 148 (making it almost 3 times as long as Section I, twice as long as Section II and 5 times as long as Section IV). Also, there are fewer words per most lines in Section III when compared to the other three sections. Thus, the lines in this section are noticeably shorter, alternating in a jagged pattern of uneven lines with some being slightly longer than others,

Bite on gumshield,

Guard held high,

The crowd are silenced,

All sounds die (ll. 69-72).

The aforementioned quote serves as an illustration of the pattern which is repeated throughout Section III. Of note, the actual fight between the two boxers takes place in this section of the poem as well. Thus, the shorter lines serve to reflect the rapid movements of the fighters’ hands and feet throughout their bouts.  

Another feature of the poem’s structure is the irregular rhyme pattern which helps in maintaining the reader’s interest in an otherwise lengthy poem. This also serves to reflect a sense of rhythm to the movement of the boxers who are seen locked in battle during this section of the poem. Undeniably, the poet makes greater use of alternate rhyme during this stage of the fighters’ dramatic action than at any other time in the poem. Additionally, this increased use of rhyme aids in speeding the action of the poem along; generating an intensity of suspense as the match races to an unexpected and heroic win for the first-time fighter.  On further reflection, the actual fight only lasts for two rounds, both of which occur in Section III, “But the first round finishes” (l. 97) and “Slip in the gumshield” (l. 113) signals the start of the second round. Again, the poem’s structure has been characterized by a craftsman-like attention to detail, bordering on a pedantic (elaborate and decorative) style which is compensated for by the relatively quick pace with which the actual fight begins and ends (i.e. the poet's use of shorter lines to describe the fight scenes).

As the fight begins the crowd is silent while they watch. The Boy manages to get in a few blows against his opponent, but only a few. He is fearful, hurt and stumbling from his adversary’s counter attack,

Sweat in your nostrils,

Grease and fear.

You’re hurt and staggering,

Shocked to know

That the story’s altered:

He’s the hero! (ll. 83-88).

The fighter is relieved to know that he has done well enough to survive the first round,

      But the first round finishes

Without mishap (l. 97-98).

His assistant/coach yells helpful instructions while he prepares for the second round. These he accepts to avoid losing the fight. After giving a good few jabs to his challenger he receives one to the head that blurs his vision and almost falls to the canvas,

But he crosses with a right,

Smack on your jaw

And Guy Fawkes’ Night

Flashes and dazzles

Inside your skull,

Your knees go bandy

And you almost fall (ll. 118-124).

The poet’s historical allusion (passing reference) and commentary on the English co-conspirator, Guy Fawkes (1570-1606 AD), reminds British readers and by extension those former colonies which were under British rule, including Barbados, of the annual commemorations (with fireworks and bonfires) held throughout the erstwhile British Empire on the 5^th of November. This reference perhaps illustrates the burning and dazzling pain experienced by the Boy after receiving a “Smack on [the] jaw” from his opponent. Additionally, it might be the poet’s way of implying that the Boy could easily be foiled in battle (in similar fashion to the notorious traitor, yet revolutionary hero, Guy Fawkes).

On regaining control, he continues to fight, jabbing left and right; moving all around the ring to avoid defeat. Mindful of his coach’s instructions on how to outmanoeuvre his opponent,

Crack him with a solid right,

Hit him on the chin,

A couple downstairs

And then he’ll pack it in (ll. 109-112).

Gathering confidence as the second round progresses, he gives a punch that sends his adversary to the floor. The crowd goes wild with excitement as his opponent (who, from the reaction of the crowd, is unlikely their hometown boy; perhaps merely another amateur fighter) is sent sprawling to the canvas. The Boy’s unlikely landing of a knockout punch against his adversary brings the fight to a quick but sensational end,

Now for the pay-off punch,

Smash it hard inside;

It thuds against his jaw, he falls,

Limbs spread wide.

And suddenly you hear the roar,

Hoarse music of the crowd,

Voicing your hot ecstasy,

Triumphant, male and proud (ll. 141-148).

After the fight, as he lays in bed reflecting on the evens of the fight, the Boy finds himself once more contemplating loss. This time, not for himself but for his opponent. He thinks about the man he fought and what he must be feeling to have lost the fight,

The Boy, in bed, remembers. Suddenly

The victory tastes sour. The man he fought

Was not a thing, as lifeless as a broom.

He was a man who hoped and trembled too;

What of him now? What was he going through? (ll. 150-154).

Conceivably, the Boy’s acknowledgement of his rival as “a man” (ll. 151 & 153) is an indication that the latter was a more seasoned/experienced boxer than the Boy. Therefore, the Boy’s feelings of remorse is indicative of the respect he has for his opponent. However, these shifting feelings of sadness and joy (the taste of bitter sweet victory) soon give way to a sense of jubilation, victory, accomplishment and resolution,

And then the Boy bites hard on resolution:

Fighters can’t pack pity with their gear,

And yet a bitter taste stays with the notion;

He’s forced to swallow down one treacherous tear.

But that’s the last. He is a boy no longer;

He is a man, a fighter, such as jeer

At those who make salt beads with melting eyes,

Whatever might cry out, is hurt, or dies (ll. 155-162).

The fighter ends his own internal emotional battle (fight) with the resolution that he cannot think about showing pity or compassion for his opponents. He is now a self-proclaimed man (no longer a boy; a view also shared by the persona) who has come of age as a strong and fearless champion fighter to be reckoned with in future battles.

___________________________________________________________________

Poem: “Ballad of an Old Woman”

Poet: Frank Collymore

Setting: Barbados

Type/Style: Ballad (a poem or song narrating a story in short stanzas/verses. Traditional ballads are typically of unknown authorship, having been passed on orally from one generation to the next as part of the folk culture).

Point of view: Third person perspective (persona/speaking voice in the poem appears to be that of the poet).

A manifest glance at the poem:

As a national literary icon, Frank Collymore has vividly captured a prominent, albeit somewhat reprehensible, feature of the Barbadian socio-historical past and to a lesser extent its present social configuration: the single-parent home and or female-headed household.

In the poem, the reader learns of an unmarried, single-parent old woman, mothering twenty-one children on her own. No mention is made of the children’s father(s) nor of any father figure in the family. Conversely, repeated mention is made of the old woman’s spirited and unswerving faith in God, captured in the poem’s refrain: “Singing Glory to God”.  This too is a reflection of the island’s deeply rooted Christian traditions and values.

In the course of time, each child, on reaching adulthood, immigrates to the USA; contemplating a better future. Seen during the 1970s and 1980s as the Land of Opportunity; maybe a view still held by many today. However, what little connection existed between the old woman and her children after their departure is eventually and completely severed,

Sometimes they thought of her, sometimes they wrote,

Sometimes they sent her a five dollar note:

Sing Glory to God.

And when in the course of the long waiting years

The letters ceased coming, she dried her tears,

Singing Glory to God (ll. 10-15).

Without a doubt, the poet’s somber and plaintive tone and despairing mood (i.e. feelings evoked by the poet’s prevailing emotional attitude or use of gloomy language) for the plight of his subject, the old woman; abandoned and forgotten by her own children, is heart-wrenching to read and contemplate upon. Especially when one considers,

She gave them all her poor means could afford

And brought them all up in the fear of the Lord, (ll. 4-5).

In stark contrast to the old woman’s selfless and self-sacrificial care of her children, the latter shamefully repaid their mother, as they sometimes remembered her, sometimes wrote her letters, and sometimes sent her a miserly five-dollar note. Nonetheless, the old woman and the poet, who tells her story via this poetic medium, pleads with us to adopt the old woman’s attitude to sing praises to God even in adversity. Note the verb “Sing” (l. 12), in the refrain, changes from the present participle/present continuous tense (action of) “Singing”, as previously used in the refrain of the preceding verses. Symbolic, feasibly, of the old woman’s personal struggle with her faith after the unchristian, loveless betrayal meted out to her by her children.

After hoping against all hope, she too concedes the disgraceful reality that her children, whom she raised with only the help of God, have abandoned her. Possibly, to be never seen or heard from again. Yet, her faith in God remains strong,

And when in the course of the long waiting years

The letters ceased coming, she dried her tears,

Singing Glory to God.

And when the old shed-roof collapsed from decay

She went to the almshouse and walked all the way,

Singing Glory to God (ll. 13-18).

Here we see her ultimate test of faith. The old woman is destitute. Her house, which sheltered her and twenty-one offsprings, falls into disrepair and decay. Without children to help her in her greatest time of need and without a place to call home. Still, we see the old woman’s resolve. The reader too is admonished by this remarkable example of faith to join in this chorus of praising God even when one does not feel or think there is a reason to do so. The paradoxical/oxymoronic lesson to be learnt here is that one should praise God, especially when life’s experiences are egregiously testing (severely difficult).

At the almshouse (a place for poor people to call home, which also serves as a geriatric hospital/senior citizens’ home and orphanage) the old woman, abandoned by her own biological children, is blessed by God with (performing the role once more of mothering/parenting) other/others’ children; abandoned by their parents. Though the emphasis, in relation to the orphans, seems to be on mothers abandoning their children. Once more the poet’s skillful juxtapositioning of paradoxes (the old woman/mother forsaken by her children and the orphans abandoned by their mothers) sets up a platform from which the themes of: Mothering, Abandonment, Severing Family Ties, Dislocation, Homelessness, Female-Headed Households, Matriarchal Families/Households, and the Single-Parent, Female-Headed Households can be examined and discussed.

Each subject (old woman and orphans) robbed of family ties, home, affection and love, find comfort in each other’s dejected status. The old woman finds children to mother and the orphans find a mother to love and care for them. Collymore uses the literary device of alliteration (a stylistic device in which the repetition of the same sound in two or more words follow each other in succession) to dramatic effect. Again, the poet reemphasizes the themes of Mothering and Motherlessness. This is demonstrated in the repetition of the “m” sound in the line, “mothered many motherless” (l. 19).

Notwithstanding their shared suffering and dislocation, both mother (old woman) and the motherless (orphans) find renewed hope in the quest for family and love (love of family) along with a reason to praise God,

And there she mothered many motherless brats

Who slept on her shoulder and pulled at her plaits,

Singing Glory to God (ll. 19-21).

This newfound hope is again tested when the old woman dies. A crude and cruel reminder of our own mortality. Still the chorus and mantra of praising God continued,

Then one day she sickened and the next day she died;

They brought out the hearse and put her inside

Singing Glory to God (ll. 22-24).

While deserted by her own biological children, and no doubt missed and praised by her adopted children at the almshouse, she is also remembered, eulogized and immortalized here in poetry as a beacon of hope and champion of faith. Never to be forgotten. Though physically dead her acts of kindness speak from the grave. Her immortal soul radiates with angelic charity; personified, yet paradoxically juxtaposed with the status of a guardian angel by the poet as, “one with the Night and the Light of the Day” (l. 26). Perhaps an Angelic Patron Saint; guarding the destitute, forsaken and orphaned souls of this world both night and day. This is reason enough, concedes Collymore, for everyone to “Sing Glory to God” (l. 27). Amen.

A brief commentary on the themes highlighted in the poem:

Themes:

Mothering, Abandonment, Severing Family Ties, Dislocation, Homelessness, Female-Headed Households, Matriarchal Families/Households, and the Single-Parent, Female-Headed Households

The focus here in the poem, without coincidence though controversial, is on the (historical) rise of women as heads of households in Barbados (and by extension the Caribbean). The single-parent, female-headed household emerged from the colonial/plantocratic (slave trade, plantation) era in the Caribbean as a consequence of the dislocation of men (first, as slaves, transported throughout the Americas, from Barbados, as chattel on plantations and later as migrant workers to the metropolises: mainly, the UK and USA, following World Wars I and II). Panama should be included here as well, as many men left Barbados and other West Indian nations to work on the construction of the Panama Canal. Historians agree that Barbadian men were the largest group of labourers recruited by the American canal builders for the construction of the Panama Canal between 1904-1914.

Truly, the historical background to the female-headed household in Barbados and the maternal quest for socio-economic development vis-à-vis migration to the USA (by the children in the poem) is presented both as an indictment (condemnation) of the plight of Barbadian/West Indian women having to raise children and manage households on their own and as a celebration of the remarkable character, resourcefulness and self-sacrificial spirit with which they attained this feat. The old woman’s children are similarly condemned for abandoning their mother. Whether one celebrates the acts of self-sacrificial love of mothers (parents) towards their children or conversely, condemns the self-centered abandonment of mothers (parents) by their children, the reality is that these scenarios are still played out today across the Barbadian social landscape, the region and the world.

A note on poetic structure:

This ballad consists of nine triplet stanzas (each stanza three lines long, with the third line being the refrain) and nine rhyming couplets (the first two lines of each stanza rhyme [a a]), in the following arrangement:

Stanzas:	Rhyming Couplets:
1st stanza	wed / bed
2nd stanza	afford / Lord
3rd stanza	away / USA
4th stanza	wrote / note
5th stanza	years / tears
6th stanza	decay / way
7th stanza	brats / plaits
8th stanza	died / inside
9th stanza	clay / Day

The poet’s use of rhyme—in the form of rhyming couplets—aids in maintaining a steady, balanced rhythm and pace when reading the poem. Conceivably, one may even glean from the couplets alone, a musical note/tribute/eulogy on the life and times of the old woman. The preachy tone of the poem is no doubt deliberate and is equally welcomed by this reader. To be sure, the preachy tone of this commentary is but a paltry and Wilde act of imitation, rendered with the sincerest form of flattery that (my) mediocrity can pay to (the poet’s) greatness.

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Poem: “Dawn is a Fisherman”

Poet: Raymond Barrow

Setting: Belize

Type/Style: Allegory (a literary device treated as an extended metaphor; depicted in a story, poem, or picture that can be interpreted to reveal a hidden meaning through symbolic figures, actions, imagery, or events, which together create the moral, spiritual, or political meaning the author wishes to convey).

Point of view: Third person perspective (persona)

The title, “Dawn is a Fisherman”, signifies that the poem is a metaphor of a special kind. As an allegory—an extended metaphor—a figure of speech comparing things which are not alike, without the use of “like” or “as”, the poet immediately focuses the reader’s attention on the significance of the title as a clue to decoding/unlocking the mystery of the poem’s hidden meaning and message.

One of the first clues in this quest to discover the true meaning of the poem is the realization that “Dawn” is not the name of a/the fisherman spoken of in the poem. Instead, “Dawn” is a well crafted example of the poetic technique of personification. Part of the poet’s craftsmanship in creating this complex allegory—extended metaphor—of "Dawn", which has been imbued/embodied with human-like qualities. It gradually emerges, after a close reading (imaginably, after multiple readings) of this poem, that “Dawn” signifies the first appearance of light in the sky before sunrise—the beginning of the day/a new day.

Another clue is the extensive and extended use of figurative language (poetic techniques), namely: metaphor, personification, simile and alliteration. The manner in which the poetic device of metaphor has been employed in the piece, owing to the allegorical style of the poem, reinforces the view that the combined use of the aforementioned poetic techniques contributes to the poem’s symbolic characteristics. Chief of which are metaphor and personification, which are explored in greater detail in the summary of the poem.

A summarized plot of the poem:

The poet, Raymond Barrow, has presented, much like a painter on canvas or symphonic composer, a mosaic/musical masterpiece of words depicting (in true [1]Tennysonian fashion) the cyclical truth that the dark night of the soul’s despair will eventually give way to the glorious morn of hope, prosperity and liberty.

In vulgar terms, the poet is talking about daybreak in this poem. He likens/compares daybreak to a fisherman (because the latter would be seen stirring at this time). He also describes in vivid detail the various scenes and sounds which are normally visually and audibly appealing to one at daybreak. Such sights and sounds include: crowing cocks (roosters), boats afloat in the bay/habour and houses. All of which become energized by and illuminated with the first light of the sun during this early morning period. Moreover, the night’s stars are overshadowed by daylight, while birds, just awakening, sing praises for the return of sunlight. Without a doubt, the rising (reemergence/entrance) of the sun(light) above the horizon and the simultaneous displacement (diminishing presence/exit) of the darkness of the night evokes a sense of joy and euphoric celebration.

Like a fisherman, with harpoon and net in hand and fishing boat in the bay (fishing gear), daybreak comes for an early catch of renewed life in the form of animals and people who are stirred by the light of a new day to freely move about once more—like the fisherman, or a barefoot boy on the beach, or other people and animals.   

Theme(s):

Daybreak (an awakening of/to life and light from darkness); the Dawn (Birth) of a New Day; Light’s Triumph Over Darkness.

Tone:

Descriptive; lighthearted; reflective

Mood:

Calmness; peace(fullness); tranquility; welcoming affection

Literary (poetic) Devices/Techniques: (examples of these are emphasized in italics below)

Metaphor:

Dawn is a fisherman, his harpoon of light

Poised for a throw – so swiftly morning comes (ll. 1-2).

The sun, a barefoot boy (l. 14).

Personification:

Among the trees the houses peep at the stars

Blinking farewell (ll.7-8).

… and half-awakened birds

Hurtle across the vista, some in the distance

Giving their voice self-criticized auditions (ll. 8-10).

Simile:

The darkness squats upon the sleeping land

Like a flung cast-net (ll. 3-4).

… and the black shapes of boats

Lie hunched like nestling turtles (ll. 4-5).

Alliteration:

Lie hunched like nestling turtles (l. 5)

— the repetition of the consonant sound made by the letter “L”

It should be noted that the aforementioned examples of the poet’s literary craft may also interchange and exchange between literary techniques. That is, an example of metaphor may equally and simultaneously serve as an example of personification. An illustration of this is given below:

The sun, a barefoot boy (metaphor), strides briskly up (personification)

The curved beach of the sky (metaphor), flinging his greetings

Warmly in all directions, laughing saying (personification) (ll. 14-16).

Such warming interplay of poetic devices/techniques further strengthens the notion that the poem can be classified as an allegorical piece owing to the poet’s pervasive use of the extended metaphor; a key feature of the allegory.

The reader is awakened by/to the Dawn of poetic insight and craftsmanship which one gains from the study of poetry. A true vista of brilliance, joy and foresight.

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[1] A reference to the pastoral elegy, "In Memoriam", by 19th century poet Lord Tennyson.

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Poem: “Unfolding Bud”

Poet: Naoshi Koriyama

Setting: Japan

Type/Style: Comparative Poem (free verse): poet presents an effective way to explore similarities and differences (compare and contrast) to enable a better response to poetry.

Point of view: Third person perspective (persona)

Questions which readers should consider after a cursory reading of the poem are:

• What must a reader do in order to understand a poem?
• Why does the poet compare a poem to a water-lily bud?
• What view does the poet have of poems?
• What does a poem reveal about itself?

The above questions are answered in the following (dissected) response:

The poem, “Unfolding Bud”—and by extension all poetry—reveal its inner/hidden beauty (artistic/poetic creativity and craftsmanship) as it is repeatedly read. Its meaning/message and method (structure/form) are continually expanding in similar fashion to an unfolding water-lily. As for the latter (water-lily bud), its aesthetics—the nature and appreciation of the flower’s beauty—seen in its vivid colours and size are only and fully appreciated when its true measurements are realized.

The nature and practice of measuring a poem’s true meaning:

Poems are not as easily appreciated for their inner/hidden beauty and craftsmanship in comparison to a water-lily bud. The meaning/message (thematic elements relating to a/particular subject matter/s) is usually concealed. Time, patience and thoughtful analysis are essential tools for any reader and or critic to employ when contending with poetry.

Thoughtful consideration should be given to the following:

• Poems can be difficult to understand at first glance (single/first reading).
• The reader must reread a poem for as long/often as is necessary in order to understand the poem’s message/meaning.

One is not amazed,

At a first glance,

By a poem,

Which is as tight-closed

As a tiny bud (ll. 7-11).

Here, the poet’s use of simile—“… a poem… is as tight-closed/As a tiny bud” (ll.9-11)—vividly captures the difficulty one encounters in seeking to unravel the meaning behind a poem. The contents and context of which can prove perplexing, even to one gifted with a wellspring of literary discernment.

• Poems reveal their rich inner self (hidden meaning/message) when given the due attention they merit. As the observer of the water-lily bud pays close attention to its moment of revelation (unfolding of petals to reveal its inner beauty) so too must the observer of poetry pay rapt attention to the dimensions of poetic craftsmanship.

One is amazed

By a water-lily bud

Unfolding

With each passing day/

Taking on a richer colour

And new dimensions (ll. 1-6).

Clearly, the observer (persona) has taken the time, perhaps over a period of days, or weeks, or months to witness the vibrant spectacle of a water-lily bud unfolding. He relishes with amazement in the flower’s display of colours and dimensions. Such dedication is both laudable and instructive.

The student of poetry is to be similarly instructed, motivated and moved within to seek after the message/meaning of the poem, without sacrificing the sheer joy derived from discerning the technological academy of figurative language (poetic devices: metaphor, simile, personification, onomatopoeia, hyperbole, imagery, etc.) employed by the poet in his craftsmanship of the poem.

When observers—readers, students, critics—are all budding with such considerations, then, and only then, can one become truly amazed (awed by the beauty of poetry itself). 

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Poem: “Pencil in a Bowl”

Poet: Denise

Setting: Trinidad and Tobago

Type/Style: Comparative Poem (free verse): poet presents a picture or image of life to that of a pencil in a bowl.

Point of view: Third person perspective (persona/speaking voice in the poem appears to be that of the poet).

Literary (poetic) Devices/Techniques:

The primary poetic device/technique used by this young 14-year-old poet is a metaphor. The poet emphatically or forcefully states at the beginning of her poem that,

Life is a pencil

In a bowl (ll. 1-2).

Critical analysis of the poem:

By comparing life to a pencil in a bowl the poet has reduced the complex nature of human life to the mundane existence of ordinary objects: a pencil and a bowl. However, much more is communicated via the poet’s simplistic use of the metaphor. In her objectification of life to the status of

… a pencil

In a bowl.

Rocking to and fro

Again and again

Back and forth

Slower and slower

Until it stops (ll. 1-7).

Denise has presented, albeit in an oversimplified way, the cycle of life (the series of changes that a living organism goes through from the beginning of its life until death). See the following illustration:

Note, the poet’s use of the transitioning technique in the structure of the poem to highlight this cyclical pattern or series of changes that occur in a person’s life; in this case it is

… the old woman

Resting her chin

On her hand (ll. 8-10),

who is the focus of the persona’s (poet’s) gaze in the second stanza. Furthermore, the poet has skillfully demonstrated the transition from inanimate objects (pencil and bowl) to a living person (an old woman) between the first and second stanzas, respectively. As the pencil in the bowl begins

Rocking to and fro

Again and again

Back and forth

Slower and slower

Until it stops (ll. 3-7),

so too has the old woman transitioned from a vibrant, energetic young person (constantly ‘on the go’) into a stage of her life where she perhaps has become house-bound, unable to move around much. She can only watch life as a spectator, not as an ‘active’ participant any longer. Moreover, we see her reminiscing on past life’s experiences with “Tired wistful eyes” (l. 12); an indication that she has some regrets about the past. Unfortunately, she cannot go back in time and change the events of her past life.

As the rotating pencil gradually comes to a stop or cessation of motion, so too are the stages of the cycle of life. The latter (human life cycle) generally include pregnancy, infancy, the toddler years, childhood, puberty, older adolescence, adulthood, middle age, and the senior years after which comes death. That is, the motion of life (illustrated by the rocking/moving pencil in a bowl) slowly comes to an end at the point of death.

The old woman has lived out most of her life and has reached the end of life’s journey (her twilight/winter years); furnished with the knowledge that (her) death (the final stage of her life cycle) may not be far away.

OOW

2018