What techniques has carol ann duffy
Not content with transfocalization and making up the wives of formidable mythic figures, Duffy also wishes to revisit actual historical wives like the much-maligned Anne Hathaway.
I doubt I would now write a poem in the male voice.
Furthermore, as the poem develops we see the remains of their relationship become non-existent. The poems appropriate canonized discourse in order to achieve counter-interpellation.
Nonetheless, Feminine Gospelsas the title suggests, is a concentration on the female point of view. Comment on upon the use of language, imagery and structure.
Duffy's new book has a long poem set in her girls' school of the s, "The Laughter of Stafford Girls' High", an allegory of the rise of feminism, sweeping away dowdy post-war austerity and buttoned-up emotional sterility.
Does she think that in a secular society poetry to some extent takes the place of religion? She has lived long stretches of her life with poets and is very down-to-earth about poets and relationships. He was severely reproved, perhaps in a tone learned from her strict convent-then-grammar-school education: "I'm busier than ever - it is a vocation, you know.
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Carol Ann Duffy. Dashes replace quotation marks, a visual pause or delay which is also part of the process of syncopation, forcing the reader to take a breath, start off-beat, turning quotes into a kind of temps mort. It has come to be much more than a car, they have spent so much time in it, with all of their possessions, it is as if they live there. Comment on upon the use of language, imagery and structure. She is the first woman, the first Scot, and the first openly gay or bisexual poet to hold the position. And perhaps most tellingly of all, in "Tall", a woman outgrows the earth's atmosphere but is still able to reach down to the surface to intervene in the course of the disaster: She looked back and howled. On the other hand, the two following stanzas seem to come from a place of greater knowledge. In the second stanza the speaker has started to become a part of her new settings but is still frightened by the voices and actions of the people around her. In this, her work has been linked to postmodernism and poststructuralism, but this is a thematic influence rather than a stylistic one: consequently, there is an interesting contrast between the postmodern content and the conservative forms.
He concludes: "By employing simplistic language and overstated imagery, Duffy is perfect for those no longer accustomed nor inclined to close reading".
The harrowing personal note of The Other Country and Mean Time was replaced by a roistering, wickedly spiced burlesque. With this demotic style she creates contemporary versions of traditional poetic forms - she makes frequent use of the dramatic monologue in her exploration of different voices and different identities, and she also uses the sonnet form.
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For instance "The Kray Sisters" sets up a sisterly version of the revisionist attitude towards the Krays - they were kind to grannies, didn't touch little girls, kept the district orderly. Then, there is a scene from their prime, when "we'd leant on Sinatra to sing for free". The mother and father are struggling with this journey just as much as the children are. She looks back on that paying of dues with something of a shudder: "As Larkin put it, 'the readings pretending to be yourself; pretending that the poems you've read countless times are being read for the first time or the last; the dinners afterwards. Scotland and Ireland are also on the holiday circuit. There was a mixture of direct address and something slightly surreal, fanciful, tender-hearted and whimsical. The next year in Stafford she met Adrian Henri at a gig by his band, the Grimms, and decided she wanted to be where he was. It caught the imagination of readers and has sold more than 35, copies, making her one of poetry's biggest sellers. Duffy's last word on Larkin: "As anyone who has the slightest knowledge of my work knows, I have little in common with Larkin, who was tall, taciturn and thin-on-top, and unlike him I laugh, nay, sneer, in the face of death. A copy found its way to Bernard Stone, the maverick poetry bookseller and publisher, who became a good friend and published several of her poetry pamphlets over the years. This reflects that business partnerships in the form of a marriage for a materialistic reason do not last long. Birth, death and the cycles and stages of life feature strongly, including menstruation, motherhood and aging.
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