This resonates well with the discussion in class about the development of blackness despite whiteness being an oppressive force against it.

This "somekindaway" is the inexplicable development of the Negro artist's art that presents both individual blackness and a high form of art that surpasses the idealization of "goodness" or "whiteness"

This line connects with the thought in Hughes' poem when about the Negro artist recognizing the potential in their roots and community. It also serves as an antithesis of the scenario Hughes presents with the socialite who prefers to hear Andalusian music over that of a black artist.

These lines allude to the status of black people in society as the New Negro Movement invigorates young black folks and harbors a mindset that is focused on the self and disregards the opinions of others

This reminds me of entertainer Issa Rae who's show I watch really explores such an in depth and variety of situations of race and society.

https://www.youtube.com/watch?v=WxUngY1sIhY

https://www.theatlantic.com/magazine/archive/2008/05/-this-is-how-we-lost-to-the-white-man/306774/

This sentence is heavy in belittlement from the emotionally charged narrator. Using words like "suppose", "smug", and "contented" make the narrator's attempt a rhetoric very plain.

This seems to tie back to the beginning of this piece when the speaker was lamenting the death of winter by spring. The concept of death, which is typically seen as an ultimate end, is instead shown as a point of birth by the speaker by identifying that living begets death and vice versa, perpetuating a cycle of death, I mean birth, I mean both. It's simultaneously common-sense and unfamilar.

Its funny that I should annotate this after my previous one about defamiliarization. I don't speak or know German but I was still able to recognize the poem due to the ending of the lines. So even though I don't know what is being said, I still know what it is. weird.

This resonates strongly with the idea of defamiliarization that we discussed last class. This line identifies this concept of breaking down things, like the "Sacred Emily" poem that morphs language into instances we think we understand or the Nude Descending a Staircase painting.

This line firmly puts into my head the image of steamy cinnabon cinnamon buns glazed in glaze.

The progression language and the tying of words together through their shared sounds is something that truly characterizes this poem. In this play of language, it seems to bridge the deconstruction and reformation of language into something simultaneously familiar and bizarre.

And at this point I read the word aloud but it doesn't have a meaning anymore. It's just a sound, an utterance that only makes me wonder at its etymology and how something so odd could come to be.

This line gives me the impression of someone scuttling about their house with slippers on. I just imagine the bare ankles scratching the slippers along the hard floor and the sound filling a quiet hallway.

This stanza is a interesting because the line breaks separate positive and negative concepts. Forgiveness/Revelry; Sweetness/Coldness. Its as if to say, I'm sorry but I'm not truly.

This poem, although seemingly lighthearted, may not be as quaint as a first read may make some think. Given the time of the depression, the scarcity of food, property and security could give this poem a deeper feeling of scheming and distrust.

This seems to be a response to the impact of prohibition on American society like the underground creation and distribution of alcohol and culture of bootlegging.

This seems to be an analogy to the acceptance of societal expectations by poor folk who become accustomed and at disposal to them. The relationship is toxic but isn't seen that way because the person of authority, the physician, is seen as trying to support the poor, although he is just putting them down.

This line seems to confirm my appraisal of the poem's intent as being a way of merely viewing sexuality and its progression in life. The speakers thoughts are to only view sex, as if an objective researcher, through the metaphor of these flowers and their handling. But since these flowers are perennial, it supports that thought that the speaker sees sexuality as ongoing, ever changing, but yet the same.

These lines give a sexual allusion to the poem and guide the reader into thinking of the careful handling of flowers, a usual metaphor for vaginas. In this train of thought, the poem then warns of flowers the may initially prick but in time will become "unthorned". I wouldn't argue that this poem is about sexual aggression or consent as is the trend now, but views sexuality through this metaphor from an almost objective standpoint.

In this final line, the speaker reaffirms the intangible sentimentality that they have for love despite having just talked it down the entire poem. This line responds to a hypothetical situation in which the speaker may sell "your" love of this night for food. Since they won't, they make it clear that love may not be all. but they cherish it nonetheless.

This poem seems to explore those moments when people consider their mortality. Stopping in the woods in this sense is a great metaphor of what death is, dark and deep, and a place that the speaker knows he will come to sleep in. With this in mind, the scene of stopping in the woods takes on greater meaning for the reader.

In the speaker's analysis of the scene in the first stanza, their mind's correlation of the color white that groups all the players in the scene together is under scrutiny. Is this correlation only something his mind devises, or does the world have a certain "way" or path it follows? Does the scene he sees have any meaning at all?

When looking at those who have inspired, triumphed, or made an impact in life, there is a way to learn from them and apply that learning to an individual's life. What does the speaker want them to seek in looking at how others lived their lives? Longevity.

With the understanding that the people of the town are dead, this is a comical insertion within the poem that makes light of the subject at hand. This aids the speaker who finds ease in the commonness of death within life.

Is this a play on the term "ebb and flow"? If so there is a deeper meaning here than simply understanding a flood has happened. This name then makes commentary on the commonness of life and death by linking a disaster with a pun that plays on a common expression.

It seems that the title "poet" in Robinson's poems holds a deeper meaning. There seems to be a dynamic between a lowly existence and an esteemed reverence for this title.

The narrator here exposes that the story is a story of self-control and identity. Through the guise of a ghost story, the narrator realizes and explains that she was haunted by her own mind, hidden away by the insistence of her husband.

It is interesting here to note that the narrator feels that she cannot even confide in another member of her own sex as well. Until this point, she was only opposed by male presences in her life. Could the sister represent the oppression of societal norms or the oppression transferred by male authority such as the narrator's husband? Perhaps both.

Here marks the end in the train of thought by the narrator as she interjects herself with the voice and advice of her husband. This M dash, although not necessarily dialogue, gives an insight into the mind of the narrator and the abrupt opposition she is met with.

In this sentence, the word "it" can be read as an ambiguous term. Could it be the act of writing, which would mean her husband and are right? Or the act of hiding it, which means that her husband is working to her detriment? In this sense, the narrator is offering a glimpse into the heart of an unspoken problem, possibly greater than mere medical opinion.

This a theme common among other minority communities throughout the last century when experiencing the stark differences between privileged and and unprivileged society. Moreover in this country, the difference is established by skin color. Considering how to fit into this society through societal achievements, or disregarding it with hate and distrust, is a struggle of identity within the American mindset en masse even for those of the privileged class.

Following the title of this chapter, this poem induces the thought that whatever these strivings may be, they are eternal, unattainable. In reference to the sea, the speaker loses track if the cries are their own or the sea's. Does this imply such strivings, although our own, are beyond reach because they are beyond the individual?

In revering St. Gaudens' art, Adams finds a kind of greatness different than which he was previously contemplating. St. Gaudens affects Adams with his boundless simplicity which is more extensive than the thoughts and objectives of other men while still being intelligible to Adams.

This expression continues the dialogue within the narration of the text that distances Adams from the myriad of inventions surrounding him. Moreover, this expression relates to the reader how unfamiliar Adams, as well as the world to an extent, is with the newness of apparatuses around him. Not knowing how things work or how they came to be, concepts of faith, trust, and the occult are what supply people's belief in these dynamos.

This line, which makes a comment on Adam's age being the same as the locomotive steam-engine, highlights a deeper meaning within this paragraph. Adams is surrounded by novelty and invention while in this place but does not understand its force, function, or application. In a way then, Adams is a representation of the previous century.

This portion of the text somewhat ascertains the effect Martin's transition into a cultured and middle class mindset has been having on his personality. No longer the wayward, burly sailor, Martin must keep in mind his goals for the future and devote himself to his work. It is somewhat an irony to see Martin turn himself into a work beast to try and rise to the higher class, and the amount of devotion he exhibits in doing so is him acting out the struggle of working class versus middle class life. Martin Eden can but mustn't continue the fight he's challenged himself with and must aim to be rid of it as soon as possible.

Ruth serves a multitude of purpose in the novel: a teacher, a friend, an idealized projection, a reflection of the middle class, and a love interest. Most importantly though she is the cultured bridge between Martin and the middle class mindset that Martin envies and idealizes. In this quote is shown that even Ruth has an idealized vision of what it means to be accomplished and learned and this in turn impacts Martin's ambitions. She is aware of Martin's intentions to write but she does not reinforce these goals, yet she wants him to continue studying these subjects that aid and fuel his desire to create. Even in Ruth's collegiate mind, this enrichment of culture is ideally seen as a means to an end instead of an ends to a mean.

• There is a dilemma in London’s Martin Eden that revolves around originality in art. This dilemma is chiefly framed in the opposition of originality versus regurgitation throughout the novel from Martin trying to navigate between his studies, art and the impactful thoughts of those around him to when he finally finds success and grows suspicious of those who praise him. The issue lies in the problem Martin perceives in merit and the collective approval a writer needs in order to receive a sort of social accreditation. Although Martin believes in his own work, this accreditation proves to make regurgitative socialites who follow the trend of appreciation. Early on, Martin sees it in the works he is studying and at time cannot discern what gives these published a distinguished light.

• This quote directly links and foreshadows to a later portion of the book in which Martin Eden becomes obsessed with the repetitive thought “work performed”. In both this quote and when Martin reflects on his “work performed”, he is revealing and engaging a need for recognition. This recognition, and its ties to success, baffle and frustrate Martin throughout the novel because the driving purpose for his art, ultimately, is Ruth. Regardless of the recognition, affirmation, or the riches that Martin eventually receives, the root and cause of this conflict regarding his work ties to initially ties to Ruth. In relation to the very scene itself that this quote is taken from, Martin shows how much he yearns for Ruth’s approval above all else as he makes his case for his “work performed”.