Culture and Identity

Poetry Anthology
What choices can writers make to explore and convey ideas about
identity and culture?

Front cover: (Identity, Silpa Saseendran)

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 Table of Contents
1. Honour Killing ……………………………. …………………………………Page 3

2. Flag …………………………………………………………………………...Page 4

3. Presents from my Aunts in Pakistan ……………………………………...Page 5

4. War Photographer……………………………………………………………Page 6

5. We Refugees…………………………………………………………….……Page 7

6. Immigrant Blues……………………………………………………………... Page 8

7. FIB Poetry Close Language Analysis………………………………………….Page 9

8. Poetic Terminology ………………………………………………… Page 10 - end of time

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 “Honour Killing” by Imtiaz Dharker

(In Lahore, in the last year of the twentieth century,

A woman was shot by her family in her lawyer’s office.
Her crime was that she had asked for a divorce.
The whole Pakistan Senate refused to condemn the act.
They called it an honour killing.)

At last I'm taking off this coat,

this black coat of a country
that I swore for years was mine,
that I wore more out of habit
than design.
Born wearing it,
I believed I had no choice.

I'm taking off this veil,

this black veil of a faith
that made me faithless
to myself,
that tied my mouth,
gave my god a devil's face,
and muffled my own voice.

I'm taking off these silks,

these lacy things
that feed dictator dreams,
the mangalsutra and the rings
rattling in a tin cup of needs
that beggared me.

I'm taking off this skin,

and then the face, the flesh,
the womb.

Let's see
what I am in here
when I squeeze past
the easy cage of bone.

Let's see
what I am out here,
making, crafting,
plotting
at my new geography.

-- Imtiaz Dharker

https://www.theguardian.com/books/video/2011/dec/21/imtiaz-dharker-honour-killing-video

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 “Flag” by John Agard

What's that fluttering in the breeze?

It's just a piece of cloth
that brings a nation to its knees.

What's that unfurling from a pole? It's

just a piece of cloth
That makes the guts of men grow bold.

What's that rising over the tent?

It's just a piece of cloth
that dares the coward to relent.

What's that flying across a field?

It's just a piece of cloth
that will outlive the blood you bleed.

How can I possess such a cloth?

Just ask for a flag my friend.
Then blind your conscience to the end.

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 “Presents from my Aunts in Pakistan” by Moniza Avi

They sent me a salwar kameez

peacock-blue,
and another
glistening like an orange split open,
embossed slippers, gold and black points curling.
Candy-striped glass bangles snapped, drew blood.
Like at school, fashions changed in Pakistan -
the salwar bottoms were broad and stiff, then narrow.
My aunts chose an apple-green sari, silver-bordered
for my teens.

I tried each satin-silken top -

was alien in the sitting-room.
I could never be as lovely as those clothes -
I longed
for denim and corduroy. My costume clung to me and I was aflame,
I couldn't rise up out of its fire, half-English,
unlike Aunt Jamila.

I wanted my parents' camel-skin lamp -

switching it on in my bedroom, to consider the cruelty
and the transformation from camel to shade, marvel at the colours like stained glass.

My mother cherished her jewellery -

Indian gold, dangling, filigree, But it was stolen from our car.
The presents were radiant in my wardrobe.
My aunts requested cardigans from Marks and Spencers.

My salwar kameez
didn't impress the schoolfriend who sat on my bed, asked to see my weekend clothes.
But often I admired the mirror-work, tried to glimpse myself
in the miniature
glass circles, recall the story how the three of us
sailed to England.
Prickly heat had me screaming on the way. I ended up in a cot
In my English grandmother's dining-room, found myself alone,
playing with a tin-boat.

I pictured my birthplace
from fifties' photographs.
When I was older
there was conflict, a fractured land throbbing through newsprint.
Sometimes I saw Lahore - my aunts in shaded rooms, screened from male visitors, sorting
presents,
wrapping them in tissue.

Or there were beggars, sweeper-girls

and I was there -
of no fixed nationality, staring through fretwork at the Shalimar Gardens.

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 “War Photographer” by Carol Ann Duffy

In his dark room he is finally alone

with spools of suffering set out in ordered rows.
The only light is red and softly glows,
as though this were a church and he
a priest preparing to intone a Mass.
Belfast. Beirut. Phnom Penh. All flesh is grass.

He has a job to do. Solutions slop in trays

beneath his hands, which did not tremble then
though seem to now. Rural England. Home again
to ordinary pain which simple weather can dispel,
to fields which don’t explode beneath the feet
of running children in a nightmare heat.

Something is happening. A stranger’s features

faintly start to twist before his eyes,
a half-formed ghost. He remembers the cries
of this man’s wife, how he sought approval
without words to do what someone must
and how the blood stained into foreign dust.

A hundred agonies in black and white

from which his editor will pick out five or six
for Sunday’s supplement. The reader’s eyeballs prick
with tears between the bath and pre-lunch beers.
From the aeroplane he stares impassively at where
he earns his living and they do not care.

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 “We Refugees” by Benjamin Zephaniah

I come from a musical place

Where they shoot me for my song
And my brother has been tortured
By my brother in my land.

I come from a beautiful place

Where they hate my shade of skin
They don't like the way I pray
And they ban free poetry.

I come from a beautiful place

Where girls cannot go to school
There you are told what to believe
And even young boys must grow beards.

I come from a great old forest

I think it is now a field
And the people I once knew
Are not there now.

We can all be refugees

Nobody is safe,
All it takes is a mad leader
Or no rain to bring forth food,
We can all be refugees
We can all be told to go,
We can be hated by someone
For being someone.

I come from a beautiful place

Where the valley floods each year
And each year the hurricane tells us
That we must keep moving on.

I come from an ancient place

All my family were born there
And I would like to go there
But I really want to live.

I come from a sunny, sandy place

Where tourists go to darken skin
And dealers like to sell guns there
I just can't tell you what's the price.

I am told I have no country now

I am told I am a lie
I am told that modern history books
May forget my name.

We can all be refugees

Sometimes it only takes a day,
Sometimes it only takes a handshake
Or a paper that is signed.
We all came from refugees
Nobody simply just appeared,
Nobody's here without a struggle,
And why should we live in fear
Of the weather or the troubles?
We all came here from somewhere.

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 “Immigrant Blues” by Li-Young Lee

People have been trying to kill me since I was born,

a man tells his son, trying to explain
the wisdom of learning a second tongue.

It’s an old story from the previous century

about my father and me.

The same old story from yesterday morning

about me and my son.

It’s called “Survival Strategies

and the Melancholy of Racial Assimilation.”

It’s called “Psychological Paradigms of Displaced Persons,”

called “The Child Who’d Rather Play than Study.”

Practice until you feel

the language inside you, says the man.

But what does he know about inside and outside,

my father who was spared nothing
in spite of the languages he used?

And me, confused about the flesh and the soul,

who asked once into a telephone,
Am I inside you?

You’re always inside me, a woman answered,

at peace with the body’s finitude,
at peace with the soul’s disregard
of space and time.

Am I inside you? I asked once

lying between her legs, confused
about the body and the heart.

If you don’t believe you’re inside me, you’re not,

she answered, at peace with the body’s greed,
at peace with the heart’s bewilderment.

It’s an ancient story from yesterday evening

called “Patterns of Love in Peoples of Diaspora,”

called “Loss of the Homeplace

and the Defilement of the Beloved,”

called “I want to Sing but I Don’t Know Any Songs.”

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 FIB Poetry Close Language Analysis

Answer the questions below to conduct a close textual analysis of your poem. You should
answer all sections separately and each answer should be written in a complete sentence
and many will require more than one sentence.

1. Identify the emotions of the poem/extract

a. What emotions are present?
b. To whom do they belong?
c. What are the suggested causes of these emotions?

2. Now check in with your own reactions to the poem/extract

a. How do you feel about the speaker?
b. How do you feel about the subject being spoken about?

3. How is the writer creating these?

a. Which poetry techniques?
i. Pick one sound device (alliteration, assonance, cacophony, and so
on). What is the device and what effect does it have on the reader?
ii. Pick one structural device (caesura, enjambment, lineation, stanza
structure, overall structure). What is the device and what effect does
it have on the reader?
iii. Pick one example of figurative language. What effect does it have on
the reader?
iv. Pick one example of imagery. What effect does it have on the
reader?
v. Pick three of the most important words or phrases. Argue why they
are the most important.
1. Denotation? (what is the literal meaning of the word or
phrase?)
2. Connotation? (what is the implied meaning of the word or
phrase?)

4. What comments or suggestions is this poem making about the world?

a. What questions does it ask of the world or human existence? (e.g. what
does it mean to be an immigrant?)
b. What suggestions does it make about the world or human existence? (e.g.
losing love may be worse than never having had it)

5. Respond the to conceptual question

a. What choices can writers make to explore and convey ideas about identity
and culture?

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 Poetry Terminology
This list of terms contains all the terms you are now responsible for learning for the course.

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Poem: Words organized in such a way that there is a pattern of rhythm, rhyme and/or meaning.
The relationships between words are emphasized in poetry, so the various word-clusters or
verses have a collective impact on the reader/listener (which is different from prose, where the
words “hit” the reader one at a time in sentences).

Speaker*: The voice used by a poet to speak a poem. The speaker is often a created identity (a
made up self) and should not automatically be equated with the author. The speaker is not the
same as the author—poets and storytellers make things up (fiction). The speaker does not
necessarily reflect the author’s personal voice; however, authors sometimes use speakers as
masks to protect themselves when they are writing about controversial ideas and/or criticizing
politics or religion.

Types of Poems

• Ballad*: A long poem that tells a story, usually a folk tale or legend, in rhyme. Often set
to music, the traditional ballad typically has a refrain or chorus, which adds to its
musical qualities.

• Concrete: Concrete poetry experiments with the very materials of the poem itself: words,
letters, format. The final product does what it says in that its words, letters, and format
demonstrate the poem’s meaning. Concrete poems rely heavily on the visual or phonetic
to get across their meaning.

• Dramatic Monologue*: The words of a single speaker who reveals his/her own
personality and the dramatic situation (setting, audience) through his/her words. It is
different from a stage soliloquy because there is no play to help the reader understand
setting – the poem does it all. (NT)

• Elegy*: This is a particular type of lyric that is written to mourn the passing of
something or someone. (NT)

• Epic*: This is a very, very long poem that tells a story. Epic poems are narrative poems
that are long enough to be in a book of their own, rather than an anthology.

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 • Epitaph*: Epitaphs are poems about the dead that are written to be on a
tombstone; this means they are usually very short.

• Epigram*: These are very short, witty poems that make a pithy pronouncement about
something. Usually they are written as a couplet.

• Free Verse*: Modern poetry that has no regular pattern of rhythm, rhyme or line length.
Free verse poems experiment with words to create images for the reader.

• Lyric*: Shorter poems of intense feeling and emotion. Some are modern free verse
poems and others are more “old-fashioned” poems that have rhythm and rhyme.
Types: sonnet, ode, and elegy.

• Narrative*: A poem that tells a story. Narratives may or may not rhyme, but they almost
always follow the plot structure of a short story.

• Parody*: A parody is a mockery of another piece of literature; it copies the style and
voice, and sometimes language of the original for comedic effect. Parodies can exist in
any genre, not just poetry.

• Pastoral*: A pastoral is a poem that is set in the countryside. It often presents an

unrealistic, idealistic notion of country living: happy shepherds, lovely shepherdesses,
contented flocks of sheep, sunny meadows, and gentle weather. (NT)

• Sonnet*: A fourteen-line lyric written in iambic pentameter. Sonnets follow a rigid rhyme
scheme. Typical rhyme schemes for sonnets are the Shakespearian or English sonnet
(abab cdcd efef gg) or the Italian or Petrarchan sonnet (abba abba cdc cdc OR abba
abba cde cde). For more information about iambic pentameter and rhyme scheme, see
“Rhythm and Rhyme” below.

• Ode*: This is a very serious form of the lyric; it is written about a serious topic and is
very dignified, if not stately, in tone and style. (NT)

Poetic Devices

A. Sound

• Alliteration*: Repeated consonant sounds at the beginning of a series of words. This

device uses sound to catch the reader’s attention. I kicked cold coffee coloured puddles
is alliteration because of the repeating “ck” sound.

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• Assonance*: Repeating vowel sounds in the middle of words. This device also uses
sound to catch the reader’s attention. This is a subtle device for which you have to
listen carefully. Twinkle twinkle little star is an example of assonance because of the
repeating short “i” sound.

• Cacophony*: Sounds that are unpleasant and harsh to the ear. Usually, cacophony is
achieved through repeating “s”, “c”, “k” or other, similarly harsh- sounding sounds. For
example: “and squared and stuck their squares of soft white chalk.” The opposite of
euphony.

• Consonance*: Repeating consonant sounds in the middle of words. This device also
uses sound to catch the reader’s attention. This is a subtle device, although it is less
subtle than assonance. If elephants laugh carefully, it is because they are afraid is an
example of consonance with the repeating “f” sound. Notice that the ‘ph’, ‘gh’ and ‘f’
letter patterns all make the “f” sound.

• Dissonance*: Similar to cacophony, dissonance involves the mingling together of

discordant or clashing sounds. (NT)

• Euphony*: Sounds that are very pleasant to the ear. The opposite of cacophony.

• Onomatopoeia*: Words that sound like what they mean are called onomatopoeia. “Buzz”,
“hiss”, “splash” are typical examples of this sound device. Onomatopoeia is also known as
imitative harmony.

B. Comparison

• Extended Metaphor*: If a metaphor is a direct comparison between two dissimilar

items (see below), an extended metaphor is a longer version of the same thing. In an
extended metaphor, the comparison is stretched through an entire stanza or poem,
often by multiple comparisons of unlike objects or ideas.

• Metaphor*: A direct comparison between two dissimilar items. She is a monster is a

metaphor comparing a girl to a monster.

• Metonymy*: This is a type of metaphor in which a reference point is substituted for the
thing to which reference is actually made. The pen is mightier than the sword, the kettle
is boiling, and I love reading Shakespeare are three examples of metonymy. (NT)

• Personification*: A comparison between a non-human item and a human so that the

non-human item is given human characteristics. The trees stretched their arms to the sky
is a personification because the trees are described as if they are people stretching.

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• Simile*: A comparison between two dissimilar items using “like” or “as” to make the
comparison. The stars are like diamonds in the sky is a simile, comparing stars to
diamonds.

• Synecdoche*: Very similar to metonymy, synecdoche occurs when the significant part is
used for the whole. All hands on deck! and Five sails appeared in the harbour are
examples of synecdoche. (NT)

C. Word Play

• Allusion*: A reference in one piece of literature to something from another piece of

literature. Allusions can also be references to person/events/places in history, religion, or
myth. Allusions are frequently made in poetry, but they can/do occur in other genres as
well.

• Apostrophe*: A rhetorical figure in which the speaker addresses a dead or absent

person, or an abstraction or inanimate object. For example, the speaker in John Donne’s
“Holy Sonnet X” speaks to death as if it were a person. “O Death!”

• Cliché: A phrase, line or expression that has been so overused, it is boring and
commonplace, such as “it was a dark and stormy night” or “red with anger.”

• Connotation*: The unspoken, unwritten series of associations made with a particular

word. For example, the word “dog,” depending on how it is used, might connote
faithfulness, loyalty, and devotion. On the other hand, the word “dog” could connote
viciousness.

• Denotation*: The literal meaning of the word that a person would find in the
dictionary.

• Euphemism*: Substituting a pleasant or polite word or phrase for an unpleasant reality.

For example, people say “she passed over”, she passed away”, or “she has gone to her
reward” when they mean “she died”. (NT)

• Figurative Language*: The imaginative language that makes a poem rich to a reader.
Figurative language often relies on comparison devices like simile, metaphor, and
personification to make the point. Figurative language is the opposite of literal
language.

• Hyperbole*: A deliberate exaggeration to make a point. I am hungry enough to eat the

fridge is a hyperbole.

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 • Idiom*: A phrase that can’t be translated literally into another language because the
meaning isn’t the same as the words that make up the phrase. There are thousands of
idioms in English. Some examples include: “it is raining cats and dogs”; “flat broke”;
“going to hell in a hand-basket”; and “head in the clouds.” (NT)

• Image*: A single mental picture that the poem creates in the reader’s mind.

• Imagery*: Poets create pictures in the reader’s mind that appeal to the sense of sight;
they also create descriptions to appeal to the other four senses. This collection of
appeals to the five senses is called the imagery of the poem. Also: the collection
and/or pattern of images in a poem.

• Literal language*: The literal meaning of the poem, which ignores imagery, symbolism,
figurative language and any imagination on the part of the poet or the reader. Literal
language is the opposite of figurative language.

• Mood*: The emotion of the poem. The atmosphere. The predominant feeling created by
or in the poem, usually through word choice or description. The feelings created by the
poem in the reader; mood is best discovered through careful consideration of the images
presented by the poem, and thinking about what feelings those images prompt. For
example: if the “rain weeps”, the mood is sad; if the “rain dances”, the mood is happy.
Mood and tone are not the same.

• Oxymoron*: An oxymoron is a pair of single word opposites placed side by side for
dramatic effect. A contradiction in terms. For example, “cold fire” or “sick health” or
“jumbo shrimp”.

• Paradox*: A large oxymoron. An apparently contradictory statement that, despite the

contradiction, has an element of truth in it. Wordsworth’s “the child is the father of the
man” is a paradoxical statement.

• Repetition*: Deliberately repeated words, sounds, phrases, or whole stanzas.

Repetition is used to make a point in the poem.

• Symbol*: Something that represents something else. For example, a dove often
represents the concept of peace.

• Syntax: Word order—the way words are put together to form phrases, clauses or
sentences in a poem. Sometimes poets play with syntax to increase the richness of their
figurative language or to make a line of poetry work into a particular rhythm. (NT)

• Tone*: The narrator’s attitude toward the subject of the poem and, sometimes, toward
the reader of the poem. Tone is NOT THE SAME AS MOOD, although the two can
overlap.

• Understatement*: The opposite of hyperbole. Understatement achieves its effect

through stating less than what is necessary. For example, a person might say to a
hospitalized car crash victim, “I bet that hurt.”

• Voice*: Voice is the personality of the writing, the specific characteristics that make the
writing unique. The voice of a piece of writing is assessed in terms of style and/or tone.
Every writer/narrator/speaker has a unique and recognizable voice. (NT)

Verse Forms

• Ballad Stanza*: A ballad stanza is a quatrain (4 line verse) of alternating tetrameter and

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 trimeter lines. The rhyme scheme is a-b-c-b (sometimes abab). Not all ballads have
stanzas that follow this formula. See below for explanations of tetrameter and trimeter.
The following is an example of a ballad stanza from “Faithless Nellie Gray” by Thomas
Hood: (NT)

Ben Battle was a soldier bold, And

used to war’s alarms;
But a cannon-ball took off his legs, So he
laid down his arms.

Other examples:

Oh, I forbid ye maidens all

That wear gold in your hair
To come or go by Carterhaugh For
young Tam Lin is there.

and In Scarlet
Town, where
I was born
There lived
a fair maid
dwellin';
Made many
a youth cry
well-a-day,
And her
name was
Barbara
Allen.

and

There lived a wife at Usher’s Well, And a

wealthy wife was she;
She had three stout and stalwart sons, And
sent them o’er the sea.

In folk ballads, the meter is often irregular (as in the example above from
"Barbara Allen") and the rhymes are often approximate.

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 • Couplet*: Two lines of poetry that rhyme. The last two lines of an English sonnet work
together to make a couplet. The following is an example of a couplet:
Roses are red, violets are blue Sugar is sweet
and so are you

• Octave*: Eight lines of poetry that have a rhyme scheme. The first part of an Italian
sonnet is an octave.

• Quatrain*: Four lines of poetry that have a rhyme scheme. Quatrains often have an
abab, abcb, or aabb rhyme scheme. The first three verses of an English sonnet are
quatrains.

• Sestet*: Six lines of poetry that have a rhyme scheme. The second part of an Italian
sonnet is a sestet.

• Stanza*: Another word for “verse paragraph”. See below.

• Verse (technically: Verse Paragraph): A paragraph of writing in a poem. These

paragraphs are written as clusters of rhyming lines in traditional poetry, such as octaves,
sestets and quatrains. Also known as a stanza.

Rhythm and Rhyme

• Blank Verse*: Unrhymed iambic pentameter. All sonnets, Shakespearian plays and
the King James version of the Bible are written in blank verse. Unrhymed iambic
pentameter is said to closely mimic the cadences of natural speech. See below for
more information on iambic pentameter.

• End Rhyme: Rhyme that occurs at the ends of verse lines. The nursery rhyme in
“rhyme scheme” below is written with end rhyme.

• Iambic Pentameter*: A line of poetry that is ten syllables in length. The syllables follow a
pattern in which an unstressed syllable is followed by a stressed one. The words “giraffe”
and “destroy” are iambs. An iamb is two syllables, and “penta” means five, so five iambs
in a row = iambic pentameter. A line of iambic pentameter bounces gently along
(soft-hard-soft-hard-soft-hard-soft-hard-soft- hard). For example, when Romeo says, “O,
she doth teach the torches to burn bright” (Romeo and Juliet, I.v.44), he is speaking in
iambic pentameter. The following is an example of iambic pentameter (in this case, blank
verse) from Hamlet:

To tell the secrets of my prison-house,

I could a tale unfold whose lightest word
Would harrow up thy soul, freeze thy young blood, Make
(I.v.14-16)

• Internal Rhyme: When two or more words rhyme within the same line of poetry. For
example, “Once upon a midnight dreary, while I pondered weak and weary” is an example
of internal rhyme.

• Metre (meter)*: The regular beat of a poem. There are different kinds of meters,
depending on the syllable pattern in the line of poetry. Different syllable patterns, and
different numbers of patterns, have different names. For example: dimeter. trimeter,
tetrameter, pentameter, hexameter, heptameter, and octameter. (NT)

• Tetrameter: “Penta” means “five”, and “tetra” means “four.” So, if pentameter is five
repeating patterns of syllables, tetrameter is four repeating patterns of syllables. Lines 1
and 3 in the “typical” ballad stanza are in tetrameter. (NT)

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 • Trimeter: “Tri” means “three”, so trimeter means three repeating patterns of
syllables. Lines 2 and 4 in the ballad stanza above are in trimeter. (NT)

• Refrain*: The chorus of a ballad, or a repeating set of words or lines, is the refrain of a
poem. Refrains add to the musical quality of a poem and make them more song-like.
This is interesting because the ancestral origin of poetry was song.

• Rhyme*: When sounds match at the end of lines of poetry, they rhyme
(technically, it is end-rhyme). The examples below in “rhyme scheme” and
“couplet” demonstrate this.

• Rhyme Scheme*: The pattern of rhyme in a poem, indicated with letters of the alphabet.
To decide on a rhyme scheme, you assign a letter of the alphabet to all rhyming words at
the ends of lines of poetry, starting with the letter “a”. When you run out of one rhyme
sound, you start with the next letter of the alphabet. For example, the following is an
example of an aabb rhyme scheme (star, are, high, sky):
Twinkle, twinkle, little star How I wonder what
you are Up above the world so
high Like a diamond in the sky

• Rhythm*: A pattern of sound in a poem; it may be a regular or irregular pattern. Rhythm

is the musical beat of the poem, and some poems are more musical than others

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