So today I'm happy dancin' cuz I finished my draft 1 of my critical intro. An exerpt, you ask. Fine. You always get your way, and you know it~
However, in The Ripening of Mangos, I do create a speaker and meaning. While the speaker from poem to poem is not necessarily the same, for the most part, I do work within conventions of language, sentence structure, and syntax. In this sense, I am a very bad feminist who accepts the confines and limitations placed on me in using language.
Hehehe... I like that part... ok ok ok another...!
The Ripening of Mangos is divided up into four different sections. Each section’s speaker is placed into an identity, an identity centered around sexuality, culture, and place. What proceed are poems, many with erotic undertones and many which utilize the natural vocabulary of the wild world outside the neatly swept home. Many of my poems concern sexuality precisely because, as Foucault states, in our modern society nothing is so closely related to our identities as what brings our bodies both pleasure and pain. Just as plants reflect the nutrients that dwell within the soil, so do we – particularly women – bloom in the tones and colors of the identities our roots dig into.
okokokokokok I have just a little bit more...
Like Rowson’s Charlotte Temple and Castillo’s La Loca, the virginal identity fails to define the complexity of female identity. In the end, it only gives Red desire, longing, and the blisters of a Pollyanna identity that didn’t quite fit.
andandand some more:
In “The Garden of Dresses” I introduce a new Eve. She no longer lusts for the forbidden fruit, Adam, or another man – but instead for material things. The speaker in this poem is completely obsessed with designer dresses – she denies herself “the taste of pomegranate” (which is interesting because pomegranates are a very sexy fruit) in order to fit into this dress. Instead of denying herself the taste of fruit on her lips for Adam (which we all know she didn’t do), she denies herself the pleasure of fruit instead for material gain. The Eve in this poem is not ruled by Adam’s mandating logic. She is instead governed by her own materialistic lust, her own desire for more – to be thinner, more beautiful, and wealthier. Another aspect I play with here is the idea of perfection. Eve describes herself as both bone-thin and curvy. So many expectations, she must be going absolutely Anne Sexton trying to live up to all of them!
In the end of the poem, Eve is left alone, reaching to satisfy her desires. She calls for Adam, but does he come? We’re not really sure, but we do know that Eve sure spends a lot more time lusting for this dress than for an actual human relationship. Adam’s just an afterthought – a nice set of fingers to help finish the job and zip her up at the end of the night.
LoL, I'll post more later. This was actually fun to write, once I got going. I had to tell myself, it's ok to be a sexy academic. It's ok Katie, it's ok.
And indeed, it is.
Afterall, on ads for creative writing programs, the sexy librarian looking young ladies are ALWAYS pictured ;)