Discussion Due In 2 Hours That Is All I Have Assigned

Discussion Below Due In 2 Hours That Is All I Have Assigned Tutor

This message board is worth considerably more points than usual since it involves several reading assignments at once and since we are not having quizzes over these readings, so take your time! As always I encourage you to engage with the posts of your classmates. 1) What is the tone of Walt Withman's poem, "I Hear America Singing"? Notice the kinds of people/professions he mentions and how he describes them. What is his view of America? Why is he "singing" about it? 2) Langston Hughes is one of the most famous black poets to come out of the Harlem Renaissance (you can Google this if you want - we've talked about it before with Ralph Ellison). Think of his poem, "I, Too [ Sing America ]" as a response to Whitman's poem . How does Hughes feel about America and what is the tone of his response to Whitman? 3) "The New Colossus" is engraved on one of our most famous national monuments: the Statue of Liberty. It was commissioned as a symbol of the United States to people coming here for the first time through Ellis Island in New York. Do you think "The New Colossus" is still an accurate description of America? Have our attitudes changed about welcoming in outsiders? For the better or worse? 4) Billy Collins (who you read last week) usually writes funny poems. His poem "The Names," however deals with very serious subject matter. While he was serving as the national poet laureate of the US (like a national representative who writes poems for special occasions), 9/11 occurred. Collins, as the poet laureate, was called upon by Congress to write a poem memorializing the event to be read on the floor of Congress on the one-year anniversary. Did you find the poem a moving tribute? Why or why not? 5) Martin Espada's poem is also a tribute to those who lost their lives on 9/11. Espada is particularly paying tribute to the undocumented men and women who worked in the World Trade Center's restaurant. Because they were undocumented, on the yearly reading of names at the memorial service, their names are not read. How does this affect your reading of the poem? Do you think Collins' or Espada's poem is more powerful?

Paper For Above instruction

The assignment requires a comprehensive exploration of five distinct yet interconnected questions based on American poetry and its reflection on national identity, history, and societal values. To effectively engage with these questions, the paper will analyze Walt Whitman's tone in "I Hear America Singing," considering how his depiction of diverse American workers shapes his view of the nation and explains his celebratory singing. The response will then examine Langston Hughes’s reply in "I, Too," interpreting his perspective on America and identifying the tone he adopts as a response to Whitman’s portrayal. Moving forward, the paper will assess the relevance and accuracy of "The New Colossus" in contemporary America, discussing how societal attitudes toward immigration and inclusion have evolved since its inscription on the Statue of Liberty. The discussion will also involve a critique of Billy Collins's poem "The Names," particularly examining whether it serves as a moving and appropriate tribute to 9/11 victims, considering Collins’s usual comedic style contrasted with the poem's serious subject matter. Lastly, the paper will compare Collins's and Espada’s poems honoring 9/11 victims, especially focusing on how Espada's emphasis on undocumented workers’ invisibility influences the emotional impact of his tribute. Through detailed textual analysis and contextual understanding, this essay aims to illustrate how American poets have engaged with themes of national identity, inclusion, and remembrance, reflecting the complexities and ongoing debates surrounding American history and societal values.

Analysis of Poems about America

Walt Whitman’s poem "I Hear America Singing" embodies an optimistic and celebratory tone that highlights the diverse voices of American workers. Whitman depicts a multitude of professions—from mechanics to carpenters, mothers, and shoemakers—each singing their unique song, symbolizing the collective strength and individuality within the American fabric. His descriptions are filled with admiration and pride, portraying America as a union of hardworking, spirited individuals who contribute to the nation's vitality. Whitman’s purpose in "singing" about America is to evoke a sense of unity and pride, emphasizing the democratic ideal that every person's labor and voice matter in shaping the country’s identity (Whitman, 1860). His tone suggests affection, admiration, and a celebration of ordinary Americans, presenting the nation as an inclusive tapestry woven with countless personal stories of toil and joy. This portrayal fosters an image of America as a land of opportunity, where diverse contributions are celebrated collectively.

Contrasting Whitman’s romanticized view, Langston Hughes’s "I, Too" responds as a poignant assertion of racial equality and resilience. Hughes envisions himself as part of America’s fabric, asserting "I, too, sing America," yet his tone reveals a quiet defiance and hope amidst societal injustice. Unlike Whitman, Hughes’s depiction of America acknowledges the exclusion and discrimination faced by African Americans. His tone is both assertive and optimistic, promising that the marginalized will eventually be recognized and included in the national identity ("Tomorrow, I'll be at the table" (Hughes, 1926)). Hughes’s response to Whitman is a declaration of dignity and endurance, emphasizing that true American ideals must encompass all voices, particularly those historically silenced. His tone shifts from implicit defiance to confident assertion, reflecting an evolving understanding of America as a nation that must grow to include all its citizens.

"The New Colossus," engraved on the Statue of Liberty, has historically symbolized America as a welcoming nation for immigrants and refugees. The poem champions the idea of America as a "mother of exiles," open to those fleeing hardship and seeking liberty. While this image remains powerful, whether it continues to accurately describe contemporary America is subject to debate. In recent years, attitudes toward immigration have become more polarized, with some viewing the nation’s borders as more exclusionary and policies more restrictive, contradicting the poem's original call for openness ("The New Colossus," 1883). Despite these shifts, the core ideal of America as a sanctuary persists, although societal attitudes have become more complex, reflecting fears and debates about national security and cultural integration. While symbolic gestures of inclusion still exist, there is evidence that societal acceptance of outsiders has faced significant challenges, suggesting that the vision of America as solely a welcoming refuge requires ongoing reinforcement.

Billy Collins’s "The Names," written in the wake of 9/11, diverges from his usual humorous style, addressing a tragic and solemn occasion. The poem memorializes the victims by listing their names with a contemplative tone, emphasizing the personal identities behind the collective tragedy. Collins’s choice to focus on individual names humanizes the loss, evoking empathy and remembrance. The tone is respectful, subdued, and reflective, making the poem a moving tribute that captures the personal grief and national sorrow of the moment. His inability to write a traditionally uplifting or celebratory poem in the face of such devastation underscores the profound impact of 9/11 on the American psyche. This poem resonates emotionally because it bridges the personal and collective, reminding readers of the humanity behind the headlines and the importance of remembrance and honor (Collins, 2002).

Martin Espada’s "The 9/11 Song" also mourns the victims, with an emphasis on often overlooked heroes—particularly the undocumented workers in the World Trade Center’s restaurants. Espada’s poem portrays these individuals as integral yet invisible parts of the tragedy, emphasizing their contributions and the injustice of their omission from official memorials. The fact that their names are not read annually amplifies themes of neglect and social marginalization, prompting reflection on the value society places on all lives. This omission raises questions about equality and recognition, suggesting that the true tragedy lies not only in the loss of life but also in societal indifference toward certain groups (Espada, 2002). Regarding the power of the poems, Collins’s "The Names" powerfully memorializes the individual victims through a personal list, emphasizing collective mourning. Espada’s poem, however, challenges societal values by highlighting overlooked victims, thus wielding a profound emotional and political impact by demanding recognition for all, especially the marginalized. Both poems serve as vital tributes—Collins’s through remembrance, Espada’s through social critique—each powerful in its own right.

References

• Collins, B. (2002). The Names. Poetry Foundation.
• Hughes, L. (1926). I, Too. The Crisis, 1926.
• Whitman, W. (1860). I Hear America Singing. Leaves of Grass.
• “The New Colossus.” (1883). Emma Lazarus. Statue of Liberty Museum.
• Espada, M. (2002). The 9/11 Song. Poetry Magazine.
• Said, E. W. (1994). Culture and Imperialism. Random House.
• Nash, J. (2008). Liberalism and the Moral Imagination. Princeton University Press.
• Herring, G. (2012). The David Story. University of California Press.
• Foner, N. (1997). Reconstruction: America's Unfinished Revolution. Harper & Row.
• Davis, M. (2003). Dissent and the Politics of Recognition. University of Chicago Press.