Reading Material MLA Style See Attachment From Sand Creek

Reading Material Mla Style See Attachmentfrom Sand Creek By Simono

Reading Material MLA style. SEE ATTACHMENT From Sand Creek by Simon Ortiz in the textbook, American Literature Since the Civil War. “A Postcard from the Volcano” by Wallace Stevens in the textbook, American Literature Since the Civil War. “Why I Write” by Joan Didion in the textbook, American Literature Since the Civil War. "I'm nobody, who are you?" by Emily Dickinson, available at Poets.org. "An Agony. As Now." by Amiri Baraka, available at Poetry Foundation. "We Wear the Mask" by Paul Laurence Dunbar, available at Poetry Foundation. "The Turning Point of My Life" from What Is Man? and Other Essays. "America" from The Patriotic Poems of Walt Whitman. "Long Too Long America" from The Patriotic Poems of Walt Whitman. "I Hear America Singing" from The Patriotic Poems of Walt Whitman. "Shine" from Perishing Republic by Robinson Jeffers, available at Poetry Foundation. "America" by Allen Ginsberg, available at Poetry Foundation. "America" by Claude McKay, available at Poetry Foundation. "Heritage" by Countee Cullen, available at Poetry Foundation. "Autumn Begins in Martin's Ferry, Ohio" by James Wright, available at Poetry Foundation. "Let No Charitable Hope" by Elinor Wylie, available at Poetry Society of America. "The Problem of Old Harjo" by John Oskison. Forum entries should contain + words and cite references to the text under discussion.

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The provided reading materials encompass a wide-ranging exploration of American identity, history, and poetic expression, illustrating the evolving narrative of the United States through diverse voices and poetic styles. These texts collectively offer insights into the nation's struggles, cultural shifts, and the power of poetic language to address complex social issues spanning from the Civil War era to contemporary reflections.

Simon Ortiz’s “Sand Creek” chronicles the tragic massacre of Cheyenne and Arapaho people at Sand Creek in 1864, serving as a stark reminder of the violence inflicted upon Indigenous communities during westward expansion. Ortiz’s vivid narrative highlights the suffering and resilience of Native peoples, emphasizing the importance of historical memory in understanding American identity. This personal and collective memory ties into the broader theme of historical injustice, which recurs throughout American literature, urging readers to confront uncomfortable truths about the nation’s past (Ortiz, 1974).

Wallace Stevens’ “A Postcard from the Volcano” uses poetic imagery to depict the destructive yet transformative potential of volcanic eruptions, symbolizing the chaos and renewal inherent in American history. Stevens’s reflective tone invites interpretation of America as a land of both destruction and rebirth, echoing the nation’s cyclical struggles with upheaval and progress (Stevens, 1941). This poetic perspective complements Ortiz’s recounting of violence by framing such destruction as part of a larger process of renewal.

Joan Didion’s “Why I Write” explores personal motivation and the broader cultural impetus behind literary creation, revealing how writers shape national consciousness through their narratives. Didion’s reflection emphasizes the importance of truth in writing, asserting that storytelling can serve as a means to understand and critique societal complexities (Didion, 1976). Her insights resonate with the themes of memory and history present in the other texts, suggesting writing as both a personal act and a collective act of remembrance.

Emily Dickinson’s “I’m nobody, who are you?” employs minimalistic style and playful tone to question notions of identity and societal expectations. Dickinson’s poem invites readers to consider the value of obscurity and the quiet resistance of individual identity in a culture obsessed with fame and visibility (Dickinson, 1891). This stance complements the theme of marginalized voices found throughout the texts, emphasizing that authentic identity often resides outside mainstream recognition.

Amiri Baraka’s “An Agony. As Now.” confronts contemporary social issues, vividly depicting feelings of frustration and despair among marginalized communities. Baraka’s energetic language emphasizes the ongoing struggle for justice and equality, positioning poetry as a potent tool for social activism (Baraka, 1969). His work underscores the importance of voice and visibility in the ongoing fight against oppression.

Paul Laurence Dunbar’s “We Wear the Mask” uses metaphor to discuss racial disguise and societal oppression, revealing how marginalized groups hide their true feelings to survive in a hostile environment. Dunbar’s poem highlights the psychological toll of racism and the resilience required to endure it, reflecting themes of perseverance and concealed pain (Dunbar, 1896). This poem aligns with other texts’ exploration of marginalized identities and societal expectations.

Walt Whitman’s patriotic poems—“The Turning Point of My Life,” “America,” “Long Too Long America,” and “I Hear America Singing”—celebrate the collective spirit, diversity, and resilience of the American people. Whitman’s expansive free verse captures the dynamism of American democracy and its ideals, while also acknowledging the contradictions and struggles within the nation’s history (Whitman, 1860-1892). His poetry offers a unifying vision amid fractured narratives.

Robinson Jeffers’ “Shine” from Perishing Republic critiques the decline of American civilization, warning against complacency and advocating for moral vigilance. Jeffers’s somber tone challenges readers to reflect on cultural and environmental decay, emphasizing the need for integrity and renewal (Jeffers, 1935). His critique complements Whitman’s celebration by warning against the excesses that threaten national strength.

Allen Ginsberg’s “America” is a raw, improvisational critique of postwar America, addressing issues like consumerism, war, and societal conformity. Ginsberg’s intense language and candid tone challenge sanitized patriotic narratives, demanding honest engagement with America’s contradictions (Ginsberg, 1956). This poem continues the theme of confronting uncomfortable truths about national identity.

Claude McKay’s “America” reflects the poet’s complex relationship with a racially segregated society, expressing both admiration and frustration. McKay’s fiery language underscores resilience and resistance, asserting that America’s struggles form an integral part of its identity (McKay, 1910). His work aligns with Dunbar’s themes of racial identity and perseverance.

Countee Cullen’s “Heritage” grapples with racial roots and cultural identity, contemplating the heritage that shapes American and African-American identities. Cullen’s formal lyricism offers a reflective perspective on the importance of understanding origins in the ongoing quest for equality (Cullen, 1925). It complements the broader dialogue about racial history present across the selected texts.

James Wright’s “Autumn Begins in Martin's Ferry, Ohio” captures the quiet dignity of everyday life and the passage of time, emphasizing the beauty found in mundane moments (Wright, 1963). This poem highlights the personal aspect of American experience, contrasting with the broader national narratives.

Elinor Wylie’s “Let No Charitable Hope” presents a poem of disillusionment, examining the futility of hope amid societal decay. Wylie’s tone is somber and reflective, contributing to themes of skepticism and disillusionment prevalent in modern American poetry (Wylie, 1931).

John Oskison’s “The Problem of Old Harjo” tells a story of Native American identity and cultural preservation, emphasizing the importance of understanding indigenous perspectives amidst colonization and oppression. Oskison’s narrative underscores the resilience and cultural pride of Native communities (Oskison, date).

Collectively, these texts offer a rich tapestry of American poetry and prose that probe the nation’s identity, history, struggles, and resilience. The recurring themes include the quest for truth, racial and cultural identity, social injustice, and renewal. Each work reflects different facets of the American experience, inviting readers to consider the complexities and contradictions inherent in the nation’s story. This diverse collection underscores the power of literature and poetry to challenge, heal, and inspire understandings of American identity.

References

1. Ortiz, S. (1974). Sand Creek. In American Literature Since the Civil War.
2. Stevens, W. (1941). A Postcard from the Volcano. In American Literature Since the Civil War.
3. Didion, J. (1976). Why I Write. In American Literature Since the Civil War.
4. Dickinson, E. (1891). I'm nobody, who are you? Poets.org.
5. Baraka, A. (1969). An Agony. As Now. Poetry Foundation.
6. Dunbar, P. L. (1896). We Wear the Mask. Poetry Foundation.
7. Whitman, W. (1860-1892). The Patriotic Poems of Walt Whitman.
8. Jeffers, R. (1935). Shine. Poetry Foundation.
9. Ginsberg, A. (1956). America. Poetry Foundation.
10. McKay, C. (1910). America. Poetry Foundation.