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Classic and Contemporary Poetry: Explained | |||
"Wanda Coleman's "Scratch Me" is a vivid and multi-layered poem that traverses through the seasons to explore themes of poverty, race, alienation, and resilience. The poem is divided into four sections, each corresponding to a season—summer, autumn, winter, and spring. This seasonal structure serves not just as a backdrop for the poem’s narrative but also as a metaphor for the cyclical nature of struggle and fleeting moments of reprieve in the life of the speaker. Through this journey, Coleman crafts a powerful commentary on the societal and personal challenges faced by those living on the margins, utilizing the changing seasons to parallel the evolving emotional landscape of the protagonist. In the "summer" section, the speaker begins by expressing a sense of being trapped or "beached," likening their situation to being stranded on a cement dune. This metaphor suggests not only physical but also socio-economic immobility—the "affirmation of my poverty." The stark contrast between the children's laughter and play and the speaker's sulkiness encapsulates a feeling of isolation amidst communal joy. The reference to "burnt toast on a china plate" further emphasizes the dissonance between aspiration and reality, highlighting the speaker's sense of alienation. Moving into "autumn," the poem shifts to a more introspective tone. The clearing smog and the "cool gold red sun" paint a picture of momentary beauty and relief, offering a brief respite from the harshness of summer. However, this relief is superficial as the speaker's "struggle deepens," with the demands of life—symbolized by "shoes and school books" and the job that demands the speaker's "flesh"—becoming more burdensome. The transition from physical discomfort to a metaphorical softening of the skin suggests a temporary adaptation or acceptance of one's circumstances, albeit with an underlying tension. "Winter" introduces a theme of isolation and despair more deeply. The metaphor of friends falling away like "maple leaves/dead bark" conveys a sense of abandonment and loneliness. The contrast between the external "razzles" of the sun and the internal "snows on the soul" highlights the disconnection between appearance and reality. The scarcity of "phone calls" and the inadequate "blankets of romance" underscore the insufficiency of temporary comforts in the face of enduring hardship. The final section, "spring," brings a paradoxical sense of renewal and end. The invitation to a party and the offer of companionship contrast sharply with the speaker's decision to decline, symbolizing a resignation to their plight. The careful, hopeful voice on the other end of the phone is met with a finality in the speaker's response. The revelation of "planning a crime to end this chronic scream" suggests a desperate, potentially self-destructive, bid for escape from the cyclic torment described throughout the poem. Through "Scratch Me," Coleman masterfully uses the seasons to illustrate the cyclical nature of suffering and fleeting moments of hope in the life of those caught in the grip of poverty and societal neglect. The poem’s structure, form, and the evocative use of seasonal imagery serve to deepen the impact of its themes, making it a poignant reflection on the human condition. Coleman's work not only provides a window into the soul of the marginalized but also challenges the reader to reflect on the cycles of struggle and resilience inherent in life." POEM TEXT: https://www.google.com/books/edition/Wicked_Enchantment/hKM_EAAAQBAJ?hl=en&gbpv=1
| Discover our Poem Explanations and Poet Analyses!Other Poems of Interest...CONTRA MORTEM: THE FALL by HAYDEN CARRUTH ILLUSIONS by GEORGIA DOUGLAS JOHNSON THE OLD SEXTON by PARK BENJAMIN BALLAD by CHARLES STUART CALVERLEY SONNET - REALITIES: 1 by EDWARD ESTLIN CUMMINGS GOOD-BY AND KEEP COLD by ROBERT FROST WHY THUS LONGING by HARRIET WINSLOW SEWALL FACADE: 17. DARK SONG by EDITH SITWELL A RHYMED REVIEW; 'LAUGHING MUSE' (BY ARTHUR GUITERMAN) by FRANKLIN PIERCE ADAMS URANIA; THE WOMAN IN THE MOON: THE THIRD CANTO, OR FULL MOON by WILLIAM BASSE |
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