Gay chaps at the bar by gwendolyn brooks

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As a unit, they consider the tainting of postwar life. It refrains - and this is crucial - from including a female spectator in the second half of the poem, and does so, I believe, to resist the image of the demonic, instigating female gaze which for Owen and other literary men in the ironic tradition constituted the beginning and the end of aggression. His resolve to maintain his ability to love despite the horror of war is extremely artificial, a fact which Brooks underlines with the close juxtaposition of "insensitive" and "love. Thus, while it is worthwhile to link, as D. Then Fiddle," "piano after war"'s relentlessly pretty negotiations with sonnet form seem placid and listless. It is important to note that the piano-playing scene on which the poem centers takes place within a dramatic monologue and in the future tense:

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The sound value of "dan" and "fan" is almost exact, indicating Brooks' tacit acceptance of the resolve.

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Gwendolyn Brooks: On "Gay Chaps at the Bar"

But not only is this the "air" of foreign war, it is also the atmosphere typical of black women's and men's lived experience in a racist culture. Abortions will not let you forget. In this respect, Brooks's sonnets here have to be among the most successful poems dealing with the terror of modernity in American letters. To render democracy as a female figure is one thing. Speech To The Progress-Toward. The sonnet sequence casts a periplum in Ezra Pound's sense of discovery.

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The difference in behavior and understanding before the war and now, during the war, is as vast as the difference between being a "gay chap" and one who is "crying and trembling. The long a's of gaiety and taste reinforce each other so that, again, a limit taste is imposed upon feeling gaiety through the connection. If one can speak of the African-American sonnet tradition, it is one that can be generally seen as both self-consciously "deformative" in content and conservative in its execution of formal "mastery"--at least on the printed page since, as noted in chapter I with respect to McKay, a spoken version might be another thing. Harsh alliteration counters the liquid I's. This is the most Shakespearean sonnet of the group, in structure and style. Cf "fair fables," I. The relation of this to Brooks's own project is obvious.

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