Story Power

Blogging the Lit Life

Month: May 2025 (Page 2 of 2)

Poems of a Advanced Placement Course

Poems reflecting on this year’s better novels and a few others:

O’Heidkamp! My Heidkamp! (Idea Stolen from Reece Boatman—with his consent)


O’Heidkamp! My Heidkamp! Our class has sailed through,
The great books we read, the essays we grew!
The exam has passed, the credit may be won.
And now we stand, no more work to be done!

O’Heidkamp! My Heidkamp! rise from your chair,
The classroom stands, with hearts full of care!
The words eco the walls, the thoughts on the board,
Your wisdom, your guidance, we can’t all afford!

The bell rings, the journey's complete,
The lessons you gave were never discreet—
Your passion for literature, your depth of thought,
Shaped every mind that you so energetically sought.

O’Heidkamp! My Heidkamp!
Your guidance will always be remembered!
Through King Lear, Pride and Prejudice—
And the forever memorable, tenth of December.
Through Beloved, the Learn’d Astronomer,
And many other stories I choose not to remember!

But now the classroom is silent, too still,
We remember the words you imparted at will.
Your legacy here will always remain.
In every book, in every line, your name.

O’Heidkamp! My Heidkamp! So strong, so wise,
The final bell tolls, but in us, your spirit lies.
Though we move forward, we carry your light,
O’Heidkamp! My Heidkamp! We’ll keep up the fight!

Your voice, steady and firm, always sharp,
Led us through pages, through every arc.
A King Learing

I watch him now, a decrepit King,
His crown, once bright, a weight eclipsed.
The throne he built now crumbles fast,
A mind once sharp, now lost at last.

His love betrayed, his heart in grief,
No daughters left to grant relief.
He stumbles through turmoil, blind,
A king whose pride has left him behind.

And yet, I feel his madness too,
The twisted path, the mind askew.
What would I do, should I fall far—
To lose my way beneath the stars?

His pain, calls—too late to see,
The cost of pride, the price of greed.
In his madness, truth is clear:
A king will learn, but only,
Whilst the end is near.

A Reading of a Stranger

I walk through a world of passive delight,
Stumbling into a park where dandelions bloom,
And paths of tulips and roses unfold,
Despite no sense of wonder stirring within their petals.
A flower is plucked, then wilts in my hand—
No emotion stirs, no shift in the fan;
Without a wonder, life fades,
Forever in torment.

A stranger sits in a cell, speaking to a reverend,
Their posture betrays sorrow, yet the man in chains is calm,
As if resigned to his fate, as if he’s placed
A bet with no chance of loss— a sure wager,
His destiny was sealed.

I know this man is sentenced to death,
His future is certain, drawing near.
The reverend strains to speak, to reason,
To offer some comfort, but the man’s stillness remains,
Fixed, as if frozen in time.

I watch in quiet wonder,
A thought stirring within me:
How can a man face his end with such nonchalance?
How can a soul be destroyed and yet stand tall?
What is the purpose of living a life devoid of feeling?
Without belief, without motion, without change?

How many roads must a man walk
Before he’s called a man?
How many seas must a white dove sail
Before she rests upon the sand?
And how many times must cannonballs fly
Before they’re finally banned?

The answer, my friend, is blowin’ in the wind
The answer is blowin’ in the wind.

A man stands at the edge of his tale,
Having walked a road all his own—
Not one of the doves or battles fought,
Yet he finds his peace.
While readers, lost in their drama and despair,
Cannot help but feel drained,
Burdened by their own petty troubles—
They will be undone by hollow surrender.

For a man soared without wings,
And lived forever, even after dying.


How Drive Your Plow and the Stranger Affected Me

Although all of the texts prompted me to question myself and think about things I wouldn’t have before. I found that I felt the most touched by Drive your plow over the bones of the dead and The Stranger. I thought that they had the most thought-provoking themes and both were filled with nuanced writing styles.

Starting with Drive your Plow, I found that although the story as a whole made me think about perspective, smaller parts of it made me think more broadly about life in general. I think some of Janina’s tangents were actually very interesting but they were hidden among some of her other, less informative rants. Specifically, I found the paragraph on page 64 to be especially enlightening. Reading this helped me to remember the beauty of connection between others. Things like this are so subtle, they’re easily buried by other parts of our mind like distraction, ego, etc. But it often only takes something small like a book, a song, a nice gesture, to uncover/remember this purity we have within us.

I felt deeply moved by all this human hustle and bustle…I stopped in the sloping market square, and gradually I felt flooded by a powerful sense of communion with the people passing by. Each man was my brother and each woman my sister. We were so very much alike. So fragile, impermanent, and easily destroyed. We trustingly went to and fro beneath the sky, which had nothing good in store for us.

Drive your Plow, Page 64

Reading Drive your Plow also made me a lot more conscious of the natural world around me. Reading the book and imagining what it looks like in my head helped me to stop subconsciously ignoring the sounds and smells and colors I see and start appreciating the beauty of it.

Additionally, the way Tokarczuk writes the book from Janina’s perspective, where all of her thoughts are included. Made me more mindful of my own thoughts and the patterns of my own thinking. Seeing the realistic way Janina thinks and the similarities between her strings of thoughts took me out of the drivers seat of my thoughts and into a more observational perspective, trying to find the similarities in my strings of thoughts.

Then in the Stranger, in the final pages when Mersault snapped at the Chaplain and he began talking about how he will die without a single regret. I realized how regretting a small decision or wishing this or that is so harmful. I think the state wore off, but after finishing the book I felt very accepting of every decision I made. I didn’t feel the need to question every single choice and unnecessarily analyze all of my thoughts.

Logic´s ¨1-800-273-8255¨ and

 Walt Whitman’s ¨Whoever You Are Holding Me Now in Hand¨

In Logics ¨1-800-273-8255¨ the listener is dropped straight into the poem. The first lines ¨I’ve been on the low taking my time,¨ give the song a direct sense of depression and loneliness. It almost feels like you are in someone else’s crisis. Similarly, in Walt Whitman’s poem, ¨Whoever You Are Holding Me Now in Hand,¨ he incorporates a technique that has an identical effect. The poem starts off with the words, “Whoever you are, holding me now in hand,¨ and it feels as if you’re there with him face to face right away. There is no introduction, it goes straight into the deeper layers and it feels like an instant connection.

Logic’s song does not hide behind fancy beats and a unique rhythm, and Whitman’s poem does not hide behind a flowery speech with a smooth flow. Both art pieces are very straightforward like chalk on a whiteboard, straight to the message. The vocals in Logic’s song are straight, simple and front and center. While Whitman writes in tight lines that deliver a bold message. Both of these pieces of art tie into one another much more than one may think at first glance, through Whitman’s poem he is essentially stepping into your shoes, while Logic’s song displays him making valiant efforts to stop someone from taking their life. As I am wrapping up senior year, I find it very urgent how a modern rap song and old poem connect. Because they are not overcomplicating anything, just a simple connection to the listener and reader. Connection is extremely important and something that I have realized holds so much value, especially in these next months before I leave all of this behind.

Threads of Loneliness: Connecting Drake and Whitman Through Time

Drake’s “I Get Lonely” and  Walt Whitman’s “A Noiseless Patient Spider” both explore the emotional isolation and the search for connection using poetic techniques. Drake’s repetition of “I get lonely too” mirrors Whitman’s image of the spider “launching forth filament” into the void, symbolizing attempts to reach out and find meaning. Both works use the repetition and imagery to express the vulnerability of being emotionally and spiritually untethered, turning personal feelings into something universally relatable.

While Whitman’s imagery centers around the spider’s patient, persistent efforts to connect across vast emptiness, Drake’s lyrics focus on the emotional toll of isolation in a more personal and modern context. Whitman speaks to the soul’s existential longing, using nature as a metaphor, whereas Drake uses direct, emotional language to express a sense of loneliness. Despite these differences in style and era, both artists highlight the deep human desire for connection and the pain that comes from its absence, making their works resonate across time.

Together, Drake and Whitman reveal that no matter the time period or medium, rather ache of isolation and yearning to connect are timeless parts of the human experience. One that art helps us understand and share.

“I taste a liquor never brewed” and “Drunk in love”

Beyoncé and Jay-Z’s 2013 song “Drunk in Love” explores the overwhelming, intoxicating power of romantic and physical passion. Like Emily Dickinson’s poem “I taste a liquor never brewed,” the song uses the metaphor of intoxication to describe an emotional high that feels beyond reality.

Beyoncé uses both literal and metaphorical intoxication to describe her love

We woke up in the kitchen saying‘How the hell did this shit happen?’ Oh babyDrunk in love we be all night

Here, drunkenness becomes a metaphor for the loss of control that accompanies deep emotional and physical connection. This metaphor continues throughout the song, emphasizing that love, like alcohol, can blur reality, lead to impulsive behavior, and continue into morning confusion.

We be all night, and everything alright

No complaints for my body, so fluorscent under these lights, boy I’m drinking

This lyric captures just how loud and unapologetic Beyoncé’s version of love is. She’s completely consumed by it, out in public, and unbothered by judgment.

It may not seem that Dickinson’s poem captures intoxication in the same way as Beyoncé’s. Beyonce’s use of intoxication emphasizes the sensuality and passion of love, with the need for physical and romantic connection. Whereas Dickinson seems to be enraptured by an almost spiritual intoxication with life itself.  While her tone seems more subtle, the last lines of the poem reveal that she, too, is out of control

Till Seraphs swing their snowy Hats – 

And Saints – to windows run – 

Dickinson will continue to drink until people in the neighborhood, “Seraphs,” and “Saints,” run to their windows to see what’s going on. She is proud to be so intoxicated on life, stumbling around the streets, thriving on nature. She proudly declares herself as

…the little Tippler
Leaning against the – Sun!

For her time, this was radical. Dickinson dared to write about intoxication with total disregard, just like Beyonce, she leans fully into the ecstasy and freedom of love, regardless of who’s watching.

Although Beyonce and Emily Dickinson are separated by genre and time, they both use poetic language to capture what it means to be “drunk,” not with alcohol, but with a passion for life, and the experiences that come with it. Through metaphors, exaggerations, and symbolic imagery, they show us how powerful emotions can take over and make us lose control in the best way possible.

How “Skyline To” and “Because I could not stop for death” both emphasize the beauty of the natural world

A poem about the helplessness of death and a song about nostalgia, how might they be connected? Throughout the beginning of “Skyline To,” various sounds of nature accompany Ocean’s echoing voice and a soft guitar as he sings about summer and how fast time flies. The poem, on the other hand, involves a woman travelling with death through the beauty of the natural world before being taken to the afterlife. Yet, both seem to appreciate the natural beauty of the world. The only difference is that one is an almost fleeting appreciation and one final look at the world’s beauty, and the other is an appreciation of the beauty the world used to have in Ocean’s view.

Although Dickinson’s poem is about death, it does not appear to have a sad or even dark tone to it. Rather, it is more of an appreciation of the world that the speaker has lived in. It seems as though the speaker is content with the life they have lived, and they feel free as death takes her away from the mortal world. She acknowledges specific areas of beauty, such as people, the sun, plants, and other objects. Each is given its own appreciation and specific details which emphasize its beauty to the audience of the poem.

Similarly, in Skyline To, all of the “nature sounds” and soft instrumentals Ocean gradually adds throughout the song serve to represent the beauty of the natural world. Especially in the intro, songs of birds chirping, the wind, and other elements litter Ocean’s soft vocals. These natural elements continue throughout the song, but the climax occurs at the end. In the final verse, Ocean sings about sunset and the day’s end, and once again, how beautiful the world looks as the final rays of golden light stretch across the horizon for the day.

Both pieces put a large emphasis on the natural beauty of the world. Yet, they contrast in the mindset of the speaker. Ocean’s perspective is all about nostalgia and an appreciation of how the world used to look while he was a kid. The speaker in Dickinson’s poem, on the other hand, holds an appreciation for the current beauty in the world as she knows that she will never get to experience it again. Both pieces of artwork are extremely meaningful with several similarities and differences, and “Skyline To” complements “Because I could not stop for death” to a tea.

“I Felt a Funeral in My Brain” and “Sidelines”

Phoebe Bridgers’ single, “Sidelines”,  Bridgers analyzes the feeling of being a passive observer to her own life and experiences. Similarly to Emily Dickinson’s poem, “I Felt A Funeral in My Brain”, the song delves into the themes of internal struggle and the overwhelming feeling that comes with one’s own thoughts. 

The line, “Watching the world from the sidelines” creates a vivid picture of Bridgers observing life from the outside rather than participating in it. It creates a sense of detachment from life and passivity. Within this line, Bridgers also uses the “sidelines” as a metaphor to represent a place of being an observer. Additionally, the line “I used to think you could hear the ocean in a seashell” provides a sense of nostalgia. It reflects a longing for innocence and wonder that was vibrant in childhood. The seashell is a form of symbolism for a connection to nature and the past. The ocean represents extreme depth, which contrasts with the utter simplicity of the seashell. 

The overall tone and mood of the song also adds to the theme of melancholy and introspection. The sense of longing in her voice makes the song an experience of reflection and emotional depth. 

The themes conveyed in Bridgers’ song are central themes in romantic art. It explores deep personal feelings of detachment, which is key to the romantic spirit. Romanticism also often displays a connection with nature and innocence, which is also prevalent in the song.

Noiseless Patient Spider and Crack Baby

“Noiseless Patient Spider” written by Walt Whitman explores how lonesome and isolating it can be when searching for one’s purpose. The poem illustrates a  relentless human nature to search for connections and discover one’s meaning.

Crack Baby” written by Mitski, follows an individual who was exposed to cocaine while in their mother’s womb.  Mitski uses the Crack Baby’s journey as a metaphor for a persistent ache for a sense of belonging and struggling to find a sense of fulfillment in one’s life. Mitski is able to achieve this through allusions, extended metaphors, and intense imagery.

ALLUSIONS

The term “Crack Baby” was coined in the United States within the 1980s and 1990s coinciding with the cocaine epidemic. Crack Babies were thought to suffer from addiction and withdrawal after leaving their mother’s womb, usually believed to have behavioral and developmental issues. During this time period, Crack Babies were ostracized and shamed from society, creating a sense of abandenment and outsider syndrome. By using the “crack baby” Mitski is able to further highlight their struggle to find a sense of belonging from within, but outside society.

METAPHOR

Crack Baby you don’t know what you want, but you know that you had it once and you know that you want it back.

the Crack Babserves as the central extended metaphor within the song as it encapsulates the feeling of trying to replicate an experience that you’ve never had. Similar to the Soul, the Crack Baby wants to catch unto something, it wants to feel fulfilled and content, but it never can because it doesn’t even know what it’s looking for.

Wild horses running through your hollow bones.

Here, this metaphor signifies the emptiness of the crack baby’s being and soul, however there is a tumultuous fever within their blood that wants to find peace and contentment, but it cannot so there is havoc being wrecked instead.

IMAGERY

Down empty streets sniffing glue, me and you, Blank open eyes watch the moonflower bloom.

Mitski illustrates the crack baby’s attempt to find fulfillment through “sniffing glue” a substance abuse similar to crack, but still not quite it. The baby gets close to what it wants, but it doesn’t really give them what they want. The “blank open eyes” signifies the crack baby is not really present and unable to really feel anything. There is a disconnect within their life with those around them caused by the withdrawal, but it could also be attributed to the generation emotional trauma inflicted upon them by their mother’s choices.

Satire Blog #2 – Dear Abby…

“Dear Abby…

I’m an eighth grader at Gwendolyn Brooks Middle School. I’m considering going to OPRF, but I heard that Fenwick is a better school. I’m concerned about my future, but I want an authentic high school experience. Fenwick kids are apparently mean! As an Oak Park senior, what do you think I should do?

WORRIED”

Dear Worried:

What you are going to experience here in the next 4 years is perhaps a preview of what is going to happen for the rest of your life. Sunshine will follow you throughout the halls. You will leave rainbows in your path. Butterflies will appear at random to take shelter in your shadow. It’s all smiles here at Oak Park High.

Our bullying statistics are actually in the negatives; we’re the first in the nation to have such kind attendants and students all throughout our school. When you ask a question that you might deem ‘silly’ or ‘useless’, you will be taken completely seriously. We will all put our pencils down and engage in serious, heartfelt discussion; what led to you asking such a question? Is there anything else you don’t understand? Could you be a little more specific on where you’ve gotten stuck on your pre-calculus homework? Let’s take a couple of minutes to circle back and talk you through it. Nobody will laugh, snicker, or make even a peep. You will never be ignored.

When you walk through our halls, we are all actually assigned personal assistants to sweep through ahead of us. Corpses of bugs will be out of sight before you register their existence. You won’t even know that we have a bug problem. In fact, our plentiful exterminators are paid $400,000 a year to deep-clean our beloved school, ensuring that the Oak Park experience is nothing short of dazzling.

Those Fenwick kids sure do sound mean, but not us! In fact, when you first arrive to class, give the tallest, meanest-looking senior a big ol’ hug. That’s a gesture they’re sure to enjoy; we’re all friends here, after all!

Nature and Nostalgia

The song “In the Aeroplane Over the Sea” by Neutral Milk Hotel and section 6 of “Song of Myself” have a lot in common, including the poem’s imagery, themes, and overall mood.

In terms of imagery, it is very evident that these two things are very similar. The poem focuses on a lot of imagery to establish a setting and specific mood for the poem and the audience. While this song focuses on using the imagery to establish an atmosphere, while also gives the audience a feeling of being with the author in that very moment. The lyric in the song, “There is music that sounds from the street/There are lights in the clouds.” This is taking control of many of the five senses the audience has, and invites them to look deeper into the poem, and uses itself as a passage to that very meaning.

The themes of the poem are also very similar between the pieces. The idea of death is a recurring theme and is mentioned throughout each piece of media. It is more obvious within the first stanza of this song, and is not exactly stated during Song of Myself, but is heavily referenced and insinuated. The song is mainly about memory, and looking back on a better time in the author’s life. Specifically,y a love interest named Anna. While Whitman takes a look and dives into death as a whole, and rebirth through nature, this song focuses on experiences, and compares her appearance to that of a beautiful landscape.

Lastly, the mood of the poem compared to the song is way different. The poem is bleak, but also hopeful. It celebrates life while also acknowledging death. This song, while celebrating life, takes a hard look at nostalgia and memories. These differences look at many different approaches to death and loss, and make them more similar than they are different.

 

What Walt Whitman and Billie Eilish Have in Common

Much like the poem “Song of Myself” by Walt Whitman provides an overarching view of his opinion of the human experience, Billie Eilish’s “BIRDS OF A FEATHER” provides a similar view point. Eilish released Birds of a Feather as the second single of her album “Hit Me Hard and Soft” in July 2024. Eilish uses repetition, imagery, and an extended metaphor in order to illustrate the all consuming nature of relationships alongside their temporary nature.

Eilish repeats the word “forever” many times throughout the song whether it be in the context of a long lasting joy or a long lasting sorrow. This repetition allows the listener to understand the all consuming power of this relationship for her. In addition, in many occasions where this word was used, it appears to imply that an important part of her life has ended and that she will therefore have to go through “forever” without that piece of her life. Eilish also repeats the word “‘Til” many times which could work to imply an approaching ending or the remembrance of a past ending. While the lyrics to the song are sad, the song sounds almost hopeful. I am not sure about each and every one of her listeners but for me, this dichotomy alongside her description of the comings and goings of “forever” made the song increasingly powerful and it added a layer to its complexity.

By using the imagery of the phrase

‘Til I’m in the grave

Eilish allows the listener to fall into a different world and picture themselves in her shoes.

Simultaneously, the phrase is used to bring her audience into her headspace. She is so in love with this one person that she can not imagine living any kind of life without them. Later in the song, she uses imagery to further this point. She sings,

and if I’m turnin’ blue, please don’t save me/nothing left to lose without my baby

Without this person that Eilish loves, to her, life is not worth living.

In addition to these little moments throughout the poem, Eilish uses the entire song as an extended metaphor for the complexities of life. Her song contains the temporary and timelessness, love and heartbreak. As a whole, she comes close to summarizing the human experience within the ins and outs of the poem that is this song.

A Tree too Weak to Stand / Ozymandias

“Ozymandias”, a poem written by Percy Bysshe Shelley, describes a traveler who encounters the remains of an ancient Egyptian statue of a pharaoh named Ozymandias. The statue was once grandeous and represented the king’s powerful status yet now it is sunken in the sand in a desert and is being overtaken by nature. The central theme of the poem that human’s accomplishments are often impermanent or fleeting and nature will out last all human activity. “A Tree Too Weak to Stand“, a song written and performed by Gordon Lightfoot, has an inverse central theme about the fragility of nature using the metaphor of a tree that is too susceptible to external forces and is eventually going to fall/perish.

Both of these works show the impermanence and futlity of life and the inevitable loss of power. “Ozymandias” describes the remnants of a once great statue in a desolate desert, showing how time erodes even the most powerful of leaders and their legacies with them. The inscriptions on the pedestal of the statue that boasts of Ozymandia’s greatness contrasts sharply with the reality of the statue now and its current state in the poem. In “A Tree Too Weak to Stand”, the song reflects on the fragility of those who are vulnerable and is shown through the imagery of a week tree. The tree itself is destined to fall and appears to not be able to stand on its own, symbolizing facing adversity and the inevitability of life eventually moving on from you. Although life will go on and eventually you may be forgotten, your impact on the Earth right now can still be felt right now.

Gordon Lightfoot uses repetition, vivid imagery, and a metaphor to symbolize people’s ability, or lack thereof, to cope from an event that creates long-term depression or damage. The repetition happens at the end of the song by repeating the phrase “And foolish I would climb once more a tree too weak to stand”, sealing the metaphor and leaving the listener with the final image of the tree hunched over sideways not being strong enough to climb. The vivid imagery is seen as a tree struggling to remain upright, highlighting its fragility and futileness of it all. The tree’s weakness could be seen as a metaphor for people’s lack of strength and its inability to stand representing the inability to overcome a problem in the face of adversity. Both “Ozymandias” and “A Tree Too Weak to Stand” represent the futileness of life and how people internally deal with this struggle.

“(Don’t Fear) The Reaper” as Poetry: A Case for Lyricism Beyond Genre

https://www.youtube.com/watch?v=Dy4HA3vUv2c

When considering what qualifies as poetry, it is essential to look beyond the constraints of form and examine the intent, language, and emotional resonance of a work. Blue Oyster Cult’s 1976 song “(Don’t Fear) The Reaper” may be categorized as rock music, but its lyrical content places it firmly within the realm of poetry. Through the use of metaphor, symbolic language, rhythm, and thematic depth, the song exemplifies many of the qualities found in canonical poetic texts.

At the heart of “(Don’t Fear) The Reaper” lies a universal theme: the human relationship with mortality. This is not merely a song about death, but rather a meditation on the nature of death as a continuation rather than a conclusion. The lyric “Seasons Don’t fear the reaper / nor do the wind, the sun, and the rain” draws on natural imagery to suggest that death is a part of the natural cycle, not something to be dreaded. This philosophical approach to mortality echoes the existential musings of poets such as Emily Dickinson, who similarly framed death not as annihilation, but as transformation.

The song’s use of metaphor and symbolism further deepens its poetic quality. The “Reaper” serves not only as a literal reference to death but also as a symbolic figure representing release, inevitability, and perhaps even love. The line “Romeo and Juliet are together in eternity” blurs the line between romantic tragedy and spiritual union, layering the song with literally allusion and emotional complexity. This technique of using familiar symbols to explore layered meanings is a cornerstone of poetic writing.

Moreover, the sound and structure of the lyrics contribute to the song’s poetic identity. While it does not follow a strict meter or rhyme scheme, the repetition of key phrases, the rhythm of the lines, and the internal musicality create a lyrical flow similar to poetry. The chorus, with its repetition of “Don’t fear The Reaper,” functions as both refrain and mantra, emphasizing the central theme and reinforcing the emotional tone.

“(Don’t Fear) The Reaper” transcends its genre through its poetic use of language, metaphor, and form. It invites contemplation, stirs emotion, and offers insight into one of humanity’s oldest questions. For these reasons, it should be considered not just a song, but a work of poetry.

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