Story Power

Blogging the Lit Life

Author: Alara R

“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.

Thoughts and Prayers: How Bojack Horseman Satirizes Gun Violence

At first glance, Bojack Horseman might seem like just another absurd adult animation. But under the talking animals and celebrity satire, the show delivers profound critiques of modern society, tackling themes of mental health, toxic celebrity culture, and the way the media handles political issues. Created by Raphael Bob-Waksberg, the show follows the life of BoJack Horseman, a washed-up sitcom actor from the ’90s struggling with addiction, depression, and his inability to escape the toxic cycles of his past.

One episode in particular strikes me as a true work of satire: “Thoughts and Prayers” (Season 4, Episode 5), tackles America’s ineffective response to gun violence. The episode satirizes the way politicians, Hollywood executives, and the media treat mass shootings as PR problems rather than human tragedies.

The episode uses irony to expose the hollowness of “thoughts and prayers.” A phrase repeated by Princess Carolyn, a Hollywood agent, and her as she works on promoting an upcoming action film, Ms. Taken, starring Courtney Portnoy.

Instead of advocating for policy change, Hollywood executives and politicians repeat this phrase as a meaningless PR move, mirroring how real-world leaders offer sympathy while refusing to take action. This irony highlights the disconnect between public outrage and actual reform, forcing viewers to question whether these gestures are genuine or just a tool to quiet the public.

The absurd escalation of events, when the government finally bans guns only after women start carrying them, exaggerates how political decisions are often based on power dynamics rather than public safety. The same politicians who ignored mass shootings for years suddenly panic when their sense of power is disrupted. This extreme reversal of roles forces the viewer to confront the underlying biases in gun legislation, especially how laws are shaped not by morality but by who holds power.

This episode also uses parody to mock the media’s performative coverage of gun violence. News outlets treat mass shootings as just another trending cycle, and Hollywood executives scramble not to address the issue but to spin it in a way that keeps their profits. Their decision to rebrand Ms. Taken as a feminist empowerment film is a direct satire of how corporations exploit social issues for financial gain rather than advocating for a real change.

Understatement and situational irony are used for a comedic effect when the government’s reaction to the mass shootings is suddenly outraged when a woman is the cause of the tragedy, and men begin to feel personally threatened. After years of inaction, congressmen now argue for gun control, but only because women are armed, making them uncomfortable.

“What are my constituents supposed to do, NOT compliment random women on the street because they might be carrying a gun? We cannot allow our lives to be dictated by that kind of fear!”

This moment perfectly encapsulates the hypocrisy of gun politics, showing how lawmakers prioritize preserving male dominance over genuine public safety. “Bojack Horseman” isn’t just making fun of politicians; it’s criticizing the societal cycle of inaction. The episode forces viewers to recognize how mass shootings have become normalized and how real change only happens when those in power feel threatened.

Diane’s final line,

I can’t believe this country hates women more than it loves guns.

serves as a devastating critique of how deeply ingrained bias shapes policy more than logic ever does. The satire isn’t just exposing the American government’s hypocrisy, it’s compelling viewers to ask why we accept this reality and whether we’re willing to demand actual change.

The Tragedy of Fatherhood in King Lear

At its core, King Lear is a tragedy of failed fatherhood. Lear begins the play expecting unconditional love from his daughters, but his demand for public declarations of affection reveals his insecurity. He rewards Goneril and Regan’s flattery, failing to see that they view him as nothing more than a shortcut to gain power, while banishing Cordelia, the only daughter who truly loves him. His failure as a father is not just in misjudging his children but also in treating their love as something to be proven with words rather than actions.

Lear’s downfall is as much about his failures as a father as it is about his failures as a king. His misguided judgment leads to his eventual suffering, but through his pain he finds clarity. His reunion with Cordelia is brief and bittersweet; much too late, he realizes what real love looks like. Shakespeare does not offer redemption for their relationship, only the cruelty of understanding true affection too late.

Gloucester’s storyline is a parallel to Lear’s, reinforcing the idea that fathers can be blind to the truth. Like Lear, Gloucester trusts the wrong child, believing Edmund’s lies while rejecting Edgar, the son who actually loves him. Both men ultimately recognize their mistakes, but only when it is too late. What makes King Lear so devastating is that both fathers recognize their mistakes only when they are at their weakest. Shakespeare presents fatherhood as deeply flawed, shaped by pride, favoritism, and regret. In the end, King Lear suggests that being a father is not about authority or control, but about recognizing and valuing genuine love before it’s lost.

 

Poetry in “Seasons”

When thinking about what makes a song poetic, “Seasons” by the indie band wave to earth comes to mind as a perfect example. This track, from their album 0.1 flaws and all, describes the complexities of love, self-doubt, and the cycle of time through  nature. The singer reflects on feelings of inadequacy and the pain of separation while holding onto hope and devotion. Using seasons as a metaphor for the emotional journey of life, “Seasons” captures the universal experience of change and renewal through vivid imagery, metaphors, and heartfelt language, illustrating the bittersweet beauty of life’s constant transformations.

The song begins with the singer confessing his feelings of inadequacy,

I can’t be your love

Look, it’s too trivial for you now.

These opening lyrics immediately set a tone of insecurity and self-doubt through the singer’s acknowledgement of his shortcomings. This vulnerable language sets an emotional foundation for the song, drawing the listener in with a relatable struggle with self-worth.

As the song progresses, the seasons become a metaphor for the emotional cycles of life. In the lines,

While the leaves withered

And grew again

You have gone far away,

the withering and regrowth of leaves symbolizes the inevitability of change, tying the natural cycle of the seasons to the singer’s sense of loss. This metaphor illustrates how life continues to move forward even when emotional connections are are left behind, creating a reflection on love and separation.

In the chorus the singer vows,

I’ll give you all my life,

My seasons

Here, ‘seasons’ symbolize the entirety of the singer’s life and emotional experiences. By offering his seasons, the singer conveys a deep and unconditional love, one that embraces both their most happy, and painful moments. This imagery suggests that proper growth require embracing life’s difficulties, giving the listener insight into the singer’s devotion.

Later in the song, the singer introduces the image of daisies,

I’ll be pushing up daisies

And bring all the chances to here

The phrase “pushing up daisies” is a common metaphor for death, but in this context, also reflects renewal and the possibility of creating something meaningful even in the face of loss. This juxtaposition of death and hope reinforces the song’s theme of cycles and transformations, suggesting that endings often are necessary to create new beginnings.

Wave to earth’s “Seasons” is a poetic narrative of love, loss, and renewal told with vivid imagery, natural metaphors, and heartfelt language. By focusing on the cycles of nature and exploring the singer’s vulnerability, the band transforms difficult emotions into a universal reflection on the beauty and pain of life’s constant changes.

Confronting History in Beloved

Toni Morrison’s Beloved is a novel that has been lingering in my mind since I’ve started reading it in my AP Lit class. It has opened my eyes to the complexities of memory, trauma, and the inescapable legacy of slavery in ways I hadn’t considered before. Morrison portrays memory as something alive and active, capable of consuming her characters. This depiction of memory and trauma surrounding the horrors of enslavement truly shook me to my core. It’s one thing to learn about slavery in textbooks, but it’s another to feel its weight through Morrison’s writing. Reading Beloved helped me understand just how deeply slavery dehumanized people, forcing them into impossible decisions like Sethe’s, where love and violence became inseparable. Sethe’s decision to take her child’s life, rather than let her return to slavery is heartbreaking, and it forced me to think about the lengths enslaved people were driven to in order to protect their loved ones.

Beloved doesn’t let us look away from the psychological scars that slavery left, not just on individuals like Sethe but on entire generations. In light of the recent election, it made me think about how America still struggles to fully confront this part of its history and how those struggles shape the racial inequalities we see today. The novel emphasizes the importance of confronting the past. Ignoring history doesn’t make its consequences disappear it allows those wounds to persist, often in ways that continue to harm.

Why did I want Matthew and Maria to work?

On Friday in my English class, we finished the movie “Trust” by Hal Hartley. Throughout the entire movie, despite knowing their relationship should never work, I rooted for Matthew and Maria to end up happily together.

It’s hard not to cheer for Maria, we immediately see her going through a very hard time. Maria has dropped out of high school, been kicked out of her home, and ‘killed’ her father within the first 30 minutes of the movie. She’s young, the same age I am, yet she’s portrayed as very vulnerable, she hasn’t grasped some basic words yet, almost doll-like.

On the other hand, Matthew comes off as an angry adult, rough around the edges, and very smart but all-around a ‘bad boy.’ He has confidence and boldness that seems misplaced, almost like he’s using his intelligence to protect himself.

Their “romance” seems totally unrealistic and definitely shouldn’t work. A 17-year-old marrying an adult well out of his high school years is wrong in every sense. Even Maria’s mom sees it and tries to nudge Matthew toward her other daughter. At least they are both adults, even if Matthew isn’t quite there emotionally. However with Maria, they seem to give each other a purpose and push themselves to possibly become better, functioning citizens.

I couldn’t help but root for both Maria and Matthew individually. Even while knowing that their relationship is as shaky as the hand grenade they both carry around. Totally unpredictable, explosive, and always on the verge of falling apart.

 

 

“Drinking Coffee Elsewhere” with “Bonds of Love”

Jessica Benjamin takes an intersubjective approach to Freud’s original theory of power and domination; which inherently focused on authority and dominance not being an innate human necessity, but rather an extension of human relationships. The foundation of these flaws comes from the binary view of “do-er” and “done to” or “good” and “bad.” To truly change social flaws, it is necessary to realize that in these dominant relationships, the submissive or “bad” role also participates in the neverending cycle. To fix these flawed relationships, a mutual understanding and recognition of the other party is necessary, however, Benjamin understands that our society is inherently built on these roles from when infants first begin to realize their own sense of self.

I have realized that after reading and analyzing Benjamin’s theory, I subconsciously have begun to apply her own theory of mutual recognition to my analysis of the different stories we read in AP Literature.

For example, mutual recognition could be a solution to the conflict the characters have in “Drinking Coffee Elsewhere” by ZZ Packer. The story is full of different “good” and “bad” binaries despite there only being a few characters shown throughout the majority of the story. Dina, the main character, and narrator of the story tends to have a very “narrow-minded” worldview in which she is constantly putting herself into either a dominant(good) role or a submissive(bad) role with every person she interacts with. This worldview seems to stem from Dina’s insecurity about herself, which results in the failure of her relationship with Heidi, a girl who seems to have embraced mutual recognition in some ways by the end of the story. If both girls were to have truly embraced Benjamins’ theory of mutual recognition, I believe they both would have possibly had a happy ending to their relationship, rather than ending with a lack of closure.

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