Topic: writing a "farewell essay" how?! any idea?Urgent help!?
July 19, 2019 / By Wolf Question:
my li'l sister asked me a favor to do her essay entitled "farewell" and i should finish this one for 2 hours or less because she will go to school this afternoon.She's attending a funeral right now and cant do this urgent assignment of her.
Any idea what should i write in it?or any sentences how it should start and end?or whats in the body of the essay?Making an essay is really not my cup of tea...so its really difficult for me to do so.
Any idea or essay would greatly be appreciated! thanks a bunch!
Shannen | 10 days ago
Describe how you are now imagining your 'li'l sister' at a funeral, saying 'farewell'...
--for pete's sake.
An essay must have a beginning, middle and end. I'm assuming your sisters is fictional? Come up with a main thesis/ point you want to make and construct your story around it.
GADFLIES OF THE STATE
The changing role of America’s state poet laureates
by Tanya Angell Allen
“You’ll catch hell for this.”
-Amiri Baraka to Governor James E. McGreevey
on Baraka’s appointment to poet laureate of New Jersey
Saddam Hussein’s henchmen used to kill dissident poets by shoving pages of books down their throats until they choked. Josef Brodsky, Nina Cassian, and other Russian and Romanian poets sought asylum in the United States because their own governments persecuted them for their poetry and political beliefs. When Carolyn Forche was in El Salvador several years ago, a colonel invited her to dinner because he mistakenly thought that American poets’ words were regarded as highly as those of poets in his own country. At one point of the dinner he brought in a brown sack, opened it, and spilled human ears onto the table. According to the notes Forche took afterwards and later turned into the prose poem “The Colonel,” he started speaking:
“I am tired of fooling around, he said. As for the rights of anyone, tell your people they can go **** themselves. He swept the ears to the floor with his arm and held the last of the wine in the air. Something for your poetry, no?”
Perhaps because they have the freedom to concentrate on other, less urgent subjects, American poets are in general less likely than poets of other countries to write about political issues. When they do write political poetry they usually do not have to risk their own personal safety, especially because the audience for poetry is smaller in America than it is in other countries. However, at this moment forty one American states honor poets with state laureateships, posts which some consider to be actual government positions. Over the past two years some of those laureates and other poets have also gained national attention through writing and speaking about the September eleven attacks and the invasion of Iraq—attention which some of them, such as Amiri Baraka and anti-war poets Marilyn Nelson and David Allen Evans, would probably not have received if they didn’t already hold honorary posts. In late April 2003, the first-ever conference of poets laureates was held in New Hampshire to talk about poetry and politics, a gathering the New York Times describes as having “an aura of self-congratulation…with many of the poets extolling what they said was poetry’s newfound power.”
Until recently, state poet laureates in these honorary positions were regarded as lightweight, folksy writers whose works were sold as tourist paraphernalia at roadside restaurants. Those laureates who were “real” poets, (as opposed to song-writer John Denver—much loved poet laureate of Colorado from 1974 until his death in 1997, or Assemblyman Charles Gus Garrigus, who held a life-time appointment as poet-laureate of California because he punctuated each legislative session with a poem) sometimes read nature poems before their state legislatures, or gave readings at public schools. This was usually more than was expected of them, however, especially as legislators and the general public viewed state poets as quaint, benign creatures, much like state birds, state songs, and state fish.
Then, in the nineteen-eighties and nineties, rap music and Spoken Word poetry began bringing national attention to poetry. Also, in April 1991 Dana Gioia’s essay “Can Poetry Matter” was published in the Atlantic Monthly. The essay urged poets and teachers to bring poetry out of the Academy and into the public arena. Some consider the piece, as Gioia writes in his introduction to the tenth-anniversary edition of his book titled after the essay, “an early manifestation of a Zeitgeist already in the making,” especially because it generated more mail from non-academics than any other Atlantic article had in decades. Along with the interest generated by the new emphasis on oral poetry, it also helped sound a much-needed wake-up call to literati across the country.
In the past dozen years America has answered Gioia’s question, “Can poetry matter?” with a tentative yes. In testimony of this, Gioia’s introduction mentions Garison Keilor’s “The Writer’s Almanac,” the Poetry Society of America’s “Poetry in Motion” efforts to put poetry in city subways, the Academy of American Poets’ National Poetry Month campaign, the publication of poetry in some newspapers, and a plethora of specialized on-line poetry journals. Other symptoms of poetry’s forays outside of the Academy include the continued popularity of the Nuyorican Poet’s Café, Robert Pinsky’s “Favorite Poem Project,” Russell Simmons’s “Def Poetry” on HBO and on Broadway, and the outreach done by energetic poets laureate such as Robert Hass and Billy Collins.
State poet laureate positions have also changed from honorific titles for mediocre poets to jobs for literary evangelists and, in some states, literary superstars. Although many states still have poets who are not widely known, New York has John Ashbury; Iowa, Marvin Bell; New Jersey, Amiri Baraka; Connecticut, Marilyn Nelson; Florida, Edmund Skellings; Georgia, David Bottoms; and Maryland, Michael Collier. Sharon Olds was once a New York poet laureate. And although she was appointed long before the current change in poetry’s stature, Gwendolyn Brooks was the poet laureate of Illinois from 1969 to her death in 2000. Brooks’ dynamic work with her state’s schools may have been an influence on the now-increasing demands and qualities of many other state’s poet laureates.
Because of the success Brooks and other laureates have had in inspiring children to read poetry, some legislators have also begun using the positions for advancing state-wide literacy. When Governor Ruth Ann Minner named Fleda Brown as state poet laureate of Delaware, for instance, she said that “One of my top priorities for Delaware is to improve reading comprehension in our state. By discussing poetry with Delaware students and others, Dr. Brown will also promote the importance of reading.”
There currently are poetry-advocates in the White House as well. In February 2003 First Lady and librarian Laura Bush organized a forum on “Poetry and the American Voice,” which was cancelled due to the intended protests of anti-war poets, whose aborted crusade made national headlines. The Bush administration has also assembled a State Department anthology on what it means to be an American writer. The anthology includes poets Elmaz Abinader, Billy Collins, Robert Creeley, Julia Alvarez, Linda Hogan, Naomi Shihab Nye, and Robert Pinsky. It is currently being distributed through American embassies throughout the world in hopes of improving foreign opinions of the United States.
Although some members of the Bush administration seem to have an appreciation for the power of poets and their words, many state legislators know less about the poets in their own jurisdictions. In most states the poet laureates are chosen by panels made up of arts administrators, professors, and poets from neighboring states. Sometimes legislators have final approval, and sometimes, as in New Jersey, they have no hand in the selection. This can be dangerous for legislators, especially if they don’t have a comprehension of how politically dangerous poetry can be, or of how much poetry, even in America, really does matter.
Poetry matters so much that on January 23, 2003 the New Jersey senate voted to abolish its state poet laureate position completely.
The senate came to this decision after New Jersey state poet laureate Amiri Baraka’s repeated public readings of “Somebody Blew Up America,” a rant whose most controversial lines, “Who knew the World Trade Center was gonna get bombed./Who told 4,000 Israeli workers at the Twin Towers/To stay at home that day” imply that Israel was involved with the World Trade Center attacks. In national TV interviews Baraka has also claimed that George Bush and other Western leaders knew about these attacks in advance.
Baraka’s ideas are based on conspiracy theories spread most commonly on the Internet, as well as on the idea that, because blacks have been the victims of so much terrorism in America already, black people cannot get as upset as the rest of America over the September 11 attacks,. Critics of Baraka claim that he is Anti-Semitic, his words designed to, as Shai Goldstein of the Anti-Defamation League says, “perpetuate the murder of millions of Jews in Israel.” Baraka claims that his critics are racist.
Although those who wish to censor him seem to be violating Baraka’s First Amendment Rights, Goldstein maintains that those are not at issue. “The issue,” he says instead, “is whether someone can hold an honorary state position while dishonoring the state by making bigoted statements.” Baraka’s position, unlike those of other states’ laureates, is not purely honorary, either—he receives a stipend paid for by the New Jersey taxpayers.
Even without the anti-Semitic charges, Baraka’s poem and subsequent comments are troubling for their use of misinformation. This includes the line “Who told 4,000 Israeli workers to stay home that day,” which is a logistical impossibility, as there have never been 4,000 Israelis working at the World Trade Center. Governor McGreevey has said that “Clearly there needs to be a bright line between poetic license and governmenta