Compare and contrast 2 poems via one poetic lens

forgetting as commodity
By Jax NTP | 1 August 2018
grandma disembodies her youth

as if famine isnt a weapon of war

once she was pregnant

for the fourteenth time

but her husband doesnt know my mothers

name from Vietnams humidity

to knowing snow in her bones Oklahoma

she said privilege is the ability to plan your burial plot

or to know where your ashes will be disseminated

after mating mother octopuses dont starve to death

her protoplasm betrays her

epiphanies are nutritious

my grandma said

if you can afford them

my frustration of inheriting cultural loss is equal

to Aristotles declaration that octopuses were dumb ocean mass

dear three hearted cephalopods,

the reflexes from grandmas left fingers

are gone infected from scrounging aluminum recyclables

the past orbits her present strength

oh the difficulty of guessing a trees age

when admiring its crisp shadow

an octopuss production of natural pigment

harms enemies and the self

sometimes knowing where you come from

prevents growth

old leaves fall to make space for new buds

what is post fragmentation

if emptiness is a pretense

what is queer visibility in commodity culture

but spatial subversions

grandma taught me that when octopuses

cant escape their own ink cloud they cease

dear women who are not embarrassed when their nipples get hard in public,
did you know that deserts are the first place to thirst
because they were the ancient oceans that dried first

evolution of consciousness and totems for a sea witch
nautilus, squid, cuttlefish, octopus: locomotion defense

i havent been able to process joy since ive inherited
my mothers trauma while she was pregnant with me

it is easier to thread the needle if you lick it first, mother
taught me feminine etiquette at a young age i had to let go

erect motion and bait, a simple love story in three parts
cut the deck and draw the strength, trilobite transformations

con khng c yu n b

tell me about all the things we cant undo
threats are promises people want to keep

at some point, you cannot live in rage, stop fighting
to allow yourself a chance to heal, go on, draw the three of cups

Poetic lens by Frank O’hara
Be Blunt = straight to the point
Keep poem modest = do not confuse reader
Be honest
A poem should be between 2 people NOT 2 pages
Content must be alive
Poems should go on Nerves
Poems should be written with knee-jerk reaction moment/ person
Sexy pants metaphor
NYs: I do this, I do that poet
Do not use excessive imagery
Do not overanalyze ideas
Dont force subject or poems upon readers
Avoid technical apparatus = avoid using intentional poetic devices
Dont consider readers feeling during composition
Use #1, 2, 7 as suggestions for organizational units / body paragraphs ideas to discuss your poets theme: identity devices/techniques – are they effective or not? – and apply level of (in)effectiveness to theme
1. How does the explicit (obvious) and implicit (indirect) meaning of the poem affect theme? How does rereading each poem, unpacking ambiguity, allow readers to create multiple interpretations of the poem?

2. Discussion power dynamics, as in, relationships between:
-speaker and audience and/or person directly addressed, or
-speaker and time/setting/culture/history/self, or
-“title, first line, and last line’s” isolated meaning vs. the entire poem
(similar effect or different? which one is more effective?)
7. How does punctuation (or lack thereof) style, syntax, grammar, tone, voice affect the theme/audience?
Each body paragraph must compare and contrast all poems via one poetic device.Do not analyze poems in isolation (do no analyze one poem per body paragraph).
Topic for both poems: unlearning traditional feminine values
Theme: need to produce in introduction and repeat in conclusion