By Dulce Maria Espinosa
Los angeles vida de un adolescente es como una montana rusa con subidas y bajadas: lentas, rapidas, suaves, trepidantes, tristes, felices, sorprendentes, dolorosas, emotivas Asi es los angeles revelacion, transparente y honesta, de Dulce Maria en este libro. / The lifetime of is sort of a curler coaster with ups and downs: sluggish, quick, tender, exciting, unhappy, satisfied, striking, painful, emotional... this can be the revelation, obvious and sincere, of Dulce Maria during this e-book.
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Is “The Figure a Poem Makes” an account of the psychology of discovery? Well, it affords its reader the experience of discovery. The paragraph quoted previously moves less by logic than by accretion and addition. The central idea is six times restated, each time with variations in terms and emphasis: a poem begins in delight and ends in wisdom; it begins in delight and inclines to the impulse; it has denouement; it has an outcome both unforeseen and predestined; it is but a trick poem if its end was conceived with its beginning; it finds its own name.
I am in a place, in a situation,” Frost adds, “as if I had materialized from cloud or risen out of the ground. There is a glad recognition of the long lost and the rest follows” (CPPP 777). It would be hard to overstate just how odd this notion of materializing from cloud or rising out of the ground is. The ways of memory and thought are so highly idiosyncratic as to defy communication. ” “The impressions most useful to my purpose,” he then says, “seem always those I was unaware of and so made no note of at the time when taken, and the conclusion is come to that like giants, we are always hurling experience ahead of us to pave the future with against the day when we may want to strike a line of purpose across it for somewhere” (CPPP 777).
It shielded private experience behind the communal front of language, even while it reached out to a more general human life through speaking gestures. This doubleness is not stated so explicitly in the letters of 1913–1915 as later, especially in his 1935 introduction to E. A. Robinson’s King Jasper (CP 116–122). There is the menace, first of all, of insanity, figured as isolation in a language that other men would not understand so that one is cut off from them (CP 116). Along with that fear, however, is the equally strong desire for control of how others are to understand, so as to prevent inquisitive intrusiveness.
Dulce amargo by Dulce Maria Espinosa