yusef komunyakaa s facing it dissertation

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Returning Vietnam veterans recently had an especially hard time reconnecting to the world upon their return home. The two their mental and physical stresses, exponentially boosted by the fact that there were a lot of people who made a decision to hate and beguile these men, caused those to be clinically depressed and even in some cases went them to madness. In Komunyakaa’s “Facing It, we get a detailed look at the personal casualties and inner conflict set involving the veteran fantastic inability to deal with the memories he is having.

It is most commonly thought that all Komunyakaa may be the narrator, telling this poem in first-person straight from his memories in the Vietnam Warfare.

He uses the physical homes of his surroundings and the wall alone to illustrate his remembrances. The lustrous surface from the wall casts a ghostly illusion to prospects who stare and gives an effect that Yusef Komunyakaa’s landscapes of these ghosts are a portrayal of the have difficulties Yusef Komunyakaa suffers searching for his emotional solve over the Vietnam War. You can easily agree with Brown’s statement, “Ironically, the memorial service is popularly referred to as “the wall because it is shaped such as a wall; yet , its “nickname also indicates the psychological dead end many survivors of the battle come up against when visiting this website.  Dark brown 1 . Over the entirety of his operate, Komunyakaa plays with understanding and impression, showing the fact that memories from the war continue to be haunting him and interrupting his capability to recognize the best time and space.

Included among his works in Dien Cai Dau, which displays many other looks of the Vietnam War, Komunyakaa’s “Facing It is the second work shown in Dien Cai Dau, as well as his second work that the poet had done. In an interview with Muna Asali, Komunyakaa stated, “In fact, I realized with regards to a year when i completed Dien Cai Dau that I have been very depressed in Vietnam. I was also lonely in a crowd, and spent almost all of my time trying to appear sensible out of the whole damn factor. I was incredibly conscious of the things i was undertaking andwhat was happening to my opinion.  Komunyakaa p. 77 It is apparent that by looking at the initially two lines of the part the theme will be self- identity; we could tell this kind of by the narrators’ description with the black encounter. The face being the first thing persons show in front of large audiences and themselves it stands that not to know what it looks like means that the face does not understand who they are. By simply hiding the facial skin here in the black granite we see how a narrator has lost the two his self-image and his identity. The speaker’s reflection can be described as haunting tip of what lies within himself. Thus, the narrator could have as easily defined white skinned person without face nevertheless because he did not, one could argue that the narrator like the creator is Black. If this individual were some other color we might have just experienced the explanation as a light shape without any facial features. Perhaps it might have been described as not having eye, a mouth area, a nasal area or even ear.

An introduction towards the speaker’s failure to control his grief, and shock if the memories begin to dance in his mind is manufactured during lines three through five. When the speaker refers to himself plus the image in granite he is being both literal and metaphoric by describing himself flesh and stone as well. As a great animate target of flesh we see mans’ vulnerability. Although being stone suggests that the character is hardening himself against the powerful thoughts he seems or staying numbed by the loss of his comrades. In line six through nine the poet further develops the photographs, eyeing the speaker “like a parrot of prey Komunyakaa 2, the image has taken on a life of its’ very own and become an adversary to taunt the speaker throughout the poem. Being such a dark shadow eludes towards the inevitable final result that the picture itself can be described as dangerous staying in itself. Emotions and low self confidence can be even more dangerous to a soldier than anything. Designed by Maya Ying Ling, students of Yale University, the memorial is manufactured in the shape of the notice “v away of black granite the place that the names of both missing and deceased Americans are posted. Lines ten through thirteen give us an idea in the physical space the loudspeaker is in. If he states that he is inside wall this individual means that he can emotional synced to the wall. That he as a experienced who was there with these men, created this kind of wall through their actions and have today been entered into history, they are really integral to one another.

The speaker refers to the 58022 labels of both MIA and POW in line fourteen through sixteen. The speaker reveals his furor and lifelessness over the lossesby half expecting to find call him by his name on that wall. This individual describes the letters because smoke to exhibit them as transitory and vague in the same way the agreement of smoke is. In lines seventeen through twenty-one the narrator Places his palm on a name and experiences painful memories of his past. He’s taken back in the fatality of a guy soldier and feels as though it’s occurring all over again. Rapid shifts inside the scenery further more underline the speaker’s dream-like state. Much to the comparison of surrealistic art, this frame of mind reflects his perception. Throughout the juxtaposition of unrelated and separate factors, the arts reflected the dream-like quality of mans’ living.

The “brushstrokes in lines twenty two through 24 break our narrators desire state and bring him back the awareness of his surroundings. The soldier is no longer staring blankly at the wall structure while his inner uncertainty eats in his sense of guilt and plays on his feelings. There are many different versions to the name of this composition and one could see that after finishing it. “Facing It shows the literal which means of the jewellry staring at him self in the wall structure. However , by simply “facing it one is able to stand up against their concerns and face the issue in front of you. As said by Jones Marvin “As the final series in a volume of poems that assault someone with all of the folly and scary of battle, it does provide a release, a glimpse with the love that sustains the newly released, even if that cannot preserve them by experiencing war for themselves Marvin 242. Showing the grotesque characteristics of war, the wall structure stands since both a memorial and a reflecting spot for individuals lost and people who shed.

Works Offered

Dark brown, James T. “Overview: “Facing It.  Poetry for Students 5 (1999): n. pag. Web. 22 Mar. 2014. Komunykaa, Yusef, and Muna Asali. “An Interview With Yusef komunyakaa.  Green Notes: Documents, Interviews, and Commentary 207 (2000): 76-84. Web. twenty two Mar. 2014. Marvin, Jones F. “Komunyakaa’s Facing It.  The Explicator 61. 2 (2003): 262. Internet. 22 Mar. 2014.

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