30 Nisan 2019 Salı

12 Punto TRT Senaryo Günleri için başvurular başladı!


Kurulduğu günden beri Türk sinemasının gelişimine katkı sağlayan TRT, Türk sinemasına nitelikli senaryolar kazandırmak ve bu senaryoların filme dönüştürülmesini desteklemek amacıyla senaryo günleri düzenliyor.
12 Punto TRT Senaryo Günleri adı altında düzenlenecek etkinlikte her yıl finale kalan 12 proje arasından uluslararası jüri tarafından seçilen 4 projeye ortak yapım ödülü, 4 projeye ön alım ödülü verilecek. Senaryo Günleri çerçevesinde ayrıca senaryo geliştirme atölyeleri, ustalık sınıfları ve paneller düzenlenecek.

Yapım firmalarının katılabileceği yarışmaya başvuru için: trt12punto.com

27 Nisan 2019 Cumartesi

“And we are magic talking to itself, noisy and alone. I am queen of all my sins forgotten. Am I still lost? Once I was beautiful. Now I am myself” ― Anne Sexton

For American Poetry II: This video presents an intro to Anne Sexton's poetry and describes how she began writing, and her writing style.

                                                         USA: Poetry Episode Anne Sexton

Many a writer has said they write to save their lives. And many a writer has died by suicide. In few cases has the connection been so direct as in that of the poet Anne Sexton. Encouraged in 1957 by her therapist to write poetry to stave off her suicidal ideation, she eventually joined a group of mid-century “confessional” poets based in Boston—including Robert Lowell and Sylvia Plath—whose personal pathos, family pain, and severe bouts of depression provided much of the material for their work. Despite Sexton’s tremendous career success at what began, more-or-less, as a hobby, she became overwhelmed by her illness and committed suicide in 1974.
for more pls read: http://www.openculture.com/2013/02/anne_sexton_confessional_poet_reads_wanting_to_die_in_ominous_1966_video.html


26 Nisan 2019 Cuma

“The beginning is always today.” ― Mary Wollstonecraft

http://www.zoebuckman.com/feminist-art-embroidery-lingerie/

Mary Wollstonecraft, married name Mary Wollstonecraft Godwin, (born April 27, 1759, London, -1797, London), English writer and passionate advocate of educational and social equality for women.
A Vindication of the Rights of Woman is one of the trailblazing works of feminism. Published in 1792, Wollstonecraft’s work argued that the educational system of her time deliberately trained women to be frivolous and incapable. She posited that an educational system that allowed girls the same advantages as boys would result in women who would be not only exceptional wives and mothers but also capable workers in many professions. Other early feminists had made similar pleas for improved education for women, but Wollstonecraft’s work was unique in suggesting that the betterment of women’s status be effected through such political change as the radical reform of national educational systems. Such change, she concluded, would benefit all society.

for more pls read: https://www.britannica.com/biography/Mary-Wollstonecraft#ref9750
here is the full text: https://www.earlymoderntexts.com/assets/pdfs/wollstonecraft1792.pdf


25 Nisan 2019 Perşembe

Homework for Comp Lit II and Seminar Novel 29.04.2019

Dear Students,
  • American Poetry II: We do not have class at 1.05.2019.
  • Comp Lit II: pls finish reading "Beloved" and "The Long Song"
  • Seminar Novel: Pls read the article "A Theory of Literary Realism" Ali Taghizadeh and Butler's "Bloodchild": https://www.washingtonpost.com/wp-srv/style/longterm/books/chap1/bloodchi.htm?noredirect=on






24 Nisan 2019 Çarşamba

"I took a deep breath and listened to the old brag of my heart. I am, I am, I am." -Sylvia Plath

Dear Students,
I am so proud of those who attended the class today and were brave enough to write down their confessions. And I am also thankful for your trust.
Please do not worry, they are going to be destroyed today in a decent way.


A wonderful way to connect with Plath's poetry is to hear her reading her own poems. In these video-clips you can hear her read fifteen poems from Ariel, her New England Brahmin vowels inflecting every line, drawing out internal rhymes and assonance, then clipping at caesuras like a well-bred horse’s trotting hooves and her haunting confessions. Please choose yours and enjoy.
for more pls visit: http://www.openculture.com/2013/05/hear_sylvia_plath_read_fifteen_poems_from_her_final_collection_ariel_in_1962_recording.html

















Make-Up Midterm Exams

Dear Students,
I announced your grades.
best
gh

23 Nisan 2019 Salı

“People can lose their lives in libraries. They ought to be warned.” ― Saul Bellow



Dear Students,
Wish you a nice World Book Day, https://www.worldbookday.com/
Here you can find 1,000 Free Audio Books: http://www.openculture.com/freeaudiobooks
best gh


The lunatic, the lover, and the poet are of imagination all compact. - Shakespeare, A Midsummer Night's Dream,

455th Birth Anniversary of : English poet, playwright and actor William Shakespeare was born on 23 April (1564) and left us with the most dramatic, lovely, clever, romantic and traumatic lines ever. Also known as the "Bard of Avon," Shakespeare's plays and poems are known throughout the world.

Many fans and enthusiasts of William Shakespeare, who was one of England’s greatest poets and dramatists, celebrate National Shakespeare Day, also known as Shakespeare Day, on April 23 each year. April 23 is also St George’s Day and the United Nations’ World Book and Copyright Day, which was a natural choice to pay a worldwide tribute to writers such as Shakespeare.


Shakespeare's Plays in Chronological Order
  1. "Henry VI Part I" (1589-1590)
  2. "Henry VI Part II" (1590-1591)
  3. "Henry VI Part III" (1590-1591)
  4. "Richard III" (1592-1593)
  5. "The Comedy of Errors" (1592-1593)
  6. "Titus Andronicus" (1593-1594)
  7. "The Taming of the Shrew" (1593-1594)
  8. "The Two Gentlemen of Verona" (1594-1595)
  9. "Love’s Labour’s Lost" (1594-1595)
  10. "Romeo and Juliet" (1594-1595)
  11. "Richard II" (1595-1596)
  12. "A Midsummer Night’s Dream" (1595-1596)
  13. "King John" (1596-1597)
  14. "The Merchant of Venice" (1596-1597)
  15. "Henry IV Part I" (1597-1598)
  16. "Henry IV Part II" (1597-1598)
  17. "Much Ado About Nothing" (1598-1599)
  18. "Henry V" (1598-1599)
  19. "Julius Caesar" (1599-1600)
  20. "As You Like It" (1599-1600)
  21. "Twelfth Night" (1599-1600)
  22. "Hamlet" (1600-1601)
  23. "The Merry Wives of Windsor" (1600-1601)
  24. "Troilus and Cressida" (1601-1602)
  25. "All’s Well That Ends Well" (1602-1603)
  26. "Measure for Measure" (1604-1605)
  27. "Othello" (1604-1605)
  28. "King Lear" (1605-1606)
  29. "Macbeth" (1605-1606)
  30. "Antony and Cleopatra" (1606-1607)
  31. "Coriolanus" (1607-1608)
  32. "Timon of Athens" (1607-1608)
  33. "Pericles" (1608-1609)
  34. "Cymbeline" (1609-1610)
  1. "The Winter’s Tale" (1610-1611)
  2. "The Tempest" (1611-1612)
  3. "Henry VIII" (1612-1613)
  4. "The Two Noble Kinsmen" (1612-1613)

          1. Shakespeare's Sonnets
          2. I. FROM fairest creatures we desire increase,
            II. When forty winters shall beseige thy brow,
            III. Look in thy glass, and tell the face thou viewest
            IV. Unthrifty loveliness, why dost thou spend
            V. Those hours, that with gentle work did frame
            VI. Then let not winter's ragged hand deface
            VII. Lo! in the orient when the gracious light
            VIII. Music to hear, why hear'st thou music sadly?
            IX. Is it for fear to wet a widow's eye
            X. For shame! deny that thou bear'st love to any,
            XI. As fast as thou shalt wane, so fast thou growest
            XII. When I do count the clock that tells the time,
            XIII. O, that you were yourself! but, love, you are
            XIV. Not from the stars do I my judgment pluck;
            XV. When I consider every thing that grows
            XVI. But wherefore do not you a mightier way
            XVII. Who will believe my verse in time to come,
            XVIII. Shall I compare thee to a summer's day?
            XIX. Devouring Time, blunt thou the lion's paws,
            XX. A woman's face with Nature's own hand painted
            XXI. So is it not with me as with that Muse
            XXII. My glass shall not persuade me I am old,
            XXIII. As an unperfect actor on the stage
            XXIV. Mine eye hath play'd the painter and hath stell'd
            XXV. Let those who are in favour with their stars
            XXVI. Lord of my love, to whom in vassalage
            XXVII. Weary with toil, I haste me to my bed,
            XXVIII. How can I then return in happy plight,
            XXIX. When, in disgrace with fortune and men's eyes,
            XXX. When to the sessions of sweet silent thought
            XXXI. Thy bosom is endeared with all hearts,
            XXXII. If thou survive my well-contented day,
            XXXIII. Full many a glorious morning have I seen
            XXXIV. Why didst thou promise such a beauteous day,
            XXXV. No more be grieved at that which thou hast done:
            XXXVI. Let me confess that we two must be twain,
            XXXVII. As a decrepit father takes delight
            XXXVIII. How can my Muse want subject to invent,
            XXXIX. O, how thy worth with manners may I sing,
            XL. Take all my loves, my love, yea, take them all;
            XLI. Those petty wrongs that liberty commits,
            XLII. That thou hast her, it is not all my grief,
            XLIII. When most I wink, then do mine eyes best see,
            XLIV. If the dull substance of my flesh were thought,
            XLV. The other two, slight air and purging fire,
            XLVI. Mine eye and heart are at a mortal war
            XLVII. Betwixt mine eye and heart a league is took,
            XLVIII. How careful was I, when I took my way,
            XLIX. Against that time, if ever that time come,
            L. How heavy do I journey on the way,
            LI. Thus can my love excuse the slow offence
            LII. So am I as the rich, whose blessed key
            LIII. What is your substance, whereof are you made,
            LIV. O, how much more doth beauty beauteous seem
            LV. Not marble, nor the gilded monuments
            LVI. Sweet love, renew thy force; be it not said
            LVII. Being your slave, what should I do but tend
            LVIII. That god forbid that made me first your slave,
            LIX. If there be nothing new, but that which is
            LX. Like as the waves make towards the pebbled shore,
            LXI. Is it thy will thy image should keep open
            LXII. Sin of self-love possesseth all mine eye
            LXIII. Against my love shall be, as I am now,
            LXIV. When I have seen by Time's fell hand defaced
            LXV. Since brass, nor stone, nor earth, nor boundless sea,
            LXVI. Tired with all these, for restful death I cry,
            LXVII. Ah! wherefore with infection should he live,
            LXVIII. Thus is his cheek the map of days outworn,
            LXIX. Those parts of thee that the world's eye doth view
            LXX. That thou art blamed shall not be thy defect,
            LXXI. No longer mourn for me when I am dead
            LXXII. O, lest the world should task you to recite
            LXXIII. That time of year thou mayst in me behold
            LXXIV. But be contented: when that fell arrest
            LXXV. So are you to my thoughts as food to life,
            LXXVI. Why is my verse so barren of new pride,
            LXXVII. Thy glass will show thee how thy beauties wear,
            LXXVIII. So oft have I invoked thee for my Muse
            LXXIX. Whilst I alone did call upon thy aid,
            LXXX. O, how I faint when I of you do write,
            LXXXI. Or I shall live your epitaph to make,
            LXXXII. I grant thou wert not married to my Muse
            LXXXIII. I never saw that you did painting need
            LXXXIV. Who is it that says most? which can say more
            LXXXV. My tongue-tied Muse in manners holds her still,
            LXXXVI. Was it the proud full sail of his great verse,
            LXXXVII. Farewell! thou art too dear for my possessing,
            LXXXVIII. When thou shalt be disposed to set me light,
            LXXXIX. Say that thou didst forsake me for some fault,
            XC. Then hate me when thou wilt; if ever, now;
            XCI. Some glory in their birth, some in their skill,
            XCII. But do thy worst to steal thyself away,
            XCIII. So shall I live, supposing thou art true,
            XCIV. They that have power to hurt and will do none,
            XCV. How sweet and lovely dost thou make the shame
            XCVI. Some say thy fault is youth, some wantonness;
            XCVII. How like a winter hath my absence been
            XCVIII. From you have I been absent in the spring,
            XCIX. The forward violet thus did I chide:
            C. Where art thou, Muse, that thou forget'st so long
            CI. O truant Muse, what shall be thy amends
            CII. My love is strengthen'd, though more weak in seeming;
            CIII. Alack, what poverty my Muse brings forth,
            CIV. To me, fair friend, you never can be old,
            CV. Let not my love be call'd idolatry,
            CVI. When in the chronicle of wasted time
            CVII. Not mine own fears, nor the prophetic soul
            CVIII. What's in the brain that ink may character
            CIX. O, never say that I was false of heart,
            CX. Alas, 'tis true I have gone here and there
            CXI. O, for my sake do you with Fortune chide,
            CXII. Your love and pity doth the impression fill
            CXIII. Since I left you, mine eye is in my mind;
            CXIV. Or whether doth my mind, being crown'd with you,
            CXV. Those lines that I before have writ do lie,
            CXVI. Let me not to the marriage of true minds
            CXVII. Accuse me thus: that I have scanted all
            CXVIII. Like as, to make our appetites more keen,
            CXIX. What potions have I drunk of Siren tears,
            CXX. That you were once unkind befriends me now,
            CXXI. 'Tis better to be vile than vile esteem'd,
            CXXII. Thy gift, thy tables, are within my brain
            CXXIII. No, Time, thou shalt not boast that I do change:
            CXXIV. If my dear love were but the child of state,
            CXXV. Were 't aught to me I bore the canopy,
            CXXVI. O thou, my lovely boy, who in thy power
            CXXVII. In the old age black was not counted fair,
            CXXVIII. How oft, when thou, my music, music play'st,
            CXXIX. The expense of spirit in a waste of shame
            CXXX. My mistress' eyes are nothing like the sun;
            CXXXI. Thou art as tyrannous, so as thou art,
            CXXXII. Thine eyes I love, and they, as pitying me,
            CXXXIII. Beshrew that heart that makes my heart to groan
            CXXXIV. So, now I have confess'd that he is thine,
            CXXXV. Whoever hath her wish, thou hast thy 'Will,'
            CXXXVI. If thy soul cheque thee that I come so near,
            CXXXVII. Thou blind fool, Love, what dost thou to mine eyes,
            CXXXVIII. When my love swears that she is made of truth
            CXXXIX. O, call not me to justify the wrong
            CXL. Be wise as thou art cruel; do not press
            CXLI. In faith, I do not love thee with mine eyes,
            CXLII. Love is my sin and thy dear virtue hate,
            CXLIII. Lo! as a careful housewife runs to catch
            CXLIV. Two loves I have of comfort and despair,
            CXLV. Those lips that Love's own hand did make
            CXLVI. Poor soul, the centre of my sinful earth,
            CXLVII. My love is as a fever, longing still
            CXLVIII. O me, what eyes hath Love put in my head,
            CXLIX. Canst thou, O cruel! say I love thee not,
            CL. O, from what power hast thou this powerful might
            CLI. Love is too young to know what conscience is;
            CLII. In loving thee thou know'st I am forsworn,
            CLIII. Cupid laid by his brand, and fell asleep:
            CLIV. The little Love-god lying once asleep

for more pls read: 
https://www.biography.com/writer/william-shakespeare
https://www.timeanddate.com/holidays/uk/shakespeare-day
https://www.thoughtco.com/list-of-shakespeare-plays-2985250
http://shakespeare.mit.edu/Poetry/sonnets.html

22 Nisan 2019 Pazartesi

“The master said You must write what you see. But what I see does not move me. The master answered Change what you see.” ― Louise Glück, Vita Nova



https://www.sublackwell.co.uk/

End of Winter
BY LOUISE GLÜCK

Over the still world, a bird calls
waking solitary among black boughs.

You wanted to be born; I let you be born.
When has my grief ever gotten
in the way of your pleasure?

Plunging ahead
into the dark and light at the same time
eager for sensation

as though you were some new thing, wanting
to express yourselves

all brilliance, all vivacity

never thinking
this would cost you anything,
never imagining the sound of my voice
as anything but part of you—

you won't hear it in the other world,
not clearly again,
not in birdcall or human cry,

not the clear sound, only
persistent echoing
in all sound that means good-bye, good-bye—

the one continuous line
that binds us to each other.

Happy Birthday to Louise Glück who was born in New York City on April 22, 1943, and grew up on Long Island. She is the author of numerous books of poetry, most recently, Faithful and Virtuous Night (Farrar, Straus, and Giroux, 2014), which won the 2014 National Book Award in Poetry; Poems 1962-2012 (Farrar, Straus, and Giroux, 2012); A Village Life: Poems (Farrar, Straus, and Giroux, 2009); Averno (Farrar, Straus, and Giroux, 2006), a finalist for the 2006 National Book Award in Poetry; The Seven Ages (Ecco Press, 2001); and Vita Nova (Ecco Press, 1999), winner of Boston Book Review’s Bingham Poetry Prize and The New Yorker’s Book Award in Poetry. In 2004, Sarabande Books released her six-part poem “October” as a chapbook.

Selected Bibiography

Poetry

Faithful and Virtuous Night (Farrar, Straus and Giroux, 2014)
Poems: 1962-2012 (Farrar, Straus, and Giroux, 2013)
A Village Life (Farrar, Straus, and Giroux, 2009)
Averno (Farrar, Straus, and Giroux, 2006)
The Seven Ages (Ecco Press, 2001)
Vita Nova (Ecco Press, 1999)
Meadowlands (Ecco Press, 1996)
The First Four Books of Poems (Ecco Press, 1995)
The Wild Iris (Ecco Press, 1992)
Ararat (Ecco Press, 1990)
The Triumph of Achilles (Ecco Press, 1985)
Descending Figure (Ecco Press, 1980)
The Garden (Antaeus, 1976)
The House on Marshland (Ecco Press, 1975)
Firstborn (New American Library, 1968)

for more pls visit: https://www.poets.org/poetsorg/poet/louise-gl%C3%BCck


Prezi for Seminar Novel:The Shawl by Cynthia Ozick

21 Nisan 2019 Pazar

“His mind was indeed my library, and whenever it was opened to me, I entered bliss.” ― Charlotte Brontë

“No sight so sad as that of a naughty child," he began, "especially a naughty little girl. Do you know where the wicked go after death?"

"They go to hell," was my ready and orthodox answer.

"And what is hell? Can you tell me that?"

"A pit full of fire."

"And should you like to fall into that pit, and to be burning there for ever?"

"No, sir."

"What must you do to avoid it?"

I deliberated a moment: my answer, when it did come was objectionable: "I must keep in good health and not die.” 
― Charlotte Brontë, Jane Eyre

Jane Eyre - Official Trailer 2011

Today is the 203rd Birthday of Charlotte Brontë, one of the Bronte sisters, and who is an English novelist noted for Jane Eyre (1847), a strong narrative of a woman in conflict with her natural desires and social condition. The novel gave new truthfulness to Victorian fiction. She later wrote Shirley (1849) and Villette (1853).
for more pls read: https://www.britannica.com/biography/Charlotte-Bronte


19 Nisan 2019 Cuma

“Then what is magic for?" Prince Lír demanded wildly. "What use is wizardry if it cannot save a unicorn?" He gripped the magician's shoulder hard, to keep from falling. Schmedrick did not turn his head. With a touch of sad mockery in his voice, he said, "That's what heroes are for.” ― Peter S. Beagle, The Last Unicorn

Motohiko Odani, http://www.phantom-limb.com/

Happy Birthday to Peter Soyer Beagle (born April 20, 1939) who is an American fantasist and author of novels, nonfiction, and screenplays. He is also a talented guitarist and folk singer. He wrote his first novel, A Fine and Private Place , when he was only 19 years old. Today he is best known as the author of The Last Unicorn, which routinely polls as one of the top ten fantasy novels of all time, and at least two of his other books (A Fine and Private Place and I See By My Outfit) are considered modern classics.
source: https://www.goodreads.com/author/show/1067608.Peter_S_Beagle


                                                            The Last Unicorn (1982 Movie)

ATTENTION: Those students who are listed should e-mail me ASAP

Dear Students,
thank for e-mailing me.
pls follow the uni-system and the rules regarding your absences.
best
gh




17 Nisan 2019 Çarşamba

Homework American Poetry ACL 306: 24.04.2019

                                                          November (2017), Rainer Sarnet, Ana Gavilá

Please bring you music and your earphones for next class.
Please read and print the following poems for class:

Lady Lazarus
BY SYLVIA PLATH
I have done it again.   
One year in every ten   
I manage it——

A sort of walking miracle, my skin   
Bright as a Nazi lampshade,   
My right foot

A paperweight,
My face a featureless, fine   
Jew linen.

Peel off the napkin   
O my enemy.   
Do I terrify?——

The nose, the eye pits, the full set of teeth?   
The sour breath
Will vanish in a day.

Soon, soon the flesh
The grave cave ate will be   
At home on me

And I a smiling woman.   
I am only thirty.
And like the cat I have nine times to die.

This is Number Three.   
What a trash
To annihilate each decade.

What a million filaments.   
The peanut-crunching crowd   
Shoves in to see

Them unwrap me hand and foot——
The big strip tease.   
Gentlemen, ladies

These are my hands   
My knees.
I may be skin and bone,

Nevertheless, I am the same, identical woman.   
The first time it happened I was ten.   
It was an accident.

The second time I meant
To last it out and not come back at all.   
I rocked shut

As a seashell.
They had to call and call
And pick the worms off me like sticky pearls.

Dying
Is an art, like everything else.   
I do it exceptionally well.

I do it so it feels like hell.   
I do it so it feels real.
I guess you could say I’ve a call.

It’s easy enough to do it in a cell.
It’s easy enough to do it and stay put.   
It’s the theatrical

Comeback in broad day
To the same place, the same face, the same brute   
Amused shout:

‘A miracle!’
That knocks me out.   
There is a charge

For the eyeing of my scars, there is a charge   
For the hearing of my heart——
It really goes.

And there is a charge, a very large charge   
For a word or a touch   
Or a bit of blood

Or a piece of my hair or my clothes.   
So, so, Herr Doktor.   
So, Herr Enemy.

I am your opus,
I am your valuable,   
The pure gold baby

That melts to a shriek.   
I turn and burn.
Do not think I underestimate your great concern.

Ash, ash—
You poke and stir.
Flesh, bone, there is nothing there——

A cake of soap,   
A wedding ring,   
A gold filling.

Herr God, Herr Lucifer   
Beware
Beware.

Out of the ash
I rise with my red hair   
And I eat men like air.

Daddy
BY SYLVIA PLATH
You do not do, you do not do   
Any more, black shoe
In which I have lived like a foot   
For thirty years, poor and white,   
Barely daring to breathe or Achoo.

Daddy, I have had to kill you.   
You died before I had time——
Marble-heavy, a bag full of God,   
Ghastly statue with one gray toe   
Big as a Frisco seal

And a head in the freakish Atlantic   
Where it pours bean green over blue   
In the waters off beautiful Nauset.   
I used to pray to recover you.
Ach, du.

In the German tongue, in the Polish town   
Scraped flat by the roller
Of wars, wars, wars.
But the name of the town is common.   
My Polack friend

Says there are a dozen or two.   
So I never could tell where you   
Put your foot, your root,
I never could talk to you.
The tongue stuck in my jaw.

It stuck in a barb wire snare.   
Ich, ich, ich, ich,
I could hardly speak.
I thought every German was you.   
And the language obscene

An engine, an engine
Chuffing me off like a Jew.
A Jew to Dachau, Auschwitz, Belsen.   
I began to talk like a Jew.
I think I may well be a Jew.

The snows of the Tyrol, the clear beer of Vienna   
Are not very pure or true.
With my gipsy ancestress and my weird luck   
And my Taroc pack and my Taroc pack
I may be a bit of a Jew.

I have always been scared of you,
With your Luftwaffe, your gobbledygoo.   
And your neat mustache
And your Aryan eye, bright blue.
Panzer-man, panzer-man, O You——

Not God but a swastika
So black no sky could squeak through.   
Every woman adores a Fascist,   
The boot in the face, the brute   
Brute heart of a brute like you.

You stand at the blackboard, daddy,   
In the picture I have of you,
A cleft in your chin instead of your foot   
But no less a devil for that, no not   
Any less the black man who

Bit my pretty red heart in two.
I was ten when they buried you.   
At twenty I tried to die
And get back, back, back to you.
I thought even the bones would do.

But they pulled me out of the sack,   
And they stuck me together with glue.   
And then I knew what to do.
I made a model of you,
A man in black with a Meinkampf look

And a love of the rack and the screw.   
And I said I do, I do.
So daddy, I’m finally through.
The black telephone’s off at the root,   
The voices just can’t worm through.

If I’ve killed one man, I’ve killed two——
The vampire who said he was you   
And drank my blood for a year,
Seven years, if you want to know.
Daddy, you can lie back now.

There’s a stake in your fat black heart   
And the villagers never liked you.
They are dancing and stamping on you.   
They always knew it was you.
Daddy, daddy, you bastard, I’m through.

Cut
by Sylvia Plath


For Susan O'Neill Roe

What a thrill ---
My thumb instead of an onion.
The top quite gone
Except for a sort of a hinge

Of skin,
A flap like a hat,
Dead white.
Then that red plush.

Little pilgrim,
The Indian's axed your scalp.
Your turkey wattle
Carpet rolls

Straight from the heart.
I step on it,
Clutching my bottle
Of pink fizz.

A celebration, this is.
Out of a gap
A million soldiers run,
Redcoats, every one.

Whose side are they on?
O my
Homunculus, I am ill.
I have taken a pill to kill

The thin
Papery feeling.
Saboteur,
Kamikaze man ---

The stain on your
Gauze Ku Klux Klan
Babushka
Darkens and tarnishes and when

The balled
Pulp of your heart
Confronts its small
Mill of silence

How you jump ---
Trepanned veteran,
Dirty girl,
Thumb stump.

"La poesia appartiene a chi ne ha bisogno, non a chi la scrive." - Il Postino (1994) #worldpoetryday

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