One of them, dedicated to Ruth Fainlight, declares that "love is a shadow" and that its speaker is "incapable of more knowledge," but finds a "strangle of branches" that "petrifies the will."
One of them, dedicated to Ruth Fainlight, declares that "love is a shadow" and that its speaker is "incapable of more knowledge," but finds a "strangle of branches" that "petrifies the will." Another takes place on a winter's day in a hospital room and declares that the title objects are "too red in the first place" and are opening "like the mouth of some great African cat." Those works, "Elm" and "Tulips," [*] complement the title poem, which describes the berries the speaker eats as possessing "hooks." Other famous images in this collection, that shares its title with an essay about the effects of American interference by Jose Rodo, include the "gray toe" of "a man in black with a Meinkampf look" and a woman who "eats men like hair." FTP identify this posthumous collection of poems, with "Lady Lazarus" and Daddy," a work named for its author's horse rather than a servant of Prospero, written by Sylvia Plath.
One of them, dedicated to Ruth Fainlight, declares that "love is a shadow" and that its speaker is "incapable of more knowledge," but finds a "strangle of branches" that "petrifies the will."
{Ariel} poems