Paper #1 Explication of "Sonrisas" (Revision)
In this free verse poem, Sonrisas," Pat Mora, a Mexican American creates images of living in two worlds where she is living in the middle of the doorway. As a first generation American, I can relate to the lifestyle of living between two worlds or cultures and the struggles to understand and cope with both. When I first thought of living in a doorway I thought of two rooms where I must live in which I had access to both and this is the case because Mora's doorway is her life and the rooms se lives in are possibly her job and her life at home. Every day that she steps out of her front door, she enters a new world, and when she comes home she reenters her reality. In "Sonritas," Mora is able to document some experiences she faces on a journey into the world in which she lives.
Mora begins her free verse poem and introduces the reader to the first world in which she lives. Mora describes a place where she works as a very quiet, strict and boring place she does so by the use of imagery of the office is that it is very quiet, so quiet that you can hear the quiet clicking of computer keys. The alliteration in "quiet clicking" and in the repetition of the word click helps emphasize and reinforce how quiet it is in the office. In the office the workers do little socializing with each other. I think Mora wanted the reader to imagine this place as not friendly. Mora use imagery of the "black coffee" to reinforces to plain and dull the office is. When I think of black coffee I think of something that is bitter and plain, also I think of workers who have so much work to do that they need plain black coffee to keep them awake. Imagine that work on "budgets, tenure, and curriculum" is boring work and you made need to drink black coffee to stay awake. Mora's tone helps the reader understand how she feels about this world. Mora use sight and color to make to the reader understand how plain this world is. From the...
Cited: Mora, Pat. "Sonrisas." The Norton Introduction to Poetry. Ed. J. Paul Hunter. New York: W.W. Norton & Company, 2002. 230-231.
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