Analysis the poem describe what it means. In a literary analysis, argue a point using the text to prove your assertions. Present brief quotations and paraphrases to help support your main claim. Discuss how the quoted material might be relevant to or support your points by focusing on smooth transitions into and out of quoted passages.
Answer these following questions and try to include them in the essay:
How does the title affect your reading and response to the poem?
Who is the speaker? How can you begin to define the speaker’s role in the poem’s dramatic situation?
What images are most striking in this poem? Try to pinpoint what makes them striking or memorable.
How do the stanza or line breaks (or lack of breaks) work in this poem? Why did the author make these specific stylistic decisions?
Is the poem in free verse or does it follow a specific rhyme or metrical form? Why did the poet make the decision to either use free verse or a formal rhyme or metrical pattern?
What is the poem’s setting? How does the setting contribute to your understanding of the poem?
fromCitizen, VI [My brothers are notorious], Claudia Rankin
My brothers are notorious. They have not been to prison. They have been imprisoned. The prison is not a place you enter. It is no place. My brothers are notorious. They do regular things, like wait. On my birthday they say my name. They will never forget that we are named. What is that memory?
The days of our childhood together were steep steps into a collapsing mind. It looked like we rescued ourselves, were rescued. Then there are these days, each day of our adult lives. They will never forget our way through, these brothers, each brother, my brother, dear brother, my dearest brothers, dear heart—
Your hearts are broken. This is not a secret though there are secrets. And as yet I do not understand how my own sorrow has turned into my brothers’ hearts. The hearts of my brothers are broken. If I knew another way to be, I would call up a brother, I would hear myself saying, my brother, dear brother, my dearest brothers, dear heart—
On the tip of a tongue one note following another is another path, another dawn where the pink sky is the bloodshot of struck, of sleepless, of sorry, of senseless, shush. Those years of and before me and my brothers, the years of passage, plantation, migration, of Jim Crow segregation, of poverty, inner cities, profiling, of one in three, two jobs, boy, hey boy, each a felony, accumulate into the hours inside our lives where we are all caught hanging, the rope inside us, the tree inside us, its roots our limbs, a throat sliced through and when we open our mouth to speak, blossoms, o blossoms, no place coming out, brother, dear brother, that kind of blue. The sky is the silence of brothers all the days leading up to my call.
If I called I’d say good-bye before I broke the good-bye. I say good-bye before anyone can hang up. Don’t hang up. My brother hangs up though he is there. I keep talking. The talk keeps him there. The sky is blue, kind of blue. The day is hot. Is it cold? Are you cold? It does get cool. Is it cool? Are you cool?
My brother is completed by sky. The sky is his silence. Eventually, he says, it is raining. It is raining down. It was raining. It stopped raining. It is raining down. He won’t hang up. He’s there, he’s there but he’s hung up though he is there. Good-bye, I say. I break the good-bye. I say good-bye before anyone can hang up, don’t hang up. Wait with me. Wait with me though the waiting might be the call of good-byes.
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