The Life of a Rose


The Life of a Rose

by Trudy A. Martinez

The beauty of a rose is seen at its’ fullest.

The beauty of a life is seen at its’ end.

A pedal sings of its’ beauty

Through the touch of a hand,

Through the sniff of a nose,

A unique softness,

A sweet smell,

With a mere glimpse a haven unveils,

The beauty of a life is seen at its’ end.

Tales spring forth at the close,

Though a memory deposed,

Bringing forth an inter-beauty,


And caressing our soul,

Revealing a purpose,

As a departed lives on,

Conveying an ultimate plan,

The beauty of life begins again.

For a life at its’ fullest lives on in our hearts at the end.

A Moment of Remembrance: For My Mom

 Note from the author

 I was prompted to write this poem during my grieving process.  I recalled a day my mom came to Uncle Chris and my house.  I was in the front yard watering a small apple tree when she drove up.  It had only one apple (a small one).  Mom saw it and in her own giggling, shaky way stumbled out, “That apple is mine!”

I replied, “It is in my yard.  I care for it, so it is going to be mine!”

She giggled and with a shaky voice said, “We’ll see.”

I knew there was a story somewhere behind her request just by the way she was acting with her little giggle and shaky voice.  I asked.  “What is it about this apple that makes you want it so?”

She replied, “When our family first moved from Sherman, Texas to the Denison, Texas farm, there was a huge apple tree on the property.  It had only one live branch.  On that branch, was one large apple (not quite ripe).”  

Papa told all twelve of us children, “Do not touch that apple; that apple is mine!”

“But the temptation wore me down.  I couldn’t resist.  I climbed that tree.  I got that apple.  I sat under the dying tree and ate it.  It was the best.  It was juicy.  Never had I tasted an apple so sweet,” my mom said.  “The apple on your tree reminds me of that day. I have never told anyone about it until just now.  It has been a secret.  A secret I have cherished since my youth.”

Neither of us ate the apple from my tree.  Instead, a strong Ridgecrest wind came and blew it away.  Only the memory returned so I could share the story with you. 

I hope you will enjoy the following poem about

Nellie Mae Coffin, Smith, De Juan 

December 13, 1911  —  January 28, 2007          

 How Will I Be Remembered?

By Trudy A. Martinez 

How will I be remembered ?

Ninety-five years have flown by since I came to be,

I sat under a dying tree,

Savoring the flavor of an apple my dad forbade me to eat,

This is one thing I will remember until my dying day,

How stubborn I was,

And how determined I was to have my own way,

Who’s to say that apple was NOT meant for me,

I taste the sweet juice of the apple,

When I recall sitting under that tree.

Now that I have passed

How will I be remembered?

A tender touch, a game of Dominos.

A shiny piece of glass?

Or by the taste of life the apple gave to me.

Nothing lasts forever,

Not even me.

The apple tree died and so do we.

But memories live on,

Just the memories,

The memories we share together,

Just the memories of you and me,

Memories live forever when they are savored

Like my apple tree.

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An Unspoken Message of Fear by Trudy A. Martinez: An Analysis of Carolyn Forche’s Poem “The Colonel”

An Unspoken Message of Fear:An Analysis of Carolyn Forche’s Poem, “The Colonel” by Trudy A. Martinez

Posted on December 13, 2006 by gramatrudy

Articles presenting psychological conjectures and theory appear in the Los Angeles Times over the years implying that the American society may be at fault for the deterioration of certain segments of the population. In addition, some publicity centered on the unnecessary beating of a black man appears to relate and substantiate the psychologist findings. Since the highly publicize beating, a connecting bond of black law enforcement officers came forward to complain and present possible testimony of their unjust treatment within the police department. The black officers say symbolism such as the “KKK” and white supremacy groups use serve as important determinants, leaving them with an unspoken message of fear from retaliation.

A similar unspoken message of fear is symbolized in the Carolyn Forche’s poem, “The Colonel”. The symbols in the poem plays a consequential role in understanding in what appears to be the poem’s intended theme as the theme loops in a chain like construction of symbols that combine a pattern of discrimination and leave a mark upon the aggressor in the form of an unspoken message of fear.

The importance of the characterizations reinforcing the chain like theme may be seen through the continual linkage of token symbols, creating a fearful atmosphere. The apprehensive environment that develops formulates through the significance of the descriptive setting in the Colonel’s home. For instance, a gun lay on the cushion beside the Colonel while he watches a “cop show”; “broken bottles were embedded in the walls around the house”; and “the windows . . . [had] . . . gratings [on them] like those [used at] . . . liquor stores” (props design and carefully link together to keep the contents and occupants safe from unwanted intruders). Within the surroundings, similar symbolic considerations are recognizable that distinguish the nationality, status, and the unspoken fear of the Colonel and his family.

The factors that encourage recognition and assist in securing Forche’s propose of emphasizing a family of elements is inserted by the author’s clarifying statement that the cop show “was in English” and gains strength by the colonel’s “wife [taking] everything away” following a “brief commercial in Spanish”. The “. . . gold bell [that adorned the table like a charm on a bracelet] was . . . for calling the maid”. The gold bell stresses status and suggests dominance.

Dominance underscores and repeatedly portrays through the discussion “of how difficult it had become to govern” and by the “colonel [telling his parrot] to shut up after the parrot merely sang a polite greeting of “hello”. The ring of verbal abuse ushers in violence through the action of the colonel when he “pushed himself from the table’. The colonel’s abrupt forceful movements weigh and anchor a chain of unspoken fears that suddenly support the speaker when the eyes of the speaker’s friend say, “say nothing”.

By saying nothing, the unspoken fear unites, and coerce, and emerges as a triumphant acknowledgement, glimmering among the colonel’s collection of “dried . . . human ears’. The sequence is broken when the colonel’s indignation singles out one ear from the others, confronts it, and agitates it.

The ear, similar to a dangling charm glimmering in a bright light, comes to life as it drinks up the colonel’s demoralizing statements. The dejecting assertions spring forth, resembling the knife that strips the ears from their rightful place, through the savagery combination of their meaning, provoking the necessity of their continuance in a chain of unspoken messages of fear.

“Christmas”: A Poem to Ponder


“‘Christmas’: A Poem to Ponder”

By Renee Green

We’re told in the Bible to give God the glory,

But come Christmas time, why, that’s another story.

For another is worshipped and given the power.

Santa’s praises are sung and heard every hour.


“You’ better watch out!” the grown-ups proclaim,

“For Santa knows all, and you’ll be to blame

If no presents are found hidden under the tree!”

So everyone is good so that Santa will see.


And the true God of power is all but forgotten.

But, “Oh, no,” you say, “You make us look rotten!”

“Put Christ back in Christmas, oh that is our cry!”

“But why should our God,” I must ask with a sigh,


“Be brought to such levels, and only remembered

As a babe in a manger, born in December?”

If you look through His Word from cover to cover,

You’ll have to admit, this date you won’t discover!


Nor are we told to think of this day,

But to remember our Savior in quite another way.

He is not in a manger, nor a child is He,

But God who arose for the whole world to see.

For our Christ is God, and at this hour,

He is sitting in Heaven in all truth and power.


By Renee Green


The Rejected Cry: A Stylistic Analysis of Blake’s London by Trudy A. Martinez

The Rejected Cry:  A Stylistic Analysis of Blake’s London  By Trudy A. Martinez 

Blake reveals the inner logic (the logos) of his poem London, first through the artistic arrangement of his plate (see figure 1 below).  Here a child is seen in a path of light guiding an old man toward a door as if he were blind, lost, and in need of assistance.  And then, in keeping with this illustrated theme (together with placement, usage, and meaning), Blake etches and imprints a portrait of a society and invites the reader to see London (figure 2) through his eyes.  In his quest, he leads the reader’s eye toward sight like a blind man toward what can not be seen but only heard.  In the process, he establishes a society of man, paralleling what is heard to what is seen and visible through symbolic color imagery, thus creating a sense of balance.  But then, he abruptly takes away the sense of balance, leaving the reader discerning for himself while emotionally groping like a blind man for the key to the structure and questioning why did this happen?
The emotional appeal (the ethos) takes form with the formation of a hypotaxis that “lets us know . . . what derives from what” (Lanham 33), while at the same time, sets a play on words in motion; this is best illustrated by the Placement and Usage Chart (figure 3).  Even though parts of speech are assigned each word, some words lack a sincere devotion to that particular assignment and induce the meaning of another.  For instance, the form of the last word (ban) in the string of prepositional phrases is that of a verb but used as a noun in context.  The effect prohibits the placement of the subject on the same level of existence, consciousness, or development.  According to Lanham with the development of “a hypotactic style,” you are encouraged “to read from top to bottom as well as from left to right”(44).  Every right column “top-to-bottom reading represents a rank” of society in descending order while each left-to-right reading of the right column represents “a movement down from one rank to another” (Lanham 44).  For instance, “the charter’d streets” symbolizes the upper-class who own the land where “charter’d” action takes place, earning them their place at the top.  The deviant usage of the word, charter’d ( a verb out of context used as an adjective in context), “heightens awareness and understanding” (Chapman 27), bringing a sense of action to the descriptive.  Repetition intensifies meaning and petitions dual significance.  When industry engages the “charter’d Thames” and transports goods for a stipulated price, they pay very little for labor requirements.  Consequently, the string of prepositional phrases, representing the various levels of the middle class and working class, reflect “marks of weakness [and] marks of woe” that mirror their suffering.  The dual usage of the word mark emphasizes the narrator’s ability to see the consequential outcome of the situation.
“The left column, read by itself top-to-bottom, establishes the top-ranking basic assertion” (Lanham 44) made by the narrator.  The anaphora: I + wander, (I) + mark, I + meet, I + hear represents the narrator’s path through London which builds the structure of the poem, linking both the stanzas and the societal participants together, while at the same time, expressing what is seen “in every face” and heard in the voice “of every man” who accepts the prevailing customs that produces the “Infants tear.”  A pun is intended on tear because a tear (separation) has occurred that separates the participants (a child from both parents) and makes them (the mother and child) undeserving of voice through “every ban,” keeping them oppressed and barred from acceptance.  Hence, “mind-forg’d manacles” prevents upward movement.
The lower-class, positioned at the bottom left of the chart, are held down beneath the weight of their affliction by “the mind-forg’d manacles.”  Influences or “specific details” that affect their part of the structured society are represented to the right of their position.  For instance, the unfortunate Soldiers, who may have lost their limbs in the service of their country, can be seen as losing favor in the eyes of the government since no action (or action word (Verb)) describes the cause of their sigh.  Instead, they are the recipients of “Runs” in blood.”  Here again, the word “runs” lacks a sincere devotion to a particular part of speech.  In other words, “runs” as a noun implies a freedom of movement of a continuous series in uninterrupted course of events from one point to another; whereas, as a verb the meaning takes a different direction and becomes converted to a liquid state as if a pursuit of a different subject (blood) with the purpose to deprive the meaning of life because of the object’s (Palace) refusal to admit an injustice.   However, in keeping with the hypotaxis style, the word is a noun that demonstrates that there are two levels of existence, consciousness, and development apparent in the presentation.  Runs as a subject has a predicate (down) that states firmly, positively, and assuredly, multiple meanings exist because of its capability of assuming multiple roles within a sentence (see figure 4).  Together Runs and down trace the source of the affliction brought upon the Soldiers as a result of their being forgotten and left to die on the streets of London.
Since Blake wandered the streets of London, he came to see and he came to know the destructive nature of this society.  Blake has a true gift of recognizing, describing, and establishing blame using symbols.  His description of pain and suffering are open and recognizable, whereas when he places blame for wrongful actions, he does so using symbols as if to say, I am not the judge, but I cannot close my eyes to the apparent injustice I view.  I believe Blake wrote this poem to shed light ( for us, his reader’s) on his subjects, i.e., the chimney sweepers, soldiers, and Infants, by bringing knowledge of their circumstances through his poem.  Consequently, he is capable of leading the reader’s eye as if he were blind toward what can not be seen but only heard and toward the objects (the Palace, the Church, and the tear) of his play with words.
A switch from the verb style to the noun style  (stasis) exposes his objective word play.  A monotonous rhythm  (sounding) almost like a funeral march (figure 5)) builds up within the first stanza and leads into the second.  Here, the noun strategy, a string of prepositional phrases (isocolons), suggests non-responsibility and works against its subject, creating a syntactic democracy, while at the same time, exposing an unusual pattern that creates ambiguity but yet, elicits understanding:
In   every             face        P + Adj + N
   of              weakness        P +  N
   of                      woe         P +  N
In   every              cry         P + Adj + N  (N with action verb implications)
   of every             man       P + Adj + N
In   every Infants cry         P + Adj + Adj  + N (Adj and N with subject
                                                                         and action Verb implications)
   of                      fear         P +  N
In   every          voice          P +  Adj + N
In   every             ban         P  + Adj + N (N with action verb implications)
In                       blood         P +  N
The pattern’s effect highlights the P + Adj + Adj + N scheme as the central concern.  The break in design manufactures the necessity to question:  What is “In every Infants cry” doing in the structured society of man?  Both the design and the words inspire confusion.  For example, Infants is presented as a plural proper noun, symbolized by capitalization and the absence of an apostrophe.  As a result, the effect disorientates the reader’s thought process and formulates a desire to add an apostrophe.
Is the reader given a license to play with the standard punctuation:  period, comma, colon, and semi-colon?  Was the person copying the manuscript to the plates given the freedom to choose or determine which punctuation was used?  The rules of English grammar were not as clear then as they are today; this is evidenced by the various plates (see figure 1, 5, and 6).  Although the plates may appear the same, with close observation, the differences become apparent.  For instance in figure 1, the old man and the boy are in the path of a narrow stream of light directed downward upon them; whereas in figure 5 and 6,  the lighting deviates.  The charactery of the child sitting by a fire highlights the dissimilarity of figure 5 and 6.  The contrast of punctuation is the least obvious variation between all the plates.  Still, the fluctuating punctuation does exist and hints of a desire to give the reader some freedom in their quest for understanding.  However, adding an apostrophe deletes the narrator’s voice and therefore, is not a plausible option.
Nevertheless, the desire to change the part of speech to an adjective by adding an apostrophe so that Infants  will appear to fit in and coincide with what is heard remains.  But this is against the rule; the rules of English accentuate the message.  So if we can not change the usage of the word, we must question to gain understanding.  If Infants is a noun out of context, it rightfully follows cry is a verb.  However, “Infants cry” is housed in a jailed structure (preposition phrase: P + Adj + Adj + N) that doesn’t measure up to its need.  Hence, “every Infants cry, ” an adjective describing a sin of society, is demanding release through the printed word yet, inhibited liberation by the jailed structure (the preparation phrase).  An auditory quality, the pronounced possessive (what is heard), lacks the power to emancipate.
Nonetheless, the stifling effect of imprisonment creates a plea that screams for proper placement (noun and verb position) within the structure of the sentence just as “Infants [would] cry” for reconcilement to their proper place within the structure of society.  The prepositional phrase immediately preceding and following lack restriction and are properly sequenced: P + Adj +N.  However, the next two phrases (P + Adj + N (with  action verb implications)) that proceed upward and downward from the center of the column, even though they are in proper sequence and correct, have words occupying the object position that advocate versatility through the possibility of action in the content of a sentence.  But the string of phrases works against their subject, therefore opposing actual movement by their structure.  Consequently, they are shown in opposition to each other on the chart (figure 3).  Consonance, alliterations, and inner rhymes bring the attention back to the narrator.
With the third stanza, there is an abrupt change back to the verb style where an asyndetic pattern slows down the narrative and splashes color upon the scene, turning parallelism into a mirror that connects the phonological quality the reader hears and the graphological quality the narrator hears to what is seen through the addition of colors, suggesting and bringing about a consequential pattern of balance and a feeling that this happens because of this or because of this this happens.
However, the sense of balance and connections is quickly lost when the fourth stanza takes an abrupt turn with “But most” to the parataxis verb style, relinquishing the ranking of “what derives what from what” to the reader.  The unbalanced nature creates a pathetic plea (the pathos).  Consequently, a play on words:  a duel between the phonological and the graphological, a duel between the rhetoric and the linguistic, and a duel between meanings creates a need to question Blake’s word choice and creates a desire to resolve and stabilize the uncertainty.
According to Chapman, the desire to resolve prompts the reader to respond to the “paradigmatic deviance” in a way established by his reactions “to the defeat of regular linguistic expectations” (69-70).  He goes on to add
“It is necessary to consider the force of the chosen word in relation to other possibilities . . . which might be considered more likely;  also whether meaning is heightened or blurred by the deviation:
But most through midnight streets I hear
How the youthful harlot’s curse
Blasts the new-born infant’s tear
And blights with plagues the marriage hearse (Chapman 69-70).
But is the meaning as derived above really the most likely possibility?  What meaning is heightened?  What meaning is blurred?  Blake emphasizes what he hears holds the greatest significance through the repetitive “I hear:”   this emphasis reminds the reader what Blake hears (the plural) and what the reader hears (the possessive) are not the same.   The graphological (the written word) represents what Blake hears (the plural), whereas, the phonological (the spoken word) represents what the reader hears (the possessive).  By using a graphological deviant (see examples in figure 4), Blake creates a transparent chiasmas (not immediately apparent) that takes on dual meaning and dual significance.  True, Blake leaves the reader discerning for himself whether to hear or see or to hear and see while perceiving the reasons for the harsh tones created by the alliterations, consonance, assonance. 
But he maintains hope that the reader will resolve any misgivings and link what he hears to the “Infants cry” in the second stanza.
The rejected “Infants cry” is the key that unlocks and releases the parallel action of the society described through the written word with the structure built from the placement of the words.  Blake hears the (plural) Harlots curse (swear) as evidenced by his earlier version of the last stanza:
But most the midnight harlots curse
From every dismal street I hear.
Weaves around the marriage hearse
And blasts the new-born infants tear.
However, in the most current version (figure 2), we hear the (possessive) Harlot’s curse.  Consequently, we are left deprived of complete understanding.
But with the knowledge of the dual forces at work here both heightening and blurring meaning and contributing to the deprived state, the veil is lifted.   Blake lets the reader know what must be known.  The reader has to wrestle with his conscious and mentally force himself to seek and find the resolution.  To gain comprehension, the reader has to turn the key on the parataxis verb style, unlock the jailed structures, and rid them of fear, so that the tear (separation) can mend and the rejected cry heard (by the fathers in the working class) and the tear (shed by the infant in the lower class) may unite (and be given rightful placement within the society, thus mending the tear).  Consequently, the poem’s effect on the whole calls up the Holy scripture:  Matthew 13:13-17 (figure 8) as if to bless the reader for correcting the inadequacy in the society by joining the end and inner rhymes in the last stanza to the second stanza.
-Trudy Martinez-