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A couple things: I am really excited to focus more on the poem and what’s on the page in in our reading of Hughes as opposed to the genre theory and macro analysis of the Long Poem. I know the cloud analysis is important, but I really like looking at what the landscape is doing to so I’m super ready for that 🙂

Secondly, I wanted to say a bit about why I read Dream Boogie the way I did. I already explained the optimistic spin on it, but this is about why I read it at a quicker pace. It has to do with the voices that I said I heard in this poette (poette? a smaller poem that is part of a bigger poem? I just made it up… but I think I like it. So yes, poette). — Something I learned doing the musical last semester, is that people fight for the right to talk. Even if you are having a conversation with your closest friend and you aren’t clamoring to interrupt each other, you still have a response to what your friend is saying and are waiting to say it. As soon as your friend is done talking, don’t you jump right in and speak your piece? (Unless, of course, you generally take longer to think about what you’re going to say, but I think you understand where I’m going with this.) That’s how Professor Stull would tell us to talk to one another on stage – there are no lulls, there is action. People want to be heard.

I believe this can be tied into the way I see the “titles” of the poettes, too. Motivic in function, but sequential(?) in an inner-ear understanding of things… at least to me. Different topics, ideas, or thoughts, all trying to follow as soon as possible the topic, idea, or thought that came before it.

I also want to post later about titles I like, and to shed some light on the meaning of certain things that I don’t believe are common knowledge – jargon and this and that – to see if I can help, even if it’s just a surface definition of things. BUT, for now that’s all I have time for… I’m very excited to spend time on this poem! 🙂

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