"Thanks For Remembering Us" by Dana Gioia

Dana Gioia's "Thanks For Remembering Us" uses an ashamed and sarcastic tone along with metaphor to illustrate the fragility of relationships and the paranoia of humans. She brings up the situation of flower's showing up to a house by a mistake, and the couple quickly falls into disarray, wondering if they might have been there because of an affair. She does this through metaphor, as she illustrates the deterioration of the flowers. She writes, "The iris was the first to die, / enshrouded in its sickly-sweet / and lingering perfume." Although this may not be considered personification because flowers can go through life phases, it seems pretty close to describing the women in the relationship, using the word "perfume" to show how she was the one that went from being sweet and kind to distant and angry. Gioia ends the poem with "The room smells like a funeral, / but they're they sit, too much at home, / accusing us of some small crime, / like love forgotten, and we can't / throw out a gift we've never owned." At the end of the day, the relationship falls apart because of lingering questions, and the metaphor continues with the final line, as they cannot dismiss the notion of an affair or deception because no truth has been brought to light. Gioia accomplishes her mission of illustrating the issues of paranoia through metaphor and the flower's timely shriveling into oblivion.

"Fault" by Ron Koertge

Ron Koertge sets a humorous tone in "Fault," as he uses generalizations and hyperbole to show how the sentiment of a mother's love and care for her child will always persist, even if it is not fully warranted. Koertge's teenage character begins by assuring his mother that all will be well, generalizing and criticizing the archetypal movie structure where the world opens up. He generalizes the characters to carry on the humorous tone even in a sad, departing situation, showing that the worry is unnecessary and all will be fine. The characters and situation are hyperbolized, as Koertge's character must retain the calm and joke along with overt details to illustrate the situation's serenity. The characters are shown as "Dr. Cutie Bug" and a "a pilot who's good looking but not smart enough to take off his leather jacket in the jungle," and they hyperbolically survive the earthquake because they love their mother back and call her once in a while. Koertge uses hyperbole and generalization in the story with such a manner to show that all will be well, and the mother need not worry for the teen's adventure because life is not as generic or hyperbolic as his movie scenario.

"In the Well" by Andrew Hudgins

Andrew Hudgins uses an anxious, relaxed and fearful tone in his poem "In the Well." He employs antanaclasis to transition from darkness to light and show how difficult situations always have a way out. He accomplishes this through repeating "then," allowing himself to build upon his previous narrative to finally "[rise] up to [his] father." He starts by entering the well, writing that it "tasted first / of dark, then earth, then rot." He plunges into the darkness in fear, and experiences the difficulties of being underground. He experiences pain in the poem, and then hits his head, "and at that moment got / another then: then blood." His plight continues with his father "[dropping him] from then to then: / then water. Then wet fur." The poem climaxes with the situation solved, yet tragically, the dog is found deceased. However, Hudgins continues after finding the canine: "Then light. Then hands. Then breath." By repetitively utilizing the phrase "then," He shows how the darkest of times will eventually result in relief, as a young Hudgins finally exits the well with his task behind him.

"The Modern Prometheus" by JJ Kampf

JJ Kampf, in his poem "The Modern Prometheus," masterfully presents an empowered tone, alternating perspectives and simile to exemplify the power of rebellion and the allusion of Prometheus' fiery gifts to civilians. Kampf shifts back to hours before the current narrative through italics, as non-italicized segments present the events happening at a local residence. He lays the framework of children out of bed in one perspective, as "They laugh, they play, they cry." On the other hand, the parents had warned the babysitter that the kids should wear "Bedtime clothes right away, and no TV for either of them." Johnny is shown to be the modern Prometheus, as he gives the light to the children that the parents took away, or rather their rights, which is perfectly contrasted to the non-italics illustrating the parents commands. Simile is also well used, as Kampf utilizes the device to convey the extent of the children's rebellion: "Hard sour chews dangle from their mouths / like gymnasts hang from wide beams." The children are shown to be ultra-rebellious, as just like gymnasts extend themselves as far as possible, so do the children in their rebellion. Kampf beautifully writes of a modern, crafty Prometheus through his amazing allusions and deft devices.

"She Didn't Mean to Do It" by Daisy Fried

Daisy Fried discreetly brings the plight of temptation into light through the use of repetition and parallel structure and an admonishing tone. Fried seeks to admonish perpetual temptation and a lack of control over one's actions by illustrating a woman who insubstantially regrets her actions. Fried illustrates her beliefs through her literary devices, as she begins "Oh, she was sad, oh, she was sad." She seeks to overemphasize the woman's regret, as she again paints the picture of a woman regretful of her past actions. Fried makes it seem as though the woman is self-chastising, as she repeats her dismissal of "certain thrills" through the use of parallel structure. Fried returns repetition at the end by repeating how "sad, sad" she is, although this is likely for naught, as she must continuously mention how she did not mean to do it. Her overemphasis conveys a lackluster apology, as although she may not have meant to do it, she will likely do it again.

Driving to Town to Mail a Letter by Robert Bly

Robert Bly utilizes a complacent tone in "Driving to Town to Mail a Letter" along with imagery to nostalgically reminisce over comfortable and solitary times. Bly transitions through this theme by painting the picture and feelings of a snowy night. He thoughtfully mentions the "cold iron" and the "swirls of snow." He appreciates how "The main street is deserted." Bly feels a complete sense of warmth through the opposite warm imagery, as he finally says that he will happily waste more time driving around the neighborhood. His sense of individuality is expressed, and his personal time gives him an outlet to appreciate his surroundings and life. Through cold imagery and conveying warm feelings, Bly illustrates his complacency and love of life.

The Meadow by Kate Knapp Johnson

"The Meadow" dives straight into Kate Knapp Johnson's existential crisis, as she understands that time takes no prisoners, even her beloved meadow. She utilities imagery, rhetorical questions and a depressed, longing tone to convey her thoughts. Johnson describes the meadow as having undergone "two inches of snow fallen" in just half a day. Her imagery exemplifies how she feels regarding the meadow; it has now changed, and her feeling of intimacy with the environment is lost. She rhetorically asks, "how long was I out looking / for you?" She longs for normal days with the meadow, mentioning how it "would never leave me, my withness, my here." She no longer feels a strong connection, as time has made the meadow unrecognizable in Johnson eyes, as time tends to do.