Yusef Komunyakaa Poems And Their Themes Essay

, Research Paper

The common subject in Yusef Komunyakaa? s verse form is the Vietnam War. He focuses more on the experience of it, instead than the grounds for the war itself. In some of the verse forms, the issue of race was more apparent than others. The race of all work forces was embraced in? Camouflaging the Chimera? . The first word of the verse form foreshadows the insignificance of colour and the value of brotherhood. ? Camouflaging the Chimera? shows the double, frequently diametrically opposed images. Acknowledging that the horrific, absurd, and helter-skelter frequently lurk behind delusory frontages, the writer vividly describes the soldier? s attempts to intermix in with the natural environment, ? We tied subdivisions to our helmets/ We painted our faces & A ; rifles/ with clay from a riverside? All of the military personnels were the same colour so. The soldiers used the same thing to camouflage their tegument that would be used to cover their caskets and finally be their concluding finish.

This is one destiny they all have in common regardless of the race. The verse form entitled? Hanoi Hannah? embraces the race of inkinesss. It is a free-spirited, inspirational verse form with some purpose to be a reminder of some of the good things back place, ? Hello, Soul Brothers. Yeah/ Georgia? s besides on my mind. ? Even for those African americans who did non populate in Georgia idea of the province as a? black adult male? s topographic point to populate? . There was ever excitement in Georgia. Komunyakaa besides acknowledges the torment of female parents, married womans, and lovers left buttocks. He doesn? t discriminate with colour. He brings to life images of? adult females left in doorways/ making in from America. ? In the verse form? Confronting It? , all Vietnam veterans are embraced. The gap line rapidly dismantles any? colour? association with the beloved Vietnam Veteran Memorial. ? My black face slices, / concealing inside the black granite. ? Color is no longer of import when you have all fought the same battle,

shed the same blood, and been shot with the same slug. All of those who are subsisters of the war are? confronting? the memories of it all ; ? I see the dumbbell trap? s white flash. ? Many soldiers were killed by dumbbell traps instead than combat heavy weapon. In? Confronting It? there is a conflict between world and do believe, ? Names shimmer on a adult female? s blouse/ but when she walks away/ the names stay on the wall. ? It is a beautiful commemoration for the vets, but a really dejecting one besides. The names can non be removed by anything, including the head. Those who gave their lives for the state ( black and white ) all portion the same end–the black wall and the black grave.

The embrace of race is noted in? Hanoi Hannah? , but so is the transcending of race. The verse form is about the confusing head of a black adult male in the Vietnam War, ? Soul, Brothers, what you deceasing for? ? And at this clip, oppugning the ground for being loyal to a state that hates you was on most African- Americans? head. What were they contending for? As soldiers of African decent made their manner back into the community after functioning dependably and uprightly in the military, many were denied employment, lodging, preparation, and veterans benefits. It was besides obvious that many Americans thought that the whole thing with Vietnam was pathetic. Peoples viewed the Whites as stalwart, but the inkinesss were considered brainsick. The rubric of Komunyakaa? s 2nd aggregation on the Vietnam War, Dien Cai Dau, which means? loony? in Vietnamese, displays the resistance for a black adult male in the war. All of America was roasting them for their attempts while praising the remainder, ? You? re icky shootings, GIs. ? Regardless of a adult male? s cultural background, if he fights for his state, his state owes him service, glorification, and above all else & # 8211 ; gratitude.

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Bibliography

Komunyakka, Yusef & # 8220 ; Hanoi Hannah & # 8221 ; Fitzgerald Publishing 1985.