The whole plot deals with the inebriation and, ultimately, the live burial of the antagonist, Fortunato.
It examines the interaction between husbands and wives and lovers and neighbors, and all the modulations of feeling fostered by our earliest relationships with our parents, siblings, aunts, uncles, and cousins.
Shapiro watches love matches made and dissolved; he explores the threads of memory leading back to childhood but still binding adult emotions. He is always attentive to the layers of motive that inform human interactions; the people in his poems are simultaneously jealous and generous, loving and vengeful, bitter and compassionate.
Never sentimental about his subjects, Shapiro treats them tenderly, even when he is recording the sad truths of their worst moments. His roots in formalism are apparent here, with poems in rhyming quatrains and blank verse.
Several others deal with the stresses attendant on being a Jew in a Gentile world. His rejection of the sidelock haircut of traditional Judaism foretells his leaving the law that Simon represented.
A narrative poem, it describes a woman whose emotional crisis is dipping into madness and how living upstairs from her affects an unnamed man and his unspecified lover, perhaps his young wife. They meet the woman as they move in; she stands at the window in her nightgown, singing along to a pounding stereo.
He and his wife set to work cleaning and painting their rooms, all to the relentless accompaniment of the thumping music, evidently a rock love song: Once, in front of the apartment, the woman shouts out that her man is coming soon, just as the song has implied, and that they should all get together then.
With this claim in the back of his mind, the man recalls his lovemaking with his wife and begins to fear that sex may be inadequate to sustain their relationship: The son, the speaker in this poem, is angry and baffled in return. The bits of dialogue are a great strength here.
The adult narrator records his experience as a ten-year-old child dealing with a sexual predator, Rich, who picks up boys at the ballfield and entices them into his golden Sting Ray with his friendly charm and tantalizingly sexy talk.
Each day, Rich selects a boy to ride in the golden car. When at last the speaker is summoned, the ride includes what the reader now expects. If he is not any longer a boy, neither is he a man, nor is he sure what being a man might mean in the light of what Rich has done to him.
The entire section is 2, words. Unlock This Study Guide Now Start your hour free trial to unlock this page Alan Shapiro study guide and get instant access to the following:Edgar Allan Poe's classic short story, "The Cask of Amontillado," is loaded with irony, and there are several excellent examples of verbal irony to be found.
My favorite comes when Fortunato, who.
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The Cask of Amontillado Introduction Edgar Allan Poe, an American short-story writer, essayist, and poet, published “ The Cask of Amontillado ” in It was his last, and some say greatest, short story. Jul 22, · I completely agree with Alan Shapiro's assessment of the writing life.
I am only just now, in the full middle (one would hope) of my own life, learning this - that writing is it's own reward. I thought that I would only get to begin the "writing life" by getting published, recognized, or caninariojana.com: I Was Born Doing Reference Work In Sin.
Edgar Allan Poe has a unique and dark way of writing.
His mysterious style of writing appeals to emotion and drama. Poe's most impressionable works of fiction are gothic. His stories tend to have the same recurring theme of either death, lost love or both.
For example, in the short story " The Cask of Amontillado" opens with. Summary The narrator, Montresor, opens the story by stating that he has been irreparably insulted by his acquaintance, Fortunato, and that he seeks revenge.
He wants to exact this revenge, however, in a measured way, without placing himself at risk.