The Last Uncle & The Unswept Room

Her use of language very lotstimes focuses on natural imagery ("daffodils", "deer") and is inspired by the artistic qualities found in observing life. In Women on the Shore, Pastan sets the main t whizz of her collection with respect to mortality. We see in this poem the allusion to Edvard Munch's woodcut of the same title, but also an clutches of natural wonder and a willingness, albeit reluctant, to embrace death as hotshot more natural phenomenon. "Luminescent blues and putting surface of water" encircle a woman "whose head is crook to a skull", but the narrator makes a plea for toleration of all natural phenomenon including death: "If death is everywhere we look, / at least let's marry it to beauty" (Pastan 2002).

Though Pastan's personas may finger death everywhere, they still search for meaning in hostility of it. Often the speaker of her poems is searching for answers regarding what is meaningful or endure if death is inevitable and takes everything away. In White Lies, we see that one of Pastan's answers is the love shared between human beings. Relationships that endure bear meaning to life in spite of the inevitability of death. In White Lies, the mature narrator reviews a lasting descent and recalls, "When I swore, then, / that I loved you, I wasn't sure / I meant it, though I mean it now" (Pastan 2002). However, the narrator stags in the course of this recollection that absolute truth or intimacy may elude the capacity of human

In The Unswept Room, Sharon Olds also employs metaphor but her poems wishing the appreciation of beauty and embracing of aging and mortality straightforward in Pastan's collection on similar topics. In one poem that expresses the speaker's struggles with menopause, we see, though, that despite her initial shock and reluctance to visual sense with it she does come to a newfound recognition of identity. In 49 +, Olds (2002) feels like she has lost the parts of herself that define her identity, "no more eggs. How can I be / myself without any eggs?

" However, we discover the persona in the poem thus fartually comes to feel a kind of autonomy over her loss of prolificacy, underscoring the fact that the poet believes in that location is life to be celebrated after youth and fecundity expire, " on that point is someone here all along / There was a spirit here. O I am whirl beyond matter / and I am still in matter! ? / Now I have spent them, / and even I breathe" (Olds 2002).

While Olds' poems are less use on marrying death to beauty than they are in explicitly demonstrating the ravages and losses of aging and death, we do see that her speakers are often able to achieve some kind of self-indulgent celebration, even if it is in the embracing of their own decaying and sagging name. We see much(prenominal) a tone in the language of The Older, in which a woman in her fifties celebrates her deteriorating body with, even victimization the metaphor of "like wet stucco" to describe the flesh of her stomach (Olds 2002). In this poem, we see a speaker who is find out to celebrate her body replete with all the ravages of time and ultimate mortality that hang about it like so much loose skin, "I can imagine being cardinal? / and making love with the same animal / dignity, the tunnel be / the inside of a raspberry bract. / Suddenly, I look spring chicken to myself / next to the eighty-year-old, I look / like her child, my flesh in its / loosening drape / showing the long angles of these strange / castanets like cooking-utensil handles / in
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