Kenyon’s the Blue BowlKenyon’s the Blue BowlKenyon’s criticism of burial and the mourning process and the manner in which it fails to provide a sense of closure for those who have lost a loved one is the main underlying theme in The Blue Bowl. Through her vivid description of both the natural setting and the grief-stricken emotional overtone surrounding the burial of a family’s house pet and the events that follow in the time after the cat is put to rest, Kenyon is able to invoke an emotional response from the reader that mirrors that of the poem’s actual characters. Her careful use of diction and the poem’s presentation through a first-person perspective, enables Kenyon to place the reader in the context of the poem, thus making the reader a participant rather than a mere observer. By combining these two literary techniques, Kenyon present a compelling argument with evidence supporting her critique of burial and the mourning process.
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What we are seeing in the work may be the first example of a poem that utilizes an emotional connection to the human condition, and that takes time to put into practice. In one instance, a poem in which the story of “the heart in the back” involves Kenyon’s interpretation of the tragic events of the lives of her family members in a manner that makes her very happy – perhaps she even tears up. We’re more interested in what the reader sees when looking in Kenyon’s context, but we may even come to believe her interpretation of death, especially of her mother’s.
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We have already discussed the themes in this book. These themes were very vivid and vivid. We may be disappointed to read that only a small number of the themes in Our Lord Begotten is considered to be a true story of mourning in a modern medium. These themes, the first in their form: grief (a theme I feel are of great relevance not to this book, but only to its contemporary work, the next book in this series on mourning), grief in the modern era (a theme which is often used to make sense of the present-day grief of our era), and grief in the current moment (“what did he feel when he died, how was he responding to what we see on the page here?” etc.), are both themes of the book that are relevant to an individual’s personal situation, which ultimately led to his grieving in particular, and the grief that he lost. As far as her personal story, as well as the tragic and difficult moments in her life that go with it, she has an uncanny ability to weave together these important events. This means that her sadness can be the source of the narrative. On the other hand, as far as her personal story is concerned, these emotions can become one and the same, rather than being one and the same.
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The final element of grief in this novel is the “shaken or distraught, grief that the reader feels or finds with this poem” concept of ‘brokenness’. The emotional trauma inflicted on us as a form of grief and that is so deeply rooted in the American history for so long, when we are faced with the personal, personal tragedy of that time of our lives and the historical significance of one’s own loss along with the trauma associated with it, is certainly there. It’s a very telling passage that really is of a historical magnitude. With this idea in mind, the viewer takes what we are witnessing and how we can interpret it: grief, its intensity, its place among the world’s great tragedies. This is not to diminish the importance of grief in the story – and by extension, to any poem that has a mournful component, regardless of its origins – but to take the whole of this sadness and the emotion of our grief into account when we face it. As an expression of our empathy, or simply as a way of showing that we have done so much about pain in our lives, it is great to hear this poem when our lives are in terrible peril because of it (albeit much more often) and when we are forced to act on it.
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Kenyon’s choice of a first person perspective serves as one of two main techniques she uses in developing the reader’s ability to relate to the poem’s emotional implications and thus further her argument regarding the futility of mankind’s search for closure through the mourning process. By choosing to write the poem in the first person, Kenyon encourages the reader to interpret the poem as a story told by the same person who fell victim to the tragedy it details, rather than as a mere account of events observed by a third party. This insertion of the character into the story allows the reader to carefully interpret the messages expressed through her use of diction in describing the events during and after the burial.
The diction Kenyon employs for her description of the poem’s physical and psychological setting serves as Kenyon’s primary means for presenting her argument regarding the nature of the mourning process and its failure to help those who have lost loved ones. The poem’s first stanza begins as follows, “Like primitives we buried the cat with his bowl. Bare-handed we scraped sand and gravel back into the hole(1-4).” The first two words, “like primitives,” give the reader immediate insight into Kenyon’s opinion regarding the nature of the burial itself. She sees it as a means of coming to grips with death that is less evolved than the mental state of those that it attempts to help. When the first stanza is interpreted as a whole, the reader is able to understand that Kenyon’s criticism pertains to the symbolic meaning of the burial and its effects on those who perform it. By telling the reader that the cat has been buried with its bowl, Kenyon illustrates what intention the family has in burying not only the cat’s body but also in burying a main symbol of the cat’s life, which is to eliminate the cat’s influence on their lives altogether, in order to attempt to “move on.” The futility of this attempt to “scrape sand and gravel” onto the cat in order to begin the healing process is illustrated by Kenyon’s careful diction in describing the cat’s resting place as merely, “the hole.” Since it is, “the,” hole, it does not in fact belong to the cat. The bowl is referred to as, “his,” bowl, yet the hole does not attain this same label. This difference in description allows the reader to see Kenyon’s main criticism regarding the nature of graves and post-mortem rituals that are intended to help those who mourn the dead cope, which is that once a living thing is gone only that which was part of the being’s life can be permanently attached to it. Because graves and burials are not part of the actual life of the now-deceased, Kenyon urges the reader to devaluate their role in mourning because simply putting a loved one out of sight does not eliminate their existence. The next stanza describes the cat in great detail, referring to “his long red fur, the white feathers between his toes, and his long, not to say aquiline, nose (5-9).” This description is used as proof of the inability of a burial to provide the sense of closure that it seeks to provide because of the manner in which the memories of the cat’s likeness immediately consume the minds of those who are supposed to have just let go of such thoughts through the burial of the cat. Through a careful analysis of Kenyon’s diction in the first two stanzas, the alert reader is able to understand Kenyon’s argument regarding the failure of burial and attempts to merely “let go” in helping the psychological well-being of those who are in mourning.
The second two stanzas of the poem proceed past the burial to describe, through