To Live and To Live Forever
Sharul Sexana
Death is inevitable. One day, the matter, the substance that makes up an individual will deteriorate and shed, merge with the soil and perhaps become a part of a new life force, without a trace of the former. While one’s organic components wither away and vanish, his or her ideas can live forever- fresh, evergreen and honored as legends. Sarah Kay’s poems “B” and “Hiroshima” express the positive impact of didactic stories and their implications through confessions of future motherhood and worldly destruction. By writing poems of value that stress the importance of recycling wisdom, Kay emphasizes, using a variety of appeals and rhetorical devices, the significance of living during life, and the process of achieving everlasting life through influence.
By founding each of her principles in reasoning and showcasing reasoning with poetic techniques, Sarah Kay implements an efficient rhetorical strategy in “Hiroshima.” This not only allows the readers to see the sense in her message, but also elevates Kay herself- making her and her knowledge seem worthwhile. Kay instills a “when this, then this” statement in “When they bombed Hiroshima, the explosions formed a mini-supernova,” (1). She uses this technique to depict herself as rational, to gain the reader’s assurance that her words and ideas are worth remembering. Later, she uses a “this, yields this” in “When I meet you, in that moment, I’m no longer a part of your future,” (31). By formatting the phrase in this way, abstract statements seem rational and believable. The structure of this sentence stresses its meaning- that Kay is now a part of the reader, a part that stays with them forever. By far, her strongest implementation of the “when, then” format is seen in “When I was born, my mom says I looked around the whole hospital room with a stare that said, ‘This? I’ve done this before;’” (6-7). Not only does Kay achieve establishing reasoning to her point, she also introduces the idea of reincarnation, central to her theme and purpose, into her piece.
With each reason, Kay ensures her argument’s legitimacy with her personal credibility. Every logical foundation is followed by Kay’s supplemental learned lessons and moral knowledge. She observes “... that life will hit you hard in the face, wait for you to get back up so it can kick you in the stomach,” (5-6) and “There is hurt, here, that cannot be fixed by Band- Aids,” (7). By reiterating what seems like basic, sensible statements, Kay takes the position of a “teacher,” one who starts from the basics before building on to higher principles. The repeated calling on clichés develops a connection between the readers’ knowledge and Kay’s, creating trust in her words and claims.
However, her true credibility emerges from her partial dismissal of these faulty clichés and her faith in her own experiences, “...Okay, there’s a few heartbreaks chocolate can’t fix,” (17-18) and “You will put the ‘win’ in win some lose some, you will put the ‘star’ in starting over and over,” (29). Kay makes herself seem experienced and lived, one who not only understands the meanings of clichés, but has seen the exceptions. By briefly mentioning that chocolate can not fix everything and by adding her own zest to well known sayings, seen through “star in starting over”, Kay exemplifies this.
Kay goes on to share her personal side with her audience by repeatedly using derivatives of the phrase “She knows”. Kay uses those two words to reflect upon her own past actions and by doing so, gains intimacy with her readers. In the lines “She knows she doesn’t have to wear the cape all by herself” (8-9) and “But I know she will anyway,” (16) Kay exposes herself through future doings by her daughter. By admitting her own past actions, and thus depicting herself as experienced, flawed and learned- very genuine traits- she reveals herself as a trustworthy and lived person. Throughout “B”, Kay strives to establish credibility in herself in order to make her words have enough meaning so that her knowledge and comprehension of the world can be passed on, in other words, before Kay can fulfill the purpose of her piece- to transfer knowledge in an attempt to become immortal- she uses a variety of rhetorical devices to first gain the readers’ trust.
Kay weaves the idea of reincarnation through “Hiroshima” to make herself sound ageless and wise, and by doing so, gains the trust of her readers. In the line “This, I’ve done this before” (7) the tone is almost patronizing, creating a sense of superiority and understanding regarding, something most are new to, birth. By describing her eyes with the word “old,” Kay purposefully gives herself a wise image. Word choice and tone are both very carefully arranged to portray Kay as intelligent and empathetic, “When Grandpa Genji died, I was only five years old, but I took my mom by the hand and told her, ‘Don’t worry, he’ll come back as a baby’” (8-9). While the term “only” seems to undermine her age, the adamant tone radiating from the rest of the sentence, particularly through “Don’t worry, he’ll come back as a baby” actually makes Kay appear as a very sure and intuitive five-year old. Similar to “B”, she does not reside on an all- knowing throne; rather, she embraces the lack of knowledge she does not have and in doing so, makes herself seem accepting and approachable to her audience. In the line “... she didn’t know what to do with impossible. And me? Well, neither do I...” and “So if you tell me I can do the impossible, I’ll probably laugh at you,” (34) her acknowledgement and dismissal (“I’ll probably laugh at you”) of the vague understanding of impossible is hyperbolic; it seems to undermine Kay’s knowledge but actually reinforces her credibility as it makes her appear less of an omnipotent figure and more of a real, genuine person. This attempt at establishing credibility is vital to achieve her overall purpose- to gain enough trust from the readers so they may remember her and her ideas.
Most significantly, Sarah Kay utilizes pathos through emotion, universal connection and expressive poetic language to embrace her readers and deliver her overall message with heartfelt sincerity. In “B,” her message revolves around the idea of teaching her daughter. This universal theme is an appeal to emotion. Kay repeatedly refers to her daughter as “Baby” (12 and 35). “Baby,” with its coddling connotation, makes Kay appear extremely loving and caring. By illustrating herself as a passionate mother, the readers find her and her message of carrying and passing knowledge sincere. Kay uses the words “momma” and “mama” when talking about herself (22 and 35). The words “momma” and “mama” are much softer and warmer than other maternal words such as “Mother” or “Mom,” which Kay dismisses early on.
Kay also uses vivid description to portray the harsh realities of the world, but then later uses the same technique to make it seem beautiful and hopeful- “...when you open your hands to catch and wind up with only blisters and bruises. When you step out of the phone booth and try to fly and the very people you wanna save are the ones standing on your cape... those are the very days you have all the more reason to say ‘thank you,’ ‘cause there is nothing more beautiful than the way the ocean refuses to stop kissing the shoreline no matter how many times it’s sent away” (23-28). From this sentence, the readers initially see a child chasing after dreams, only to be shut down from all angles; they see her trying to help others only to be betrayed. But the imagery in “ocean refuses to stop kissing the shoreline” is stronger than in the former statements. After feeling pity for a small girl who tries so hard but to no avail, they are struck with the image of a beautiful beach with soft waves, as depicted by “ocean refuses to stop kissing the shoreline”, and understand that she will continue trying and remain hopeful. Kay goes on to describe the world as “... made out of sugar. It can crumble so easily but don’t be afraid to stick your tongue and taste it,” (32-34) evoking not only pictures of piles of sugar, but also a sweet taste. By using such a preferred ingredient to describe her perspective on the world, Kay gets not only the readers’ attention but also allows a message regarding the delicate nature of the world and the ability to appreciate it to be passed on.
Kay’s strongest statement comes when she tells her daughter “Your voice is small but don’t ever stop singing and when they finally hand you heartbreak, slip hatred and war under your doorstep... you tell them that they really ought to meet your mother.” (40-43). Kay illustrates an image of a small girl singing her heart out, pushing aside the harsh realities of the world, and if questioned, direction is to Kay herself. By explicitly stating that all questions can go to Kay, she establishes a higher role for herself, essentially fulfilling her purpose in writing “B”- emphasizing the importance of passing on information and living forever by doing so.
Kay’s appeals to pathos are seen in similar way in “Hiroshima”. Her ability to use colorful diction and apply it in versatile ways gives the readers exact images and evokes specific emotions. Kay describes the nuclear radiation leaving the city “ and its population to turn into powder” (4-5). “Powder” paints a picture of loose, white talcum. By purposefully using such a light, insignificant entity as comparison, Kay stresses the damage the bomb has done. Directly, yet with poise and subtlety, she shows how the city has been reduced to almost nothing but dust. Kay shows how she is not cocky or arrogant by stating “My self-confidence can be measured in teaspoons... it always tastes funny” (12-13). This metaphor comparing Kay’s self confidence with some strange tasting ingredient lets the readers know how she has not achieved her goal (comparing her confidence with something so small as a “teaspoon”), in fact, she hardly knows what it is (the taste is described as “funny,” an extremely vague term).
Pathos is also seen in the last four lines, which are dramatically evocative due to the shift in tones. Right at the end of “Hiroshima” Kay states, “This isn’t my first time here. This isn’t my last time here. These aren’t the last words I’ll share. But just in case, I’m trying my hardest to get it right this time around” (38-41). Kay meaningfully isolates each statement by giving it its own line. The sentences are short and concise- to clearly get the message across. The true success of getting her point across is seen in the last sentence. Not only is the sentence considerably longer, and thus softer and more open ended, but the use of the word “But” revolutionizes her message with a new tone. Though the first portion of the lines had a curt, overconfident tone, the last line holds a soft, welcoming tone, one that the audience embraces. Because she uses the word “But,” she does not come off as arrogant and stubborn; rather, the audience is led to understand not only is she determined, but also hopeful and serenely dedicated. By utilizing the literary devices of tone, structure and format, Kay effectively accomplishes her goal of wanting to be remembered, and thus be immortal, in “Hiroshima”.
Sarah Kay through “B” and “Hiroshima” strives to emphasize the importance of passing on knowledge and living forever by doing so. Through the efficient use of rhetorical devices, ethos and pathos, Kay accomplishes her goal. She implements ethos, by shedding light on her own experiences as opposed to clichés, and pathos, by manipulating diction and sentence structure. After reading the two poems, the readers find themselves questioning the true definition, the true implication, of immortality. Is it possible, that simply by didactic techniques, one can escape the age limits some higher power has set upon them? Is it possible to live forever, to be an immortal God, simply by teaching others?
Works Cited
Kay, Sarah. "B." Goodreads. Goodreads, 03 Mar. 2011. Web. 6 Mar. 2013. <http://www.goodreads.com/author/quotes/11377.Sarah_Kay>.
Kay, Sarah. "Hiroshima." Goodreads. Goodreads, 3 Feb. 2011. Web. 6 Mar. 2013. <http://www.goodreads.com/quotes/413796-when-they-bombed-hiroshima-the-explosion-formed-a-
mini-supernova-so>.
By founding each of her principles in reasoning and showcasing reasoning with poetic techniques, Sarah Kay implements an efficient rhetorical strategy in “Hiroshima.” This not only allows the readers to see the sense in her message, but also elevates Kay herself- making her and her knowledge seem worthwhile. Kay instills a “when this, then this” statement in “When they bombed Hiroshima, the explosions formed a mini-supernova,” (1). She uses this technique to depict herself as rational, to gain the reader’s assurance that her words and ideas are worth remembering. Later, she uses a “this, yields this” in “When I meet you, in that moment, I’m no longer a part of your future,” (31). By formatting the phrase in this way, abstract statements seem rational and believable. The structure of this sentence stresses its meaning- that Kay is now a part of the reader, a part that stays with them forever. By far, her strongest implementation of the “when, then” format is seen in “When I was born, my mom says I looked around the whole hospital room with a stare that said, ‘This? I’ve done this before;’” (6-7). Not only does Kay achieve establishing reasoning to her point, she also introduces the idea of reincarnation, central to her theme and purpose, into her piece.
With each reason, Kay ensures her argument’s legitimacy with her personal credibility. Every logical foundation is followed by Kay’s supplemental learned lessons and moral knowledge. She observes “... that life will hit you hard in the face, wait for you to get back up so it can kick you in the stomach,” (5-6) and “There is hurt, here, that cannot be fixed by Band- Aids,” (7). By reiterating what seems like basic, sensible statements, Kay takes the position of a “teacher,” one who starts from the basics before building on to higher principles. The repeated calling on clichés develops a connection between the readers’ knowledge and Kay’s, creating trust in her words and claims.
However, her true credibility emerges from her partial dismissal of these faulty clichés and her faith in her own experiences, “...Okay, there’s a few heartbreaks chocolate can’t fix,” (17-18) and “You will put the ‘win’ in win some lose some, you will put the ‘star’ in starting over and over,” (29). Kay makes herself seem experienced and lived, one who not only understands the meanings of clichés, but has seen the exceptions. By briefly mentioning that chocolate can not fix everything and by adding her own zest to well known sayings, seen through “star in starting over”, Kay exemplifies this.
Kay goes on to share her personal side with her audience by repeatedly using derivatives of the phrase “She knows”. Kay uses those two words to reflect upon her own past actions and by doing so, gains intimacy with her readers. In the lines “She knows she doesn’t have to wear the cape all by herself” (8-9) and “But I know she will anyway,” (16) Kay exposes herself through future doings by her daughter. By admitting her own past actions, and thus depicting herself as experienced, flawed and learned- very genuine traits- she reveals herself as a trustworthy and lived person. Throughout “B”, Kay strives to establish credibility in herself in order to make her words have enough meaning so that her knowledge and comprehension of the world can be passed on, in other words, before Kay can fulfill the purpose of her piece- to transfer knowledge in an attempt to become immortal- she uses a variety of rhetorical devices to first gain the readers’ trust.
Kay weaves the idea of reincarnation through “Hiroshima” to make herself sound ageless and wise, and by doing so, gains the trust of her readers. In the line “This, I’ve done this before” (7) the tone is almost patronizing, creating a sense of superiority and understanding regarding, something most are new to, birth. By describing her eyes with the word “old,” Kay purposefully gives herself a wise image. Word choice and tone are both very carefully arranged to portray Kay as intelligent and empathetic, “When Grandpa Genji died, I was only five years old, but I took my mom by the hand and told her, ‘Don’t worry, he’ll come back as a baby’” (8-9). While the term “only” seems to undermine her age, the adamant tone radiating from the rest of the sentence, particularly through “Don’t worry, he’ll come back as a baby” actually makes Kay appear as a very sure and intuitive five-year old. Similar to “B”, she does not reside on an all- knowing throne; rather, she embraces the lack of knowledge she does not have and in doing so, makes herself seem accepting and approachable to her audience. In the line “... she didn’t know what to do with impossible. And me? Well, neither do I...” and “So if you tell me I can do the impossible, I’ll probably laugh at you,” (34) her acknowledgement and dismissal (“I’ll probably laugh at you”) of the vague understanding of impossible is hyperbolic; it seems to undermine Kay’s knowledge but actually reinforces her credibility as it makes her appear less of an omnipotent figure and more of a real, genuine person. This attempt at establishing credibility is vital to achieve her overall purpose- to gain enough trust from the readers so they may remember her and her ideas.
Most significantly, Sarah Kay utilizes pathos through emotion, universal connection and expressive poetic language to embrace her readers and deliver her overall message with heartfelt sincerity. In “B,” her message revolves around the idea of teaching her daughter. This universal theme is an appeal to emotion. Kay repeatedly refers to her daughter as “Baby” (12 and 35). “Baby,” with its coddling connotation, makes Kay appear extremely loving and caring. By illustrating herself as a passionate mother, the readers find her and her message of carrying and passing knowledge sincere. Kay uses the words “momma” and “mama” when talking about herself (22 and 35). The words “momma” and “mama” are much softer and warmer than other maternal words such as “Mother” or “Mom,” which Kay dismisses early on.
Kay also uses vivid description to portray the harsh realities of the world, but then later uses the same technique to make it seem beautiful and hopeful- “...when you open your hands to catch and wind up with only blisters and bruises. When you step out of the phone booth and try to fly and the very people you wanna save are the ones standing on your cape... those are the very days you have all the more reason to say ‘thank you,’ ‘cause there is nothing more beautiful than the way the ocean refuses to stop kissing the shoreline no matter how many times it’s sent away” (23-28). From this sentence, the readers initially see a child chasing after dreams, only to be shut down from all angles; they see her trying to help others only to be betrayed. But the imagery in “ocean refuses to stop kissing the shoreline” is stronger than in the former statements. After feeling pity for a small girl who tries so hard but to no avail, they are struck with the image of a beautiful beach with soft waves, as depicted by “ocean refuses to stop kissing the shoreline”, and understand that she will continue trying and remain hopeful. Kay goes on to describe the world as “... made out of sugar. It can crumble so easily but don’t be afraid to stick your tongue and taste it,” (32-34) evoking not only pictures of piles of sugar, but also a sweet taste. By using such a preferred ingredient to describe her perspective on the world, Kay gets not only the readers’ attention but also allows a message regarding the delicate nature of the world and the ability to appreciate it to be passed on.
Kay’s strongest statement comes when she tells her daughter “Your voice is small but don’t ever stop singing and when they finally hand you heartbreak, slip hatred and war under your doorstep... you tell them that they really ought to meet your mother.” (40-43). Kay illustrates an image of a small girl singing her heart out, pushing aside the harsh realities of the world, and if questioned, direction is to Kay herself. By explicitly stating that all questions can go to Kay, she establishes a higher role for herself, essentially fulfilling her purpose in writing “B”- emphasizing the importance of passing on information and living forever by doing so.
Kay’s appeals to pathos are seen in similar way in “Hiroshima”. Her ability to use colorful diction and apply it in versatile ways gives the readers exact images and evokes specific emotions. Kay describes the nuclear radiation leaving the city “ and its population to turn into powder” (4-5). “Powder” paints a picture of loose, white talcum. By purposefully using such a light, insignificant entity as comparison, Kay stresses the damage the bomb has done. Directly, yet with poise and subtlety, she shows how the city has been reduced to almost nothing but dust. Kay shows how she is not cocky or arrogant by stating “My self-confidence can be measured in teaspoons... it always tastes funny” (12-13). This metaphor comparing Kay’s self confidence with some strange tasting ingredient lets the readers know how she has not achieved her goal (comparing her confidence with something so small as a “teaspoon”), in fact, she hardly knows what it is (the taste is described as “funny,” an extremely vague term).
Pathos is also seen in the last four lines, which are dramatically evocative due to the shift in tones. Right at the end of “Hiroshima” Kay states, “This isn’t my first time here. This isn’t my last time here. These aren’t the last words I’ll share. But just in case, I’m trying my hardest to get it right this time around” (38-41). Kay meaningfully isolates each statement by giving it its own line. The sentences are short and concise- to clearly get the message across. The true success of getting her point across is seen in the last sentence. Not only is the sentence considerably longer, and thus softer and more open ended, but the use of the word “But” revolutionizes her message with a new tone. Though the first portion of the lines had a curt, overconfident tone, the last line holds a soft, welcoming tone, one that the audience embraces. Because she uses the word “But,” she does not come off as arrogant and stubborn; rather, the audience is led to understand not only is she determined, but also hopeful and serenely dedicated. By utilizing the literary devices of tone, structure and format, Kay effectively accomplishes her goal of wanting to be remembered, and thus be immortal, in “Hiroshima”.
Sarah Kay through “B” and “Hiroshima” strives to emphasize the importance of passing on knowledge and living forever by doing so. Through the efficient use of rhetorical devices, ethos and pathos, Kay accomplishes her goal. She implements ethos, by shedding light on her own experiences as opposed to clichés, and pathos, by manipulating diction and sentence structure. After reading the two poems, the readers find themselves questioning the true definition, the true implication, of immortality. Is it possible, that simply by didactic techniques, one can escape the age limits some higher power has set upon them? Is it possible to live forever, to be an immortal God, simply by teaching others?
Works Cited
Kay, Sarah. "B." Goodreads. Goodreads, 03 Mar. 2011. Web. 6 Mar. 2013. <http://www.goodreads.com/author/quotes/11377.Sarah_Kay>.
Kay, Sarah. "Hiroshima." Goodreads. Goodreads, 3 Feb. 2011. Web. 6 Mar. 2013. <http://www.goodreads.com/quotes/413796-when-they-bombed-hiroshima-the-explosion-formed-a-
mini-supernova-so>.