Alfonse Femino, Brittany Foley, Francesca Richardson
AP Literature, Malden High School, MA
20 Feb. 2011
Thibodeaux, Sunnylyn. Palm to Pine. Lowell: Bootstrap, 2011. Print.
Palm to Pine is Thibodeaux’s latest collection of poems, to be published by Bootstrap Press Books. The book consists of over 60 different poems, all written and printed in Thibodeaux’s signature, abstract format, with its rhythmic indentations and line breaks. Despite this style, her poems always maintain a certain linearity. Several of the poems include individual dedications at their ends. Throughout the book, Thibodeaux frequently employs quotations as titles and hooks. Repetition is also prominent in the majority of her poems, whether directly, in the form of anaphora or in more abstract manners.
The wide array of poems featured in Palm to Pine essentially provides us with a catalogue of her techniques in writing, with their frequencies of employment allowing us to infer which of these techniques she prefers and, accordingly, which she believes most effective. The dedications that follow several of her poems provide us with further references and people of interest, particularly a Mr. John Coletti, to whom she dedicates an entire sequence of poems, entitled “Book of Coletti” (65-68). Her particular attention to this individual has encouraged us to deeper investigate his presence in her life as well as the influence of his presence and the extent of that influence, as we believe he may be an individual that has had just as much effect on her poetry as her own husband, given his name’s presence in her works. This extensive assortment of her poems also provides us with several instances in which we can draw connections between food, something already established as a significant part of her life, and her poetry, such as with the mention of Greek god of wine and poetry, Dionysus, in her poem “Yesteryear at the Auditorium” (22). “Yesteryear at the Auditorium” is also a divine example of the curious, seemingly-loosely relevant titles Thibodeaux chooses for her poems. With such a vast supply of examples of her obscure titling, we have more to work with in terms of developing questions and other approaches of continued investigation of her writing style. Overall, this book’s value is credited to its extensive assortment of individual poems by Thibodeaux, as each may stand as their own individual pieces of evidence in particular areas of focus of her writing style.
Poems and Chapbooks
Ballard, Micah, and Sunnylyn Thibodeaux. “Wrought Iron & Burgundy.” Auguste Press, 2005.
The book of publications, Wrought and Iron Burgundy, published by Sunnylyn Thibodeaux and husband Micah Ballard, features a large selection of poems written by the two. The poems switch off from Sunnylyn to Thibodeaux, and continue going back and forth throughout the book.
The book can be used by a reader in a number of helpful ways to understand the poems of each person. Both admit to being influenced by the other, and having poems from both poets located under one cover allows the reader to easily see the similarities and differences between the poets, comparing and contrasting style, content, meaning, and more.
Thibodeaux, Sunnylyn. "Brinks & Lavendar." Back Room Live. 25 Sept. 2010. Web. 3 Jan. 2011.
During the poem Brinks and Lavender, Sunnylyn Thibodeaux takes the reader through a series of what seems to be an average day. It starts off with the beginning of the day, in which the sun is to come from behind the cliffs and illuminate the world. The speaker then begins to discuss how she would have been upset “out of context”. Next, she mentions how although it is morning, there is no sun in the sky, and creates a darker, more somber tone, saying “Black ink of cards staring at the former at the end” She ends by saying that she, like everything else, has its end, and the only things keeping everyone going is the thought of a second chance.
This poem can be used first off to show the abstract style and structure that she puts into her poetry. The title “Brinks and Lavender” does not help the reader understand what the poem is going to be about at first, and after reading the poem one still can not take any meaning from it. As the poem continues, the reader can see that the lines start to fade towards the right, but then go back left, and then right again, making one think of what Thibodeaux was trying to do. Lastly, the change in tone in the poem, from one of hope to one of painful realization, shows how unpredictable Thibodeaux is in her writing.
Thibodeaux, Sunnylyn. "Curves & Curses." Auguste Press, 2000. Print.
This is a book of poetry written by Sunnylyn which was published through her and her husband’s publishing company. On their publishing company website, a poem from this book is featured. The poem being, “Spring Breed” which Thibodeaux dedicates to “Shana Rae”.
In this poem, Thibodeaux writes of an interaction between a mother and daughter in a kitchen. In the poem, she writes of food and preparations. This particular poem from her book Curves & Curses, expresses Thibodeaux’s passion for the culinary arts--specifically Italian cooking.
“I can smell the Italian in her blood”
“perfect blossom of artichoke”
“potent garlic and parmesan”
During the poem “Spring Breed,” Sunnylynn Thibodeaux starts by dedicated the poem to Shana Rae, something that Sunnlylnn often does. She starts by giving the setting “at her mother’s house”. After the introduction, Thibodeaux begins to go into great detail about food, describing the smell as “potent.” She continues to describe the food, bringing the reader through the process of dinner with her mother. She ends by saying how the two sat down and enjoyed the meal, focusing only on the food, and not letting anything disrupt the meal.
When she goes into such detail describing her mother’s food, the reader can close his or her eyes and almost get that garlicky smell, feel the warmth of the oven, and taste “perfect blossom of the artichoke”. Thibodeaux does this to really capture the readers attention, and allow them to virtually sit in on the dinner throughout the poem. Thibodeaux says that the two did simply sat and enjoyed the dinner, and did not speak of the baby growing inside of her, or the “mass of mud,” under her nails. In not mentioning these two things, the two are able to sit down and enjoy a meal. Thibodeaux mentioned how the two avoided talking about the two things to show that a meal should be a time of a certain intimacy, that should not be harmed by negative thoughts.
Thibodeaux, Sunnylyn. "For the Angel David." Big Bridge. Web. 9 Jan. 2011.
The above source, issue number eleven of the Big Bridge online magazine, provides us with Thibodeaux’s poem, “For the Angel David,” and also what would appear to be a sequence of poems from “Hidden Driveways Ahead.” The web page dedicated to Thibodeaux’s poems also included a link to a page of brief biographies of the site’s featured poets, including not only Thibodeaux, but her husband as well. The few sentences this website provides regarding Thibodeaux identify other publications in which her works can be found. The blurb also reveals that she is from New Orleans and “has been [living] in San Francisco for six years.”
While not very informative, the above source provides us with another poem that was not featured in Palm to Pine, meaning it was likely written prior to the others. This allows us to compare and contrast her works that may or may not have been written at different points in her life, which could provide us with deeper insight into how she goes about the poem-writing process. (A question asking for clarification on the times in which particular poems were written would only benefit our efforts.) Additionally, the brief bit of information that accompanies this page provides us with more sources of her works (and therefore more opportunities at expanding that insight into the life and mind of our poet) and also the location at which she grew up, almost always a significant factor in the imagination of any literary artist, as well as her current location—with one’s place of residence, again, almost always proving itself a significant factor in the imagination of any literary artist.
Thibodeaux, Sunnylynn. “Last We Spoke.” Auguste Press, 2004. Web. 3 Jan. 2011.
During the poem "Last We Spoke," Sunnylyn Thibodeaux starts with the bold words of “Soft Effects”. During the first stanza, she begins to discuss what runs through her mind as she lies down. Next, she speaks of how her feelings can be seen, even in the midst of a rain. In stanza three, she reveals that the truth is so far off that it seems foreign. At the end of the poem,, she talks about how she realizes that she will never be what she wants to be, but she is dealing with it, revealed in the last lines, “I curtsy”.
The bold lettering of the title separates the phrase from the rest of the poem, but the meaning is to show the reader that the poem should be read in a soft, peaceful manner. The meaning behind her thoughts when she is laying down is very important, because at the end of the day, when people lie down, they think about who they are, and the moments before sleep bring out the most self-realization, more so than any other time of the day. After speaking of how the truth eludes her, she ends with “I curtsy,” which can be seen as ironic because she just discussed how tough times were, but by her performing the curtsy just further shows the unpredictable nature of Thibodeaux’s work.
Thibodeaux, Sunnylyn. The Blue Press Portfolio. Web. 10 Jan. 2011.
This is an online Magazine in which Thibodeaux has poems published in, along with many of her fellow poets whose names are present in her latest book of poems.
“Featuring work by Joanne Kyger, Cedar Sigo, Noel Black, Duncan McNaughton, Micah Ballard, Lewis MacAdams, Jeff Chester, Mark Terrill, Michael Price,Patrick Dunagan, Sunnylyn Thibodeaux, Geoffrey Cruickshank-Hagenbuckle, Donald Guravich, Kevin Opstedal, Edward Ainsworth.”
Thibodeaux, Sunnylyn. "The Silent Spaces of Utopia Parkway." Back Room Live 25 Sept. 2010. Web. 3 Jan. 2011.
During the "Silent Spaces of Utopia Parkway," Sunnylyn Thibodeaux shows her views on America, and the world as it is today. At first, the speaker says that she is stuck in a place, where others may be able to be free. She says that others who take “cautious advances,” are just trying to overcome the task of being “lonely”. Next, she describes “America’s values”.She says Americans “Just need to borrow a little for a short while” meaning Americans need small, unimportant things to keep their interest, showing how an average American does not have rue values, such as family, trust, friendship etc ... rather materialistic values. She ends saying “anything to sound out the fix.” Here, the speaker says that American’s look for anything to distract them from reality.
After reading this poem, it becomes clear to the reader that Thibodeaux looks at American society with regret and disappointment. She says that in a world like America, there is no advance for people who actually have morals, and don’t just take “cautious advances,” their entire life. She also states that the American values are backward, and without meaning, as she claims Americans only care about small pleasures in life, with no desire to advance, and lastly, she claims that Americans desire anything that will “sound out the fix,” or refuse to believe or even consider the truth.
"ABHS." Archbishop Chapelle High School - Quality Catholic Education for Girls in the Metro New Orleans Area of Louisiana. Web. 20 Feb. 2011.
This is the official website of Archbishop Chappell High School. On the site, much information is provided about the school, including its courses, mission statement, focuses, athletics, and more. There is also a large alumni section, which lists a number or successful graduates of ACHS, and a prospective students section. The site shows that the school is very centered around religion, which could relate to the fact that she seems spiritual.
Alvarez, Ivy. "Six Chaps by Ballard, Thibodeaux, Opsteadal, Greenstreet, Held & Bianchi." Rev. of Last We Spoke. GALATEA RESURRECTS, #3 (A Poetry Engagement). 24 Aug. 2006. Web. 30 Jan. 2011.
Here is a collection of works done by Thibodeaux, Opstedal, Greenstreet, Held & Bianchi. This site contains work from all five poets. Also, the site shows the difference and similarity in structures, styles, meanings, purposes ext... The site is also open to comments for viewers to express their opinions on the poetry, meaning analysis of the poetry is public.
This site can be used for a viewer to not only view the poetry of the five poets, but to see exactly what is being done by each, why it is being done, and how it can relate or differ from the other poets. The open comment section can be used to see the opinions of multiple people, thus allowing for the range of knowledge to be broadened.
Gardner, Susana. "20/20 Yielding by Sunnylyn Thibodeaux." Rev. of 20/20 Yielding. GALATEA RESURRECTS, #3 (A Poetry Engagement).24 Aug. 2006. Web. 30 Jan. 2011.
This site provides a review of Thibodeaux’s “20/20 Yielding.” Gardener does not only review the poem, but she goes through and picks it apart, explaining what Thibodeaux is saying, when she is saying it, and why she is doing so. Also, Gardener not only provides analysis of the poem before the actual text, but she also provides a closing insight after the poem.
This site can be used specifically for the understanding of the poem. Having one page dedicated to a single poem, and having it explicated by just one person can be used because the viewer can read the poem, make an original assumption, develop originl thoughts, and compare and contrast them to those of Garderner’s.
"Metairie Louisiana." Metairie.com. Web. 17 Jan. 2011.
On the website, there are many sections and links providing information about the city of Metairie, Louisiana. The introduction paragraph on the page gives an initial idea of the importance of the city, telling how it was the first suburb of Louisiana, how it is located very close to New Orleans, and how it is home to a super dome, zoo, aquarium, international airport,and and many other important structures and businesses.There is a section labeled “About Metairie,” and another section labeled “history,” which tell everything there is to know about the past and present of the Metairie. There are other sections including sports, entertainment, food, recreation, and even Marti Gras, showing all of the different activities and events of the city.
After reading about the history of the town, the viewer can clearly see how much character the town has, as it was established two hundred years ago, and has served as a major city in Louisiana ever since. Also, after seeing all of the different activities, events, and opportunities the city has to offer, it becomes quite clear to the reader how much life the city has. Because the city has been so important for such a large amount of time, and because there is so much going on at once in the city, its influences on a person, specifically a poet, are profound.
Parra, Guillermo. "It’s SATURDAY NIGHT ! ÁVILA ! FRAILE ! BALLARD ! THIBODEAUX ! Curated by GUILLERMO PARRA!" Web blog post. Back Room Live. 25 Sept. 2010. Web. 9 Jan. 2011.
In this blog post, Guillermo Parra offers an introduction to
lesser-known poets and short-story authors. He includes brief comments
on each of their chosen works, all of which revolve around a more
contemporary“counter-cultural expression.” His chosen works include two
short stories and two sequences of poems. While Thibodeaux is the author
of one sequence, “As Water Sounds,” the author of “Let Us Wake Rifles,”
the other sequence, is, coincidentally, her husband, Micah Ballard.
First and foremost, this blog post offers further connection between Thibodeaux’s work and her husband’s, as it suggests and offers a light review of both of their works. This blog post also includes a poetic commentary that, though considerable brief, offers further insight into her values of poetry as well as her style as a poet. Furthermore, Parra’s post identifies one rather particular format in which Thibodeaux has presented her works: a sequence of poems that are meant to be read as an assembled whole “…she assumes an approach to language that reveals a complete faith in the magic of poetry (that is, song) to heal and reconstruct”.
Poirier, Julien. "On Palm to Pine By Sunnylyn Thibodeaux." Rev. of Palm to Pine. Print.
This is a quick blurb of Thibodeaux’s latest book, Palm to Pine published by Bootstrap Press in Lowell, MA. In this blurb, Poirier comments on Thibodeaux’s ability to be “so always herself.” Poirier also gives credit to Sunnylyn’s gift of being able to see things how they are.
“Sunnylyn Thibodeaux is a stubborn, resilient poet who has brilliantly turned these qualities on their heads in a quicksilver serenade of the day (cold wine and treasure hunts) and its discontents (poisonous elephant ears). She seems to have made a handshake deal with things as she sees them: You be yourself and I won’t pretend you’re otherwise. And so she is herself in the eyes of the book in your hands. Rare that a poet is so always herself, to the point that we could (almost) take her place, certainly her side, as she vanishes into her lines.” -Julien Poirier
"Sunnylyn Thibodeaux." Www.classmates.com. Web.
Classmates.com is a website that is primaliry used for people to search for old friends and classmates from high school, college, previous work, etc. The site shows the high school(s) and college(s) that the person attended, as well as her hometown, graduating class, and if a person has a membership, she can see much more about the person she is searching for.
This source was used specifically to find out and research information about Sunnylyn Thibodeaux. On the site, it had Thibodeaux listed as a member of University of Louisiana’s class of 1998, and both Our Lady of Perpetual Help, and Archbishop Chapelle High School, as well as the years she was in attendance. Also, the site listed her home town as Metairie, Louisiana, and date she became a member of the website.
Thibodeaux, Sunnylyn. "Research Project." E-mail to Brittany Foley. 12 Jan. 2011.
With our first E-mail to Thibodeaux, we asked a variety of questions that would allow us to understand her more as a poet. We found that, in moving to San Francisco, Thibodeaux became surrounded by more poets, which influenced her as a poet. From her answers, we learned about those who influence her most, her opinions on personal experience affecting her poetry, reason for her dedications, her passion for food and its connection to poetry, and the significance of her poems’ titles. In her responses to each of our questions, Thibodeaux was open-minded and specific with her responses. She also provided us with the names of poets who she has associated herself with, or who she is influenced by. Most of these names are mentioned in poems in her book Palm to Pine.
“...as if a subconscious longing to be home is revealed as a secret I’ve kept.” (par. 3)
“Usually half way through I’ll realize that the poem is to someone or somehow about them.” (par. 5)
“The dedication is a nod of respect.” (par. 8)
“Think about it, with food you are using all of your senses and poetry is all about capturing that.” (par. 10)
“As far as the role of the title, I’ve always felt it should be able to read as the first line of the poem and in the best cases the last line as well.” (par. 12)
“...influences come and go, but this isn’t true because they never really go.” (par. 13)
“As living a life as a poet, my husband, Micah, has been the biggest influence in the sense that he challenges me in ways that I cannot challenge myself.” (par. 13)
Allegrezza, Bill. "The Daily Glance." P-ramblings :: Bill Allegrezza. 6 July 2010. Web. 18 Jan. 2011
In this blog made by Bill Allegrezza, he comments on John Colletti’s latest book of short poems Mum Halo. In this review, Allegrezza mentions Colletti’s unique form of poetry “American haiku.” Colletti’s haiku poems are amusing to Allegrezza who calls it “brilliance” (paragraph 2) We see that many of Colletti’s poems concern “many aspects of life, such as relationships” (paragraph 2).This may be a style of Colletti’s that Thibodeaux is influenced by because it is so different from her styles.
Ballard, Micah. Parish Krewes. Lowell: Bootstrap, 2009. Print.
Parish Krewes is a collection of poems by Micah Ballard assembled in the form of a book published by Bootstrap Press Books. Parish Krewes
features more than 60 of Ballard’s poems, a group diverse in
arrangement and tone. While a generous amount of the poems featured in Parish Krewes
maintain a very linear structure with traditional four-line stanzas or
total lack of line breaks and indentation, several follow more abstract
suits with far less traditionally-structured formats of presentation.
The majority of his poems possess one-word titles and are brief (less
than a page) in length.
Parish Krewes, much like Thibodeaux’s own Palm to Pine, with its vast selection of individual poems, offers extensive opportunities for examination of Ballard’s poetic style, specifically his preferred literary techniques and common sources of inspiration. This particular array of poems offers a variety of layouts of poems, revealing to us Ballard’s own limits and the presentations he is comfortable with. His diversity of formats greatly contrasts with Thibodeaux’s primarily constant presentations of that clean-cut but still somewhat scattered, abstract arrangement. His titles also allow us to further differentiate between his and his wife’s styles, as her titles, often phrases, are considerably longer than his, which are generally a mere one or two words in length. While the comparison this book provides opportunity for is helpful in identifying Thibodeaux’s overall character, even allowing for further commentary on her relationship with her husband, the opportunities for contrasts it provides are even more valuable, as they allow us to establish Thibodeaux’s identity as a poet, as an individual artist.
Ballard, Micah, and Thibodeaux, Sunnylyn. "Auguste Press." Index. Web. 10 Jan. 2011.
This website was created in 2000 by Sunnylyn Thibodeaux and Micah Ballard for their publishing company, Auguste Press. Within their site, there are published poems from many different poets, including some of their own. Also, found on the website is a link entitled “pairings.” These refer to alcoholic beverages that should be drunk while reading each poem. For example, when reading Sunnylyn’s “Curves & Curses,” Ballard and Thibodeaux suggest “Lillet on the rocks with a blood orange” to drink (line 4).
This website provides insight onto the type of poems Thibodeaux and her husband seem to find interesting, considering they are publishing them. The website also presents another side of Thibodeaux: a seemingly fun, sarcastic, humorous side. This is presented most forwardly through the “pairings” link. They suggest “2 shots of Jack Daniels in a hot shower before reading” (line 12) Skip Fox’s “Adventures of Max and Maxine.”
Carr, Michael. "The Greatest Prawn on Earth." Shampoo Issue 8. ShampooPoetry, Oct. 2001. Web. 16 Jan. 2011.
This source is a poem written by Michael Carr. Despite an overall linear arrangement of text, Carr’s syntax manipulation in this poem is far from traditional, as he avoids following a specific pattern of lines per stanza. Distinct features of this particular poem include the frequent insertion of questions and the use of inclusive first person.
In her e-mail interview, Thibodeaux revealed that some of her poems’ dedications “are to poets and artists often because their work influences me to write.” She continued to identify Michael Carr as one of these influences, stating that she had written a poem for him and another poet, Greg Fuchs, “just after [she] had finished reading their books.” Therefore, as it was written by a confirmed influence of Thibodeaux’s, this poem serves as a tool for better understanding Thibodeaux’s poetic writing style and, importantly, favored features of a poem. It is likely that she enjoys and is so inspired by Carr and his work because he either possesses a technique she admires or works in a style similar to her own. Thus, his work offers further clues to finding these preferred features, as it is likely to possess them. This poem also allows for comparison between Thibodeaux’s work and the work of one of her artistic motivators.
Coletti, John. "John Coletti (Author of Mum Halo)." GoodReads. Web. 18 Jan. 2011.
This website is used to present access to all of John Coletti’s work along with reviews of his works. It also supplies us with information on books he has listed as read and some he is in the process of reading.
Du, Hillary, Samantha Johnson, Jessica Lucas, and Samantha Power. The Poetic Life of Micah Ballard. Ryan Gallagher Presents: Malden High AP Literature Students and Research on Contemporary American Poets You Should Know. 26 Feb. 2010. Web. 8 Jan. 2011.
The above source is a biography of Micah Ballard, husband of Sunnylyn Thibodeaux, written by past Malden High School AP Literature students Hillary Du, Samantha Johnson, Jessica Lucas, and Samantha Power. The biography is organized into eight sections—“Louisiana Youth,” “Inspiration,” “Negative Capability,” “Inspiration (II),” “Tale of a Typewriter Friendship,” “The Beginning of ‘Dog’”, “Easy Eden”, and “Love and Poetry”—with each section focusing on a particular aspect of Ballard’s career or personal experience. The eighth and final section of the biography, “Love and Poetry”, focuses on his relationship with Thibodeaux and how that relationship has affected his work.
While the biography in its entirety speaks volumes about Ballard’s life both in relation to and separate from his poetic work, the part most valuable to our research on Thibodeaux is without argument its section entitled “Love and Poetry.” This text reveals other published works of Thibodeaux’s, expanding our array of publication sources. In disclosing that Ballard “has dedicated poems to his wife,” this biography further links Ballard’s and Thibodeaux’s works, as she, too, so often dedicates her poems to others. The biography also provides more information on Thibodeaux’s interests as those which she has in common with her husband are revealed, like a love for The Smiths. Additionally, this biography informs us that Luis Alberto Urrea was among Thibodeaux’s first mentors. Direct quotes from Thibodeaux allow a closer look into her relationship with Ballard and the passion they hold for each other—a passion that is clearly exemplified in either individual’s tendency to feature words the other has spoken in his/her own poems.
“In September 22, 2000 they were married on a beach in Maui, “both barefoot and high on life and love and the pursuit of poetry” (Thibodeaux, E-mail to Jessica Lucas).” (para. 20)
“Thibodeaux recalls in one of her e-mail responses of the times when she would read a line in one of Ballard's poems and recognize it as something she said, and also that she has said things that Ballard has recognized as lines from one of his poems (Thibodeaux, E-mail to Jessica Lucas).” (para. 21)
“John Coletti at the Poetry Project January 2011.” Perf. John Coletti. Youtube, 11 Jan. 2011. Web. 16 Jan. 2011.
This video features John Coletti reading one of his poems at a January 2011 conference for The Poetry Project.
This video, visually and through audio, captures Coletti’s poetic style as he reads the poem aloud, exposing his audience to his own voice and therefore revealing to them his own interpretations and, in doing so, offering them bases off which to form perceptions of his creative processes in regards to writing poetry. It also exposes us to his character: witty, seemingly lighthearted and satirical.
Stanley, Jared. "Pastries, Cowboy Music / That Kind Of Shit." TheRumpus. 20 Oct. 2010. Web. 18 Jan. 2011.
This article offers an individual analysis of various pieces of John Coletti’s works. The article includes, in their entireity, the poems which it discusses, and also includes specific observations of Coletti’s personal style. He then uses Coletti’s poetry to define his own love for poetry and, though less directly, to identify what makes poetry enjoyable.
This text not only provides us with an array of his poems to have at our disposal and concrete examples of Coletti’s personal style and, but also the very definitions of that personal style. As he explores Coletti’s poems, he calls to attention his signatures, particularly his “personal tone” (para. 3). This identification of Coletti’s dominant traits as a poet provide us with more material through which we can link Thibodeaux to her influences, as we can look for the same/similar techniques she opts to practice in writing her own poems to build comparison.
“It demonstrates many of the extremely pleasurable qualities of Coletti’s work: the personal tone, in which a speaker addresses a friend directly, by name; the line-centered thinking, in which poem expands, contradicts, and explodes each idea or hurt it seems to put forward; the musicality, so careful and so surprising in it effects, and finally, the almost impossible way the poem ends, bringing all the unruly activity firmly back to the personal, a wounded, heartfelt, and mysterious thing. Reading, and re-reading these poems, you’ll find lines which are so outrageous, hilarious, and true that they get lodged in your head, like songs; and, you’ll find yourself quoting the poems to others, because they seem so apt in their ungainliness.” (para. 3)
“...the primary unit of organization is the lines, and their juxtapositions and abstractions are gorgeous...“ (para. 9)
“Housewife.” Personal photograph. Auguste Press. 10 Jan. 2011
link is a picture of Sunnylynn Thibodeaux from her publishing company
website. Through this picture of the poet, we see her as a fun and
Whalen, Philip. "The Slop Barrel: Slices of the Paideuma for All Sentient Beings." The Poetry Foundation. Web. 16 Jan. 2011.
The above entry is a poem written by Whalen, who is fittingly labeled a "beat" poet. The poem's staggering arrangement encourages an upbeat reading, with various indentations and isolations of particular lines providing opportunities for emphasis on particular subjects or shifts in rhythm. Thibodeaux's poem, "“Is it true your father was a swan”" was titled with a quote from this poem, suggesting an admiration or at least some degree of respect for this poet and his work. This poem, therefore, provides material for comparison and is potential evidence in further defining Thibodeaux's general poetic style and preferred literary techniques.
Willy Wonka and the Chocolate Factory. Dir. Mel Stuart. Perf. Gene Wilder. Paramount Pictures, 1971. Film.
This award-winning, feature-length presentation of "Willy Wonka and the Chocolate Factory" was based off of the children's book "Charlie and the Chocolate Factory," written by Roald Dahl, who also wrote the film's screenplay. An audio track from this film is featured on the homepage of the Auguste Press website.