Answer:
Dear Uncle
Recentley I have been going through some hard time when I have been trying to cook dinner. Since you are a chef can you help me with my cooking. I need new things to cook, I want help, amd I want to eat a good meal. Please and thank you.
Sincerely
Bob.
In an essay published in 1961, Robert Kelly coined the term "deep image" in reference to a new movement in American poetry. Ironically, the term grew in popularity despite the critical disapproval of it by the group's leading theorist and spokesperson, Robert Bly. Speaking with Ekbert Faas in 1974, Bly explains that the term deep image "suggests a geographical location in the psyche," rather than, as Bly prefers, a notion of the poetic image which involves psychic energy and movement (TM 259).1 In a later interview, Bly states:
Let's imagine a poem as if it were an animal. When animals run, they have considerable flowing rhythms. Also they have bodies. An image is simply a body where psychic energy is free to move around. Psychic energy can't move well in a non-image statement. (180)
Such vague and metaphorical theoretical statements are characteristic of Bly, who seems reluctant to speak about technique in conventional terms. Although the group's poetry is based on the image, nowhere has Bly set down a clear definition of the image or anything resembling a manifesto of technique. And unlike other "upstart" groups writing in the shadow of Pound and Eliot, the deep image poets-including Bly, Louis Simpson, William Stafford, and James Wright-lacked the equivalent of the Black Mountain group's "Projective Verse," or even, as in the Beats' "Howl," a central important poem which critics could use as a common point of reference. This essay, then, attempts to shed some light on the mystery surrounding the deep image aesthetic. It traces the theory and practice of Robert Bly's poetic image through the greater part of his literary career thus far.
The best answer is
<span>The author uses indirect characterization to describe how Millicent feels.
While the author's description of the ceremony gives the idea that Millicent probably looks pretty gross, with egg on her head and whatnot, the passage mainly gives the reader an empathetic view into Millicent's experience.
The scene is described as sounds and sensations from Millicent's point of view. She feels her stiff hair, and the cold egg on her back, hears the stifled laughter and crunch of the egg breaking. We can imagine the intensity of the experience, blindfolded and hearing, feeling, and probably smelling the unpleasant experiences during this initiation.
In the end, the passage concludes with: "</span><span>It was all part of the ceremony." This final sentence may relay how Millicent is processing the unpleasant initiation, rationalizing that this is just a step on her way to being part of the group. </span>
In essence, critical thinking requires you to use your ability to reason. It is about being an active learner rather than a passive recipient of information.
Critical thinkers rigorously question ideas and assumptions rather than accepting them at face value. They will always seek to determine whether the ideas, arguments and findings represent the entire picture and are open to finding that they do not.
Critical thinkers will identify, analyse and solve problems systematically rather than by intuition or instinct.
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