Answer:
‘America’ by Claude McKay balances ideas of loving and hating the United States. McKay explores the good parts of the country, the strength and vigor it contains as well as the bad.
Explanation:
Take out "which is the largest country in Africa"
, after Tripoli
, after million
change to "twice as large as Brooklyn"
Take out Later
change "much affect" to "a large affect"
change rebuilt to rebuild
not "the" North Africa
capitalize Red Sea
comma between barren and Rocky
change to ", the most prominent being the Sahara desert"
not mad-made, man-made
highest *point
change to "affect Libya's climate"
comma after winters
take out "unlike NYC"
comma between month and while
change taken over to overpowered
Change "it still continues today" to "he is still in power today.
no comma before since
take out "up" in partnered up
head *of government
take out"meaning the colors"
change events to aspects
"is what Libyans say"-change to "is a phrase common among Libyans"
no semicolon
in this holiday to on this holiday
take out everything in the sport paragraph before "soccer is the most admired *sport* in Libya'
change to "women's clothing rules are as follows:"
see-through
Answer:
Although both Arnetta and Wash wanted segregation to end in Birmingham, they both responded differently to the march. Wash did not participate. He watched from the sidelines, amazed that the marchers would allow themselves to be arrested. Arnetta did join the march. However, unlike Wash, she was disappointed that she had not been arrested.
Explanation:
Sample Response
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.
