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.
Answer:
Beloved concludes with a group of women from the local community converging on 124 to ward off the ghost that has been haunting it. ... By saying that Beloved was her “best thing,” Sethe devalues herself and suggests that her only worth comes through her role as a mother.
Based on the excerpt from Robert Frost’s poem “Mending Wall”, the speaker thinks his neighbor is<em> stubborn (option A)</em>. Someone is stubborn when they are determinate to nor change their attitude on something when it refers to good arguments or reasons to do so. His neighbor continues on repairing the wall that separates them and says that “Good fences make good neighbors.” In the end, the poem’s teaching is that a wall needs to be preserved between properties. This is to safeguard that the personal identity and individuality of the neighbors, specifically as farmers are preserved.
