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Marge Pierry

 

            The main subject of the poem is how women take criticism to heavily on themselves. There is a certain identity that women feel they should fit into or be like to be approved by society or other peers. .
             The person speaking in the poem is the poet, and it is real. The poet is addressing the poem out to me, the reader. It seems like she is telling a story, but in a poem. .
             What I notice about the poems appearance is that it is in verses, lines of five, with five line stanzas. The poems shape consists of short lines. The writer decided to present the poem in this way maybe because it talks about a little something different in each of the five different stanzas. For example, one-stanza talks about lipstick, puberty, and color of the girls" hair. In the next stanza it talks about the girls outer appearance and how intelligent she is. The poem is about one topic, containing different sub-topics. .
             The main image Pierry uses is a girl who isn't very attractive and how she changed her looks. The author talks about how her body looks, big arms and legs with a big nose, and about how intelligent she is. .
             The one part that is particularly striking to me is how the author says she has a big nose and big arms and legs. The reason for this is because I got a little surprised that the author was so blunt about the girls" appearance. It made me think of people who are a little overweight and how it would make them feel, and moreover, I felt some pity at this part in the poem. The writer uses some simile and some metaphor for comparison. .
             Looking carefully at the writers" choice of words-the particular words Marge Pierry chose was Wheedle. Talked about in class, this is a 19th century word that is putting you down, but in a flirty way. The author may have used this because the girl in the poem who presented herself one day to a male or a female might have put herself down in a flirty way, seeking for some positive feedback from others.


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