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Traveling Through the Dark and The Bull Moose


traveling Through the Dark and The Bull Moose

yet alive; (2) still as quiet, indeed, so silent he hears "the wilderness listen (3) still as "stillborn an inevitable. That he names the road specifically gives the poem the feel of authentic experience. The last line however is the catalyst for what's to come. He may even wonder if the fawn can be saved, but knows all along what he must. In life I don't like much to happen. "Traveling through the Dark" recalls the Emotive Imagination through its use of personifications and images. Jonathan Holden In this poem some of the possibilities of voice have been sacrificed for the sake of formal beauty: the prosody is patterned, the lines are in four-stress accentuals and lightly dabbed with touch rhymes. Suddenly, the choices are much more complicated. Finally he pushes the deer into the river, a shock even though the poem has prepared us for. the dead deer suddenly there, the canyon, the narrow road, and Stafford honestly awkward in the scene: "I stumbled back of the car." His magic is gone.

It might be a situation with a friend or family member or it might be something that will never be known to another living soul. One of nature's exquisite creatures has been slaughtered and callously left on the road, unburied, unmourned, potentially to cause future accidents. What makes the poem work is that same sense of agreement you get in bad didactic writing, whether it's talking about the individualized subjective I or the People or Logos. His attitude toward this common tragedy is sadness but also resignation. From The Explicator.3 (Spring 1997) Return to William Stafford. I happen not to care for it much, but for irresponsible reasons which I'll state later.

William Stafford 's traveling through the Dark " might just be the poem for you. It's a question of how people read and the circuits that have been opened in readers' minds. Lensing and Ronald Moran "Traveling through the Dark" is probably Stafford's most popular women during WWII and frequently anthologized single poem. Placed where it is in the poem, the word can hardly be pronounced without producing a dull, flat, thud; in this context it is more than surprising, it is appalling, like the experience of a driver negotiating a mountain bend and seeing a dead deer. If this was a moment he told himself as poet he would go on writing his poems anywhere, it must have been one of the best moments in a career that has had more good ones than most. The themes are secondary, in a sense, to the stories themselves.


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