A STUDY OF POEMS THAT EMPHASISES AWARENESS OF DOMESTIC VIOLENCE

The literature permit eloquence to the writers for jot down in the respect of class, race, religion, culture and wealth. Although, it is also a dedication of a literature to elevate the darker side of society in their compositions to spears awareness, motivation, humanity to victims and encouragement to the survivors. Feminism and women's right has been controversial and revolutionary subject in every corner of the world since long. This paper will throw a light on the three poems of the twenty rst century arguing with the issue of domestic violence (also named domestic abuse and family violence) by analysing them, which are named as- 'Domestic Violence' by Eavan Boland, 'The Last Time' by Rachel Mckibbens and 'Pioneers, First Women in Construction' by Susan Eisenberg. As there has been scarcity of works especially in the manner of poetry, which talked and raised the issues sexual, emotional, spiritual, physical harassment on victims by their own family or loved ones. The present article deals with reading the themes of helplessness and loneliness along with the theme of a rebelliousness. With the end, this paper depicts that how the poets boosted their voices for becoming a survivor rather than a victim.

Singing and dancing in the cruellest month: A reflection on theology and poetry in a time of COVID

This article explores what contribution poetry and the arts can make to the human experience in a time of pandemic. It argues that artistic productions can ‘enlarge the heart’ such that sorrow and anxiety are not removed or defeated but are, as in the biblical text, ‘woven […] into a larger imaginative story.’ This argument is made through close examination of three poems: T. S. Eliot’s “The Waste Land”, written in 1922 during the Spanish flu epidemic; “Quarantine” by Eavan Boland, set during the Irish Potato Famine of the 1840s; and Malcolm Guite’s “Easter 2020”.

Decolonization and the aesthetics of disorder: Naipaul, Evaristo, Boland

Decolonization is presented in dominant accounts as an orderly transition and not the culmination of anticolonial resistance movements. This in turn contributes to what Paul Gilroy terms an endemic “post-imperial melancholia” across contemporary European nations and the removal of empire and its demise from understandings of European history. Drawing on Bill Schwarz’s reconceptualization of a Fanonian commitment to disorder, this article focuses on Britain’s history of colonialism and post-imperial immigration and argues for the mapping of a disorderly aesthetics in works by V. S. Naipaul, Bernardine Evaristo, and Eavan Boland. The three formal features of non-linearity, polyvocality, and environmental imagery enable these writers to bear witness to the complex histories of empire, transatlantic slavery, decolonization, and immigration from the colonial “margins”. These “aesthetics of disorder” counter a dominant narrative of decolonial order and challenge conceptions of British exceptionalism that were reinforced at the moment of imperial decline.