I think that poetry can often be interpreted similarly to art. I think that this can be agreed upon for many reasons, but you likely aren't thinking of the same reason as I am. For this explanation, I think the best possible example is "The Red Wheelbarrow". Imagine-- you go to an art gallery and hope to see something unique and innovative. You walk around relatively unimpressed. Then, you round a corner to see a crowd of people surrounding a new display: a fork in a box. There was no description or explanation provided, so spectators discussed the endless possibilities of what it could mean. You leave utterly impressed. Later that week, you see in the newspaper that the fork was placed in the box as an experiment proving that the commentary on art has become hyperbolic. It wasn't real art; it was a fork in a box. "The Red Wheelbarrow" is a fork in a box. It seems like it has some deep meaning, but it is what it appears to be. I think it is important not to put too much stock into what poems might be about. Don't invest time into a fork in a box.
Hello, class! I hope that this finds you well, if it finds you at all, that is. I just wanted to take a moment to give you all a review on our time in this class. No, I will not be discussing course content, but would you honestly expect anything else? I will now proceed to detail some of my favorite moments of our time together. Firstly, remember how crazy we all got fighting over a single word in "Rockabye Baby"? And our dramatic readings were to die for. We had a short-lived panic when we realized we all had different versions of the textbook. We sat around the big table for the first time and bonded over crickets, kelp, and small dogs in Yalta. We bonded even more when a few of the nobler student *hem hem* had some very intelligent things to say about The Princess Diaries . We were all so sad when Walter left for D.C. and so excited/begrudged when he fixed the projector. We fawned over Austin's dance video. Aubrey drank probably a million iced coffees. Dr. Reed, prefe
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