Thursday, December 22, 2016

Literary Analysis - The Love Song of J Alfred Prufrock - Revised

“The Love Song of J. Alfred Prufrock”, written by T.S Eliot at the beginning of the twentieth century is perhaps one of the most ambiguous pieces of poetry ever written. It is a multilayered epic poem that can be analyzed from any and every angle. Due to the poems flexibility I have decided to analyze the connection between T.S Eliot’s masterpiece and Homer’s epic, The Odyssey; specifically focusing on the relationship between the narrator of the poem, J. Alfred Prufrock, and Ulysses. The primary association that is shared by the characters is the presence of death. There are three instances of death in T.S Eliot’s poem that I intent to use in my analysis in order to draw a parallel between the two texts: the epigraph, religious references to death, and the sirens. These instances I believe will give insight into the comparison between texts and characters. 
The epigraph, which is pulled from Dante’s Inferno, is the first instance of similarity between Prufrock and The Odyssey. But before analyzing the relationship of the texts through the epigraph there needs to be an explanation of the epigraph itself. The quote is pulled from a later section of the Inferno, describing an interaction between Dante and Guido da Montefeltro. Guido da Montefeltro (1223-1298) was an Italian military strategist and the Lord of Urbino (he was alive during Dante’s lifetime). Dante questions him, asking what actions landed Montefeltro in hell. The answer is not half as important as Dante’s reason of asking the question. The purpose of Dante’s journey into hell is so he may understand his doubts and find his way to heaven. This objective is paralleled in Homer’s epic, when Ulysses descends into the underworld to seek the help of the Prophet Tiresias, “You must travel down to the House of Death and…there to consult the ghost of Tiresias” (The Odyssey, Homer). Tiresias is supposed to prophesies Ulysses destiny and direct Ulysses towards home. In this sense both Dante and Ulysses descend into the underworld (or hell) in order to find answers as well as guidance onto the right path, be it physical or metaphorical. This notion of guidance and answers is also evident in Eliot’s poem, throughout which Prufrock questions and tries to find answers to his at times ridiculous and irrelevant questions. 
The second instance of comparison and analysis is as follows, “I have seen the moment of my greatness flicker, And I have seen the eternal Footman hold my coat, and snicker, And in short, I was afraid”. The quote speaks about death and the fact that Prufrock is coming close to or has come close to death before. But the fear of death seems far removed from Ulysses, who is often depicted as almost god-like. Despite the image that is presented he is human and faces an impending death. The reason Ulysses is able to face epic perils is because he is privy the circumstances of his death, which were prophesied by Tiresias, “And at last your own death will steal upon you ...a gentle, painless death, far from the sea it comes, to take you down, borne down with the years in ripe old age with all your people there in blessed peace around you” (The Odyssey, Homer). The quote also speaks to the fear of death and fear of not leaving behind a legacy, which is a fear inherently present in all of humanity. This could be seen as a point of contrast between the two characters due to the extravagance and glory of Ulysses’ life and the confused and indecisiveness of Prufrock’s but I believe it can also be a parallel. Prufrock is perceived as indecisive, “And time yet for a hundred indecisions, And for a hundred visions and revisions”, but it can also be seen as a byproduct of old age, for the telling of the narrative is done from the perspective of an old man. The evidence of age is scattered throughout the poem in descriptions of the physical, “With a bald spot in the middle of my hair”, and descriptions of past romantic encounters (akin to the countless encounters of Ulysses), “And I have known them all already, known them all”. The element of old age and looking back on a full life actually brings the two characters closer in proximity, that they both had instances of glory and instances of fearing death and that which follows. 
The third instance I wish to analyze is the description of the sirens and the sea and how these imply and create parallels between the two texts and characters. The final lines of T.S Eliot’s poem are focused primarily on images of sirens and the sea, “I have heard the mermaids singing, each to each…Combing the white hair of the waves blown back”. The imagery that is invoked in Eliot’s poem is similar to the descriptions provided by Homer. The parallel extends further than the shared images of the sea and sirens. Sirens, half women half fish who lure sailors to their death, are encountered by the Ulysses and his men. The sirens are said to sing to every man who passes, “Never has any sailor passed our shores in his black craft, until he has heard the honeyed voices pouring from our lips” (The Odyssey, Homer). This is a stark contrasts the sirens which are described by Prufrock, “I do not think that they will sing to me”. Again I think this deals with old age and how there was a time for adventure, for glory, for hearing the sirens. Ulysses too at an old age will not be able to hear the sirens due to the prophecy that he will die far from the sea. Death, and impending death,  removes both from the epics of youth and allows both to ponder their lives (the deeds and acts). 

The parallels that I have found lead to the conclusion that the two characters are very similar in terms of their feats in life; but the characters are separated by their age. Ulysses experiences youth and glory while Prufrock looks back on youth and glory. The parallels of sea imagery, grand affairs, of questions, and finally death create a relateability between the two. Specifically in the sense that death is a unifying factor for everyone.

Monday, December 19, 2016

Writing Style Description

A short description defining your writing style and process.

  I would describe my style as very detailed and informative. I tend to lean towards vibrant descriptions in order to paint a picture for the audience. I find that having a visual creates a better understanding of the content and motivates the reader to continue by having a point of interest and reference. My writing style is also defined by colorful phrases. This tendency to turn something that could be viewed as mundane is another tactic I use to interest the reader. A third defining quality is my use of literary texts to compliment my analysis and serve as examples. In my opinion forging a connection between a serious topic (in terms of a research paper) makes it more relatable and easier to understand. The process I mentioned before in my analysis of process piece. I'll reiterate that it revolves around an outline and a lot of research. I think the more you know about what you are writing about, the better the paper tends to be. 

Literary Analysis - The Love Song of J Alfred Prufrock

   “The Love Song of J. Alfred Prufrock” written by T.S Eliot at the beginning of the twentieth century is perhaps one of the most ambiguous pieces of poetry ever written. It is a multilayered epic of a poem that can be analyzed from every angle. For the purpose of this essay I intend to analyze the relationship of T.S Eliot’s masterpiece to Homer’s epic The Odyssey.
The relationship between “The Love Song of J. Alfred Prufrock” and The Odyssey may be initially a far fetched notion. The first stanzas of Eliot’s poem seem to have no relation to the epic, but the last stanza of the poem can be seen as a blatant allusion to The Odyssey. It begins with a description of the sea, “I have seen them riding seaward on the waves, Combing the white hair of the waves blown back”, invoking imagery that clearly relates to the description that Homer utilizes to describe the endless oceans that Odysseus conquered, “[Find Example]”. He continues this allusion with the depictions of sirens, which are one of the many perils that Odysseus has to face, “I have heard the mermaids singing, each to each”. Eliot continues to finish his poem with the sirens, “By sea-girls wreathed with seaweed red and brown, Till human voices wake us and we drown”. This is a continued reference to the sirens who according to the Odyssey sing to men and drown them, the men do not realize what is going on. 
These explicit references point to other instances of relation to The Odyssey. There, instances are the repetition of key phrases, native to the epic form, such as “You and I”, “The yellow fog” and “The yellow smoke”, “Known them all”, and “The room where women come and go…”. These are the structural similarities shared by the two texts, but the relationship of the two texts goes much deeper than mere structural parallels. 
The first instance of intertextuality in the poem is the epigraph from Dante’s Inferno. The context of the epigram is that Virgil and Dante have descent into hell and they are speaking to Guido da Montefeltro. Guido da Montefeltro was an Italian military strategist and the lord of Urbino, meaning that he was a real person who lived during Dante’s lifetime. The interaction between Dante and Montefeltro mimics the interaction of Virgil and Ulysses (otherwise known as Odysseus). The two men, Montefeltro and Odysseus have a great deal in common. Both great military hero’s revered by their acts of victory in battle. These two parallel imply that Eliot is perhaps speaking, in his poem, to or about a character that is like Odysseus. Yet there is one significant difference between the two men who are together in the inferno, Odysseus is a legend, immortalized by literature, while Montefeltro is just another general who is often overlooked in the general study of history. This also plays into Eliot’s poem in the sense that he is perhaps speaking of such a man, but that this character (in Prufrock) can never amount to the grander of Odysseus. The second key parallel between the poem and the epic that resides in this epigraph is the descent into the underworld. It is an ominous event that is often present in ancient mythology. For instance Odysseus goes into the underworld in book 11 of The Odyssey. This connection to the epigram foreshadows further parallels between the two texts. 
Death, and the return from death, explicitly comes up later on in the poem with the line, “I am Lazarus, come from the dead, Come back to tell you all, I shall tell you all”. Although this is now a reference to religion, particularly Christianity and the instance when Jesus resurrects Lazarus, it can also reference Odysseus. There is a parallel between ancient legend and myth and the bible. Odysseus is considered great not only for his deeds but for his sacrifices to the gods, he can in this a sense (honest, dedicated to the divine, humble) be compared to Lazarus. But the main comparison is that of coming back from the dead, which is a recurrent theme in Eliot’s poem. 
For my final comparison I want to return to the sirens. In The Odyssey, Odysseus is the only one who dares listen to the sirens sing. Instead of blotting his ears with wax he ties himself to the mast and endures the irresistible song of the sirens. In Eliot’s poem the narrator states that he has heard the sirens singing, which according to mythology is something no man but Odysseus has ever heard, “I have heard the mermaids singing, each to each”. He continues to say, “I do not think they will sing to me”. The particularity of the sirens is that they lure young sea men to their deaths, not old men. Eventually, Odysseus’ adventures are over and he has returned to Ithaca, and he is left to his fate which is to grow old beside Penelope. The narrator states that the sirens will not sing to him after he has reiterated that he is old, “I grown old…I grow old”. It is almost saying that he cannot have the adventures he once had, and he longs for them. In this manner even if not directly referencing Odysseus it speaks of a character like him, but after he has grown old and seen all there is to see. 
The connections I have made between The Odyssey and “The Love Song of J Alfred Prufrock” may at times seem far fetched. But certain elements cannot be ignored, such as the sirens, and the constant references to death and the return from death. Although no concrete comparison can be made there are evident parallels between the two texts. 

Writing Process Reflection

What were some of your weaknesses at the beginning and how did you work on them? What are some of your strengths? What difficulties have you encountered in writing paper? What strategies do you use that are particularly useful? What was the revision process like? How do you hope to continue growing as a writer? 
   My writing process is fairly straight forward for the most part. I create an outline that point by point identifies the main arguments or thesis. The outline also includes supporting arguments, evidence, and opinions. The outline is a bullet point format making it simple and easy to fill out. The outline of course comes after coming up with a thesis. This is typically a rough point for me. I may have picked the side or opinion that I will be arguing but I often find it difficult to word it into a concrete statement that catches the audience and makes them interested in the subject matter. I remedy this by focusing my argument as much as possible, making it concise and clear.
   The difficulties I encounter in writing are dependent upon the type of writing I am doing, analysis, research, rhetorical essay, etc. For the most part my difficulties come from trying to formulate an opinion and sticking to it. There is such a vast amount of information of the subjects I am often assigned to write about that it becomes hard to process and focus on one side of the argument. My remedy is to analyze both sides of the issue. Unfortunately this often creates conflicts between my intended thesis (and opinion) and the information that can be divulged from research. Contradictions in research may make for a more interesting paper but they complicate the process significantly for me. 
   The stratedgies I find most useful are to create an outline (as aforementioned). This allows me to maintain my trains of thought and structure the paper in an appropriate and understandable way. Not only does it make it easier for me as a writer, but the structure makes it easier for the reader to interpret and understand my work. 
   The revision process is fairly simple, it involves re reading, editing by myself and other individuals. I find this part to be easy because now having a physical manifestation of my ideas it becomes easier to reformulate them into a more coherent paper. I actually find the process of critique incredibly valuable and pleasant as it helps me grown as a writer. On this note, the way I plan to become a better writer is by writing more and having more people read my work. The most important thing for me is that people can react and give me their opinions; for in the end as much as it is about writing and the process for myself it is other people who will be reading and (hopefully) benefiting from my work.  

Saturday, December 17, 2016

The Stagnant Feminist Or the Presumed Victorian Reality of the 1%

Societies throughout history have had a way of forming themselves into a social hierarchy. The very first civilizations of Mesopotamia and the Medieval Europe, Feudal Japan and Colonial America, all had some form of social hierarchy based on monetary values. Today societies around the world still experience the effects of a capital based hierarchy, even the United States, a nation that prides itself on its social equality is subjected to the inevitable structure. Through the course of history this system has been for the most part applied to the patriarchy. Men rose and fell through the ranks, meanwhile women were less subjected to the turbulent rise and fall of economics. But in today’s society, specifically American society, where women have gained the power to vote and have obtained relatively equality, women have found their place in the socio-economic ladder. As with the male socio-ecamonic scheme women fall into a class system based on income, inheritance, and other monetary transactions. The lives of women at the bottom are clearly documented in film, literature, research, but the pinnacle is often left unobserved. Unobserved and untouched due to the exclusive nature of high society, it is difficult to pinpoint the differences between the average American and the 1%. This is especially true on the island of Manhattan. Perhaps one of the most elusive crowds is located in the island of New York City, in the East 70’s. The Upper East Side is known for it’s multimillion dollar townhouses and luxury apartments and the millionaires (sometimes billionaires) who inhabit them. 
Despite the mystery that veils this community there is a general assent of what the life of a male Upper East-sider is like. The perceived image is Ivy League graduate, white collar worker, and identifying as caucasian on official documents. This stereo type is strongly upheld not only by official polls displaying the area’s demographics but also by public figures who have and do live in the Upper East Side; these men include the president-elect Donald Trump, Woody Allen, Tom Brokaw, Michael Bloomberg, to name a few. But what about the women who live in the most expensive neighborhood in New York City?  What is the life of an upper class, Upper East Side woman like? Is it the extravagance of Dubai where women stay at home while their male counterparts work and go on thousand dollar shopping spree’s? Or Bloomfield Hills where married women own private medical practices and can pay the absurd cost of their child’s private elementary education?The best way to attempt to understand the women of the Upper East Side and their daily routine is to look at history, specifically the evolution of gender roles and gender perceptions (specifically those of the upper class patriarchy).
Within the patriarchal focused history of socio-economics, men have always been tied to money; often expected to be the breadwinners. This was especially prevalent in upper class society, where men were historically expected to provide for their families while their trophy wives stayed at home, taking care of children, entertaining guests, and going through the motions of running a household. Modern history especially, presents this sort of view point. This is exemplified in fiction throughout modern history (starting with the conception of the Industrial Revolution that was ushered in towards the end of the eighteenth century), in Jane Austen and Leo Tolstoy though F.S. Fitzgerald and Chimamanda  Ngozi Adichie. Austen especially, influenced by her experiences, was able to document (in a factionalized manner) the life of middle and upper class women: 

“…No [woman] can be really esteemed accomplished who does not greatly what is usually met with. A woman must have a thorough knowledge of music, singing, drawing, dancing and the modern language, to deserve the word; and besides all this, she must possess a certain something in her air and manner of walking, the tone of her voice, her address and expressions, or the word will be but half deserved” (Pride and Prejudice, Jane Austen).

Despite the fictionalization there is great truth in Austen’s words. She accurately describes the societal expectations placed on women during the Georgian Era, and for centuries to follow. This is upheld primarily be research and study of countless first hand accounts, written by educated women who had the time to write and document their lives. Dr. Kathryn Hughes, who received her PhD in Victorian history, describes the shaping of gender roles during the industrial age:

“As the nineteenth  century progressed men increasingly commuted to their place of work — the factory, shop, or office. Wives, daughters, and sisters were left at home all day to oversee the domestic duties that were increasingly carried out by servants. From the 1830s, women started to adopt the crinoline, a huge bell-shaped skirt that made it virtually impossible to clean a grate or sweep the stairs without tumbling over” (Gender Roles in the nineteenth  Century, Katheryn Hughes).  

   The change in circumstance as well as fashion perpetuated the stereotype that upper class women were decorative items in the same class as a vase placed on the mantel, to be admired, observed but not heard. This was accepted in upper class societies across the western world, particularly in the urban setting; large cities such as London, Chicago, and New York (to name a few) were most affected by the changes of industrialism. Over the next centuries, cities would become the centers of change and the epicenter of the Women's Rights Movement. 
Prior to 1914 when women won the right to vote in the United States, women were considered “second-class citizens” with limited freedoms. The Suffrage Movement began to question the stereotypes and conventions placed on women. In October of  1850 the first National Women's Rights Convention took place in Worcester, Massachusetts. During the convention participants, the majority of whom were women, addressed the necessity for equality for women. Ten conventions followed the first, where concerns for women rights were discussed. These conventions created the platform for the Suffrage Movement of the twentieth century, the movement that would go on to win the vote for women.
Despite the great unity and perseverance which won the women’s vote in 1920 there was a great deal of dissent that came to be known as the anti-feminist movement. The first traces of disparagement against women’s rights in modern history can be located in Edward H. Clarke’s novel, Sex in Education: Or, a Fair Chance for Girls. Written in the 1873 this short work argues that girls and boys cannot be educated in the same way due to limitations inherent in the feminine gender, “Without denying the self-evident proposition, that whatever a woman can do she has a right to do, the question at once arises, what can she do? And this includes the further question, what can she best do?” (12, Sex in Education: Or, a Fair Chance for Girls). There are countless examples of men denying and dismissing any attempt at equality for the female sex, unfortunately there are also examples of women corroborating with the entrenched notion of male supremacy. The primary rhetoric of the first anti-feminists in the late nineteenth century and early twentieth century was focused on the notion that “women were adequately represented in politics through their husbands” (Artour Aslanian, The Use of Rhetoric in Anti-Suffrage and Anti-Feminist Publications). 
The women who rallied against the Suffrage movement were primarily white upper or middle class. They were "generally women of wealth, privilege, social status and even political power” states Corrine McConnaughy, the author of The Woman Suffrage Movement in America: A Reassessment, she continues, "In short, they were women who were doing, comparatively, quite well under the existing system, with incentives to hang onto a system that privileged them”. These women were supported by the clergy, their wealthy husbands, and politically influential figures. In 1911 the anti-suffrage organizations united with the National Association Opposed to Woman Suffrage (NAOW). The NAOW was a New York City based organization led by Josephine Dodge. The organization united women and men who shared a sentiment against equality for both sexes. The ideology that this anti-suffrage wave focused on was that a woman’s place was in the home and when she went out to protest for her rights she was neglecting her duties. This is exemplified in this political document by  J. B. Sanford, Chairmen of Democratic Caucus, 

“The mother's influence is needed in the home. She can do little good by gadding the streets and neglecting her children. Let her teach her daughters that modesty, patience, and gentleness are the charms of a women. Let her teach her sons that an honest conscience is every man's first political law; that no splendor can rob him nor no force justify the surrender of the simplest right of a free and independent citizen. The mothers of this country can shape the destinies of the nation by keeping in their places and attending to those duties that God Almighty intended for them. The kindly, gentle influence of the mother in the home and the dignified influence of the teacher in the school will far outweigh all the influence of all the mannish female politicians on earth.” 

The women as much as the men shared this sentiment, and were just as vocal about it in their own perspective groups. For example Josephine Dodge is notably, under her married name (Mrs. Arthur M. Dodge), quoted in the Harrisburg, PA, Courier. The headline of one of these articles is as follows, “Mrs. Arthur M. Dodge Tells Women Decent Dress is More Important Than Votes”. The article goes on to quote her, 

“The suffrage disturbance is, in plain words, a sex disturbance…One morning in New York I heard a young women discoursing with great eloquence on how she and her sister could improve the morals and manners of men if they were given the ballot. That evening this same girl was at a fashionable dance. She was gowned in an extremely decollate fashion, and they way she danced and bore herself was suggestive, to say the least. I do not believe this girl even realized that, while her vote be powerless in an election, the cut of her gown, the manner of her dancing, and the words of her conversation could be made a tremendous influence for good amongst her friends, men and women…”

Even after the right to vote was won in 1920 the action of upper class women against the suffrage movement continued, although in not as vocal a manner as before. Instead there was an implied movement towards Victorian values. This was seen in two primary ways, the first being television, the second, “MSR” degrees. Television was perhaps the most powerful tool used to corral women into the roles delegated by society. In the earlier days to television shows such as Father Knows Best and I Love Lucy depicted the nuclear family and clearly outlined gender roles. After the turn of the century the golden age of television began. Although the gender line was slowly being breached and women were reviving bigger parts there was still a great division. For example the most watched television show of the twentieth century, M*A*S*H, still (even if done through satire and meant in good healthy) depicted its female characters as flimsy, emotional, incapable. Even later into the century when shows such as The Big Bang Theory came out, the female leads were still a depiction of societal projection as to what women ought to be like.
The other influential factor of internalized anti-feminism amongst upper class women was the “MRS” degree. An MRS is a symbolic degree that can be described as the process where women attend college, particularly high ranked colleges, in order to find a husband. To quote Susan Patton, a “Princeton Mom” who wrote a book on the topic of marriage, “Women should spend 75% of their time in college looking for a man versus 25% on their career” (Marry Smart, Susan Patton). Patton comes from a wealthy family and was amongst the first classes of women to graduate Princeton in 1977, she now resides on the Upper East Side where she published her novel in 2008. As an upper class woman of influence in the twenty-first century she is encouraging younger women to not only neglect education and career but place their dependency upon their male counterparts. Although she claims to be a feminist, she certainly criticizes and denies some of the privileges allot to women:

“Of course, I am fully supportive of equal rights and equal opportunity for women, and I recognize that I am one of the earliest beneficiaries of the good works of the women's movement…However, feminism has taken a turn to the dark side…In my experience, I certainly agree that modern women today do want marriage and motherhood. The problem is they're afraid to say so because of the vitriol, because of this antagonist feminist doctrine that would have them believe that marriage and motherhood is somehow not cool. ... It's so retro. It's so backwards. It's so 1950s.” (Should you go to college for Mrs. degree? Princeton Mom weighs in, Kelly Wallace, CNN)

The conclusion that comes from looking at the detailed history of anti-female freedoms is simple, upper class women in conjunction with their male counterparts and constituents strove towards maintaining an equilibrium; a consistency that women stay at home and keep themselves out of politics. These women, were primarily the upper crust of major cities such as New York. This gives a sort of introductory insight as to what the lives of these exclusive women may be like. 
In 2015 Wednesday Martin, an anthropologist by profession, wrote a novel about her experiences living on the Upper East Side. From the perspective of a mother, fellow woman, outsider, and neighbor, she examined the lives of other Upper East Side mothers. She observes the women she comes in contact with every day and comes to some shocking conclusions: the patriarchal hierarchy that has slowly been chipped away at across the globe, still holds in the Upper East Side. Upper class women of New York are subject to the ancient and misogynistic system that women have been battling for hundreds of years; and rather than being independent of their male counterparts rely on them so intensely for support and lively hood. Frankly, the way Martin describes the society, or “tribe” as she labels it, is like something out of a Charlotte Bronte novel or the movie Mean Girls.
The book immediately received a great deal of interest due to the elusive subject matter, rising to #1 on the New York Times Bestseller list. Despite the memoir’s intention to clear up any ambiguity and to paint a relatively accurate picture of the females living in the most expensive neighborhood in New York City, she managed to deepen the mystery. Shortly after the novels release there was an uproar as women began to react to the novel which at moments incriminated and assumed instead of conducting proper research. The women who spoke out about their experienced seemed to have a different experience than the one projected by Martin. “‘Can you please find 20 women who would reflect the characters of primates of Park Avenue,’ said one of over a hundred commentators on the lengthy news thread that had popped up. ‘I just find all this so stupid’” (We Asked 10 Real U.E.S. Mommas (and One Husband) About the Primates of Park Avenue, Carson Griffith), this reflects the general consensus gauged from the countless interviews and statements post the novels release. But other accounts were much more defensive, “I have a B.A. from a top college and an M.A. in cultural studies from an Ivy League university, which is why I was particularly dismayed by what struck me as reductive and sensationalist click-bait” (We're Not All "Poor Little Rich Women”, Blair Schmaldorf). Overall the response from women living on the Upper East Side is perfectly reflected in the quote from Carson Griffith’s article, “Still, Martin’s representation of the ritual seems to be slightly askew”. In result the novel managed to spark a great controversy rather than clear up the ambiguity, and poised the question, what is a woman’s life actually like on the Upper East Side?
Looking at the history of feminist and anti-feminist tendencies of upper class women, there is a visible trend. The trend can be described as women wanting to maintain the privilege and comfort of being a house wife supported by their affluent husbands. In addition to the tendencies over the course of history there is also certain evidence through publications to support the claim that the women of the Upper East Side retain a certain decadence. This is supported by the articles published in newspapers and more frequently by Wednesday Martin in her memoir, Primates of Park Avenue. Although there is no perfected evidence that women of the upper classes living in the most expensive neighborhood in New York City, it can be assumed that women are slightly more in line with Victorian values. 

Tuesday, December 13, 2016

City in Song


Cities are understood as the bustling centers of life, sleepless, busy, glittering. Depictions of Manhattan or Paris are vibrant and inspiring. What is often disregarded, is the notion that every glistening metropolis consists not only of beautiful skylines but of musty undergrounds, subways, and sewers. Two songs, “Modern Man” (Arcade Fire) and “Detroit, Lift Up Your Weary Head! (Rebuild! Restore! Reconsider!)” (Sufjan Stevens), analyze some of the imperfections and downfalls that are found in cities. In their considerations the two songs examine a flaw and look to resolve the said limitation.
  Arcade Fire’s, “Modern Man” begins its narrative gradually, like a novel. The introduction, “So I wait my turn I’m a modern man” presents with a character whom the audience follows throughout the song. The character projects the image of a city dweller, in the constant state of waiting in lines seemingly without end. Despite the perception that city life is a dream, “Oh I had a dream I was dreaming”, the character grasps at meaning in an attempt to understand what is wrong with the circumstances, “Makes me feel like, Something don't feel right”. The song continues to explore the nature of the modern man’s life in the city. 
Sufjan Stevens acknowledges in his song, “Detroit, Lift Up Your Weary Head! (Rebuild! Restore! Reconsider!)” the deprived condition of a once great city. Stevens constructs the accepted image of Detroit by including the phrase “Now a prison” protecting the stereotype of crime and debauchery. Despite the repetition of such phrases as “Now a prison” he focuses on the past greatness, “Once a great place”. The song attempts to reconcile and understand the collapse, and visualize a new beginning. 
    Despite the vast differences between the two songs they both represent the decline of cities and their inhabitants. Overall attempting to understand the progression towards demise. 

City in Song - Revised


    Cities are often connoted as bustling sleepless metropoles. Depictions of Manhattan and Paris are vibrant, invoking romantic thoughts, images of glittering skyscrapers. But these images fail to recognize the notion that every glistening metropolis is not only full of elegant skylines but contains musty undergrounds, subways, and sewers. Two songs, “Modern Man” (Arcade Fire) and “Detroit, Lift Up Your Weary Head! (Rebuild! Restore! Reconsider!)” (Sufjan Stevens), analyze some of the imperfections and downfalls that are found in cities. In their contemplations the two songs examine a flaw and look to resolve the said limitation.
    Arcade Fire’s, “Modern Man” begins its narrative gradually, like novel painting a paysage (setting the scene). The introduction, “So I wait my turn I’m a modern man” presents a character whom the audience follows throughout the song. This man is depicted as city dweller in the constant state of waiting in seemingly endless lines. The song contradicts the perception that city life is a dream, “Oh I had a dream I was dreaming”. This line implies that the man was searching for his dreams in a city, looking for the dreamlike reality that he supposed he would find living in a city. Instead it appears that the “modern man” realizes that city life is not what he assumed it would be. Further, the “modern man” grasps at meaning in an attempt to understand what is wrong with the circumstances of his life in a big city, “makes me feel like, Something don't feel right”. He notices that his expectations were not met and begins to question why he lives in the city where he spends his time waiting in lines and projecting the image of the “modern man” which becomes synonymous with the dreary repetition of ordinary life.  The song continues to explore the nature of the “modern man’s” life in the city essentially concluding that the life he has chosen in a city is not the dream he had hoped.
    Sufjan Stevens acknowledges in his song, “Detroit, Lift Up Your Weary Head! (Rebuild! Restore! Reconsider!)” the deprived condition of a once great city, Detroit. Stevens constructs the accepted image of Detroit by including the phrase “Now a prison” protecting the stereotype of crime and debauchery. Through these phrases the audience sees Detroit as it is now, a decaying metropolis. Despite the repetition of such phrases as “Now a prison” which denote the current state of the once important economic and cultural center,  he chooses to focuses on the past greatness, “Once a great place”. The song attempts to reconcile and understand the collapse of Detroit while also attempting to visualize a new beginning. Through the song Stevens actually paints a history of the rise, fall, and rebirth of the city.
    Despite the vast differences between the two songs they both represent the decline of cities and their inhabitants. Overall attempting to understand the progression towards demise while projecting a sense of hope that people will notice and make a definitive change to make city life as vibrant and wonderful as literature often makes it seem.