Shel Silverstein Essays - Childrens Poetry, Shel Silverstein

Shel Silverstein Essays - Childrens Poetry, Shel Silverstein Shel Silverstein Chris Senn March 6, 2000 572 55 3153 Research Paper While I was growing up as a child, there were three authors whose works I read devoutly. One was Dr. Seuss and I liked his books so much that I am proud to say I have read every one published. The second author who had a profound impact on me was Jan Bernstein who is responsible for that loveable family The Bernstein Bears. The third is a poet, which is odd because I never have liked poetry. Shel Silversteins childrens poetry books were the only poetry I read until I was twelve and are the ones I still enjoy the most today as a young man. Shel Silverstein is known to most as the critically acclaimed childrens poet, and before this project, I was unaware of the other things he had done. Shel Silverstein also did cartoons, served for his country during the Korean War, wrote folk songs, played the guitar, and probably most shocking to me, were his poems and drawings for Playboy Magazine which depicted fairly gruesome sexual acts as well as drug use, especially his own. Life experience seems to be the influence for his NC-17 rated material but I was curious to who influenced his witty, lyrical childrens pieces. When studying Silversteins poetry, you can see how the nonsense subjects and rhymes look similar to Edward Lears nonsense poetry of one hundred and fifty years earlier and how the poetry of Ogden Nash, which Silverstein might have possibly read as a child, had influences on Shels own pieces. However, the conclusion I have reached is purely hypothetical. Shel Silverstein once said he had no influences on his poetic style. In a 1975 interview with Jean Merciar, published in the February 24, 1975 issue of Publishers Weekly, Silverstein said, When I was kid- 12, 14, around there- I would much rather have been a good baseball player or a hit with the girls. But I couldnt play ball, I couldnt dance. Luckily the girls didnt want me; not much I could do about that. So I started to draw and to write. I was also lucky that I didnt have anybody to copy, be impressed by. I had developed my own style, I was creating before I knew there was a Thurber, a Benchley, a Price and a Steinberg. I never even saw their work till I was around thirty. By the time I got to where I was attracting girls, I was already into work, and it was more important to me. Not that I wouldnt rather make love, but the work has become a habit Even though Shel says nobody influenced his artistic abilities it is hard to believe that. Especially when you see how similar some of his pieces are to Edward Lears. One of the most captivating things about Silversteins poetry is that a sketch that he himself drew accompanies each one. They are usually funny, humorous sketches that add a visual interpretation to the poem. I thought that only Silverstein used such a technique but Edward Lear used the same idea during the 1850s. Besides similar artistic abilities they also made silly, goofy poems. Heres an example from Edward Lear: There was a Young Lady whose chin, Resembled the point of a pin; So she had made it sharp, And purchased a harp, And played several tunes with her chin. Along with that piece, there is a comical drawing of exactly what the poem says, a lady with a pointy chin playing a harp. There is a poem in Falling Up, by Shel Silverstein that uses the same techniques: Scale If only I could see the scale, Im sure that it would state That Ive lost ouncesmaybe pounds Or even tons of weight. Youd better eat some pancakes- Youre as skinny as a rail. Im sure thats what the scale would say If I could see the scale. (Silverstein, p. 12) Of course there is a sketch of a fat man standing on a scale he cannot see, done by Shel himself. Besides being humorous pieces, there are other similarities you can derive. Both poets use the same phrase they used to start and to finish their respective poems. However, Edward Lear never took his poetry as far as Silverstein. Most of Lears poems are five lines long

Timeline of Josephine Bakers Career

Timeline of Josephine Baker's Career Josephine Baker is best remembered for dancing topless and wearing a banana skirt. Baker’s popularity rose during the 1920s for dancing in Paris. Until her death in 1975, Baker was devoted to fighting against injustice and racism throughout the world. Josephine Baker was born Freda Josephine McDonald on June 3, 1906. Her mother, Carrie McDonald, was a washerwoman and her father, Eddie Carson was a vaudeville drummer. The family lived in St. Louis before Carson left to pursue his dreams as a performer. By the age of eight, Baker was working as a domestic for rich white families. At the age of 13, she ran away and worked as a waitress. Timeline of Baker’s Work as a Performer 1919: Baker begins touring with the Jones Family Band as well as the Dixie Steppers. Baker performed comedic skits and danced. 1923: Baker lands a role in the Broadway musical Shuffle Along. Performing as a member of the chorus, Baker added her comedic persona, making her popular with audiences. Baker also moves to New York City. She is soon performing in Chocolate Dandies. She also performs with Ethel Waters at the Plantation Club. 1925 to 1930: Baker travels to Paris and performs in La Revue Nà ¨gre  at the Thà ©Ãƒ ¢tre des Champs-Elysà ©es. French audiences were impressed with Baker’s performance- especially Danse Sauvage, in which she wore only a feather skirt. 1926: Baker’s career hits its peak. Performing at Folies Bergà ¨re music hall, in a set called La Folie du Jour, Baker danced topless, wearing a skirt made of bananas. The show was successful and Baker became one of the most popular and highest-paid performers in Europe. Writers and artists such as Pablo Picasso, Ernest Hemingway, and E. E. Cummings were fans. Baker also was nicknamed â€Å"Black Venus† and â€Å"Black Pearl.† 1930s: Baker begins singing and recording professional. She also plays the lead in several films including Zou-Zou  and  Princesse Tam-Tam. 1936: Baker returned to the United States and performed. She was met with hostility and racism by audiences. She returned to France and sought citizenship. 1973: Baker performs at Carnegie Hall and receives strong reviews from critics. The show marked Baker’s comeback as a performer.   In April 1975, Baker performed at Bobino Theater in Paris. The performance was a celebration of the 50th Anniversary of her debut in Paris. Celebrities such as Sophia Loren and Princess Grace of Monaco were in attendance. The French Resistance 1936: Baker works for the Red Cross during the French Occupation. She entertained troops in Africa and the Middle East. During this time, she smuggled messages for the French Resistance. When World War II ended, Baker earned the Croix de Guerre and the Legion of Honour, France’s highest military honors. Civil Rights Activism During the 1950s, Baker returned to the United States and supported the Civil Rights Movement. In particular, Baker participated in various demonstrations. She boycotted segregated clubs and concert venues, arguing that if African-Americans could not attend her shows, she would not perform. In 1963, Baker participated in the March on Washington. For her efforts as a civil rights activist, the NAACP named May 20th â€Å"Josephine Baker Day.† Bakers Death On April 12, 1975, Baker died of a cerebral hemorrhage. At her funeral, more than 20,000 people came to the streets in Paris to participate in the procession. The French Government honored her with a 21-gun salute. With this honor, Baker became the first American woman to be buried in France with military honors.