Chin’s poems reveal the conflicting desires that the promise of “Gold Mountain” initiates. Poems such as “A Chinaman’s Chance,” “Blues on Yellow,” and “That Half Is Almost Gone” represent the body as a critical element in assimilation or resistance.
Despite Rose’s spunk and questioning intelligence, there is an underlying sadness to Stein’s The World Is Round, a sadness rooted in the formal complexity of Stein’s poetry.
This paper explores the visual dimension of Silverstein’s children’s poetry, analyzing his unique method of blurring the line between image and text, word and picture, a method which occasions new ways of reading, new ways of relating to texts.