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QUICK DRAW

QUICK DRAW. CAROL ANN DUFFY. STARTER…. Read the poem and list all of the references to the Wild West in your books. I wear the two, the mobile and the landline phones, like guns, slung from the pockets on my hips. I’m all alone. You ring, quickdraw, your voice a pellet

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QUICK DRAW

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  1. QUICK DRAW CAROL ANN DUFFY

  2. STARTER… Read the poem and list all of the references to the Wild West in your books.

  3. I wear the two, the mobile and the landline phones, like guns, slung from the pockets on my hips. I’m all alone. You ring, quickdraw, your voice a pellet in my ear, and hear me groan.

  4. I wear the two, the mobile and the landline phones, like guns, slung from the pockets on my hips. I’m all alone. You ring, quickdraw, your voice a pellet in my ear, and hear me groan. SUGGESTS THAT SPEAKER IS NEVER FAR FROM PHONES - EXPECTING CONTACT?

  5. I wear the two, the mobile and the landline phones, like guns, slung from the pockets on my hips. I’m all alone. You ring, quickdraw, your voice a pellet in my ear, and hear me groan. ENJAMBMENT GIVES EMPHASIS TO THE WORD – LEAVING IT AWAY FROM THE REST OF ITS LINE

  6. I wear the two, the mobile and the landline phones, like guns, slung from the pockets on my hips. I’m all alone. You ring, quickdraw, your voice a pellet in my ear, and hear me groan. THE COMMAS INSIST ON PAUSES TO GIVE EFFECT SUGGESTS HOW RAPIDLY THE PHONE IS ANSWERED

  7. I wear the two, the mobile and the landline phones, like guns, slung from the pockets on my hips. I’m all alone. You ring, quickdraw, your voice a pellet in my ear, and hear me groan. ABLE TO DELIVER CUTTING REMARKS THAT HURT

  8. I wear the two, the mobile and the landline phones, like guns, slung from the pockets on my hips. I’m all alone. You ring, quickdraw, your voice a pellet in my ear, and hear me groan. RHYME LINKS WITH THE WORD ‘ALONE’ ON PREVIOUS LINE

  9. You’ve wounded me. Next time, you speak after the tone. I twirl the phone, then squeeze the trigger of my tongue, wide of the mark. You choose your spot, then blast me

  10. SPEAKER IS HURT BY THE LOVER’S WORDS You’ve wounded me. Next time, you speak after the tone. I twirl the phone, then squeeze the trigger of my tongue, wide of the mark. You choose your spot, then blast me

  11. You’ve wounded me. Next time, you speak after the tone. I twirl the phone, then squeeze the trigger of my tongue, wide of the mark. You choose your spot, then blast me SPEAKER DOES NOT ANSWER THE NEXT CALL – NOT AS EAGER…

  12. You’ve wounded me. Next time, you speak after the tone. I twirl the phone, then squeeze the trigger of my tongue, wide of the mark. You choose your spot, then blast me INTERNAL RHYME ADDS EMPHASIS TO THE FRACTURED RHYTHM

  13. You’ve wounded me. Next time, you speak after the tone. I twirl the phone, then squeeze the trigger of my tongue, wide of the mark. You choose your spot, then blast me ALLITERATION FIRES OFF THE NEXT HURTFUL REMARK – BUT ‘MISSES’ (DOES NOT HAVE THE DESIRED EFFECT

  14. You’ve wounded me. Next time, you speak after the tone. I twirl the phone, then squeeze the trigger of my tongue, wide of the mark. You choose your spot, then blast me MAYBE PLANNED TO ATTACK A WEAK SPOT, KNOWING IT WILL HURT

  15. You’ve wounded me. Next time, you speak after the tone. I twirl the phone, then squeeze the trigger of my tongue, wide of the mark. You choose your spot, then blast me VICTIM IS NOT SPARED ANY PAIN

  16. through the heart. And this is love, high noon, calamity, hard liquor in the old Last Chance saloon. I show the mobile to the Sheriff; in my boot, another one’s

  17. EFFECTIVE IF A LOVERS’ TIFF through the heart. And this is love, high noon, calamity, hard liquor in the old Last Chance saloon. I show the mobile to the Sheriff; in my boot, another one’s

  18. through the heart. And this is love, high noon, calamity, hard liquor in the old Last Chance saloon. I show the mobile to the Sheriff; in my boot, another one’s CLASSIC WESTERN IMAGE – INDICATING HERE THAT THEY HAVE REACHED THE ‘MAKE OR BREAK’ TIME IN THE RELATIONSHIP

  19. ALL OF THESE IMAGES COMBINE TO CREATE AN EXTENDED METAPHOR through the heart. And this is love, high noon, calamity, hard liquor in the old Last Chance saloon. I show the mobile to the Sheriff; in my boot, another one’s

  20. concealed. You text them both at once. I reel. Down on my knees, I fumble for the phone, read the silver bullets of your kiss. Take this … and this … and this … and this … and this …

  21. SHORT SENTENCE – EMPHASISES A FAST REACTION – ALMOST AS IF SPEAKER HAS BEEN SHOT concealed. You text them both at once. I reel. Down on my knees, I fumble for the phone, read the silver bullets of your kiss. Take this … and this … and this … and this … and this …

  22. concealed. You text them both at once. I reel. Down on my knees, I fumble for the phone, read the silver bullets of your kiss. Take this … and this … and this … and this … and this … CONFIDENCE HAS BEEN SHATTERED LITERALLY ON THE FLOOR – A CONTRAST TO THE GUN TWIRLER OF EARLIER

  23. concealed. You text them both at once. I reel. Down on my knees, I fumble for the phone, read the silver bullets of your kiss. Take this … and this … and this … and this … and this … THE CONFIDENT ‘SWAGGER’ HAS NOW TURNED TO A ‘FUMBLE’ – DEFINITELY THE UNDERDOG HERE

  24. concealed. You text them both at once. I reel. Down on my knees, I fumble for the phone, read the silver bullets of your kiss. Take this … and this … and this … and this … and this … ASSONANCE OF LONG ‘EE’ SOUND EMPHASISES THE LONG DRAWN OUT MOMENTS WHEN TIME SEEMS TO SLOW DOWN

  25. concealed. You text them both at once. I reel. Down on my knees, I fumble for the phone, read the silver bullets of your kiss. Take this … and this … and this … and this … and this … SOUND VERY PRECIOUS AND VALUABLE

  26. concealed. You text them both at once. I reel. Down on my knees, I fumble for the phone, read the silver bullets of your kiss. Take this … and this … and this … and this … and this … REPETITION SOUNDS THAT THE TEXTED KISSES ARE LIKE BULLETS FIRED FROM A GUN… GIVES THE EFFECT OF A PASSIONATE EMBRACE

  27. SUMMARY…

  28. ‘Quickdraw’ employs the use of an extended Western conceit to relay the experience of a painful conversation to the reader. • Although repeated references to the West make the poem appear light in tone, ‘Quickdraw’ shows the speaker’s vulnerability as she clearly suffers at the hands of her lover and appears to come off the worse after the showdown.

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