He pulled her heavy body to the side. He takes some strength from the car, the indifferently relentless headlights and from the steady purr of the engine, etc. This is typical William Stafford, giving the reader some vital information, some advice, a bit of local wisdom.
As I was recounting the story to my kids the next day, I discovered by the expressions on their faces that I was arriving at some area of enhancement in the narrative. I felt the I was a convention, and not particularly apt. The deer turns out to be pregnant and this fact plays on the mind of the helper, who wants to keep the road safe yet cannot stop thinking about the fawn, still warm inside the mother.
In his own quiet and conversational way the poet takes the reader into the dark of the night, to the scene of the accident, and explains the situation in quite a straightforward manner.
The traveler senses the wilderness witnessing and perhaps censuring the drama of "our group": By glow of the tail-light I stumbled back of the car and stood by the heap, a doe, a recent killing; she had stiffened already, almost cold.
What will the speaker do, what will the driver do? Bob Perelman ["Traveling Through the Dark"] is all persona in the worst sense.
After thinking seriously, he pushed her into the river. The images, however, are not surreal, and the poem itself remains consistently an objective narration.
Louisiana State University Press, However, the first word of the next line, "dead," immediately reverses this impression, more so by its delay. What will happen next? What strategy will handle this? His mind, as pregnant as the dead doe, is filled with muddled emotions: Then we learn that it is a pregnant doe, a detail that moves our emotions from sympathy to the brink of pathos.
He is able to abdicate neither. Its exhaust fume was warm and red, and the poet was standing there. Stanza Four The fourth quatrain concentrates on this break in time, the hesitation, which is profound and tempting.
It is quite significant in the poem because it gives a clear contrast between the animal and the machine. At the side of a Wilson River road he saw a deer. The car aimed ahead its lowered parking lights; under the hood purred the steady engine.
The large belly of the doe can mean only one thing. But the clarity and simplicity of the poem are why people like it. But as is the case with many a local issue, there is a universal point to be made.
It seems to me the climax of the poem is "I thought hard for us all. He used this experience to try and work out in the poem just exactly what his role should be.
He was filled with pity and was unwilling to do anything.
Her body was already stiff and almost cold. The last two lines of the poem try to solve the problem of environmental damage. Simply put, it jars my Northwest soul.Traveling through the dark I found a deer. Traveling Through the Dark: William Stafford - Summary and Critical Analysis In this poem Traveling Through the Dark the poet William Stafford describes how he was moved by the death of a pregnant doe when he was driving a car along the mountain road at night.
"Traveling through the Dark," in particular, is a poem that really does tell a story in a plain-spoken, direct way. Even you poetry-haters out there might just find something to like in this one. The action all takes place on a mountain road at night.
William Stafford’s “Traveling Through the Dark” is a short poem of eighteen lines, divided into four quatrains and a closing couplet. The title clearly describes both the literal and the.
"Traveling through the Dark" is probably Stafford's most popular and frequently anthologized single poem. In its broadest outline it reiterates the theme of confrontation between technology and wilderness, one which leads to the jeopardy of the latter.
Traveling through the dark I found a deer dead on the edge of the Wilson River road. It is usually best to roll them into the canyon: that road is narrow; to swerve might make more dead.Download