Online Book Advertising with Adslot Media Marketplace

If you are an author who has a book coming out with an independent press, Adslot Media Marketplace will be your best friend. Independent editors are hard-working and dedicated individuals who want nothing more than to put every ounce of support they can behind you and your work. Unfortunately, time and resources do not always allow them to do what they wish they could for you. So, help them.

  • Ask your editor/marketing person how much money they have budgeted for your book launch.
  • See if they would be willing to work with you on where and when to invest this budget.
  • Go to Adslot Media and look at their vast list of advertisers/publishers who are ready to put the good word out on your book. Prices and packages available for just about any budget, and the options are anywhere from NPR to small indies. 


Poetry | Dream Logic: The Surreal and Non-Linear in Short Poems

“Art is a lie that tells the truth.” — Pablo Picasso

This lesson involves non-linear poetic storytelling and encompasses the dream-like, absurd, and surreal. Following information about this unique narrative style, I have included three unique examples to study, along with annotations.

Defining surreal or non-linear poetry can be as difficult as fully explaining a dream. What makes abstractions and absurdity creatively work? How are we able to intuitively grasp and finally accept as real words and images that contradict what we know of the world? Let’s start off with a few notes and tips:

Notes on Surreal and Non-Linear Poetry

1)Explore the subconscious. Create something tangible, comprehendible, and resonant from your own dreamt world. Externalize the internal.
2) Readers must willingly suspend their disbelief for such poetry to “work”. We must accept what the poet is showing us. To accomplish this difficult task, the poet must build reader trust by carefully crafting a framework for the impossible to exist, by providing justification for the contradictions.
3) Non-linear poetry is all about reciprocal trust. The poet has created his or her own unique world, and we must trust that vision. We must recognize something of it in our own reality. Like a funhouse mirror, a non-linear poem is reality skewed. Readers must trust the poet to expand the known by incorporating the unknown, and the poet must respect the reader’s need for something reflexive, familiar, and safe to “ground” or “anchor” them in this fantastical world.
4) Not unlike the multi-dimensional theory espoused by some theoretical physicists, the non-linear poem exists in two or more overlapping dimensions. The real and imagined blur and coalesce. The known and unknown collide and spark something new, rebellious, and strangely beautiful.
5) Juxtaposition is key. Providing contrasts is hugely significant. Non-linear poetry must pit images against each other and certain words against their assumed meanings. These contrasts (and in some cases outright contradictions) make readers stretch their imagination  and hopefully  perceive the real world differently.
6) Sometimes consciously composed and sometimes incidental, off-beat humor often results from crafting strange and surreal imagery. Even if the context is deathly serious, when something unexpected  happens in a poem one natural human reaction is to laugh. And that’s okay; it may even be the poet’s goal.


A Few Simple Methods for Creating Non-Linear Poetry

1)Take a single surreal element and place it in a real-world context. (An example is Zachary Schomburg’s poem below)
2) Take a single real-world image or concept and place it in a fantastical or impossible situation. (Like how the impossible or strange world created by a compelling science fiction story should still contain core human elements.)
3) Begin with an actual dream. If you keep a dream journal or tend to remember your dreams, focus on a few particularly compelling images, place them on the page, and craft a world for them to exist in. (not unlike Dali’s painting above; any of us could have dreamed this but we must then create the context for it to make sense.)
4) Be a child again. Yes, force yourself to revert to childhood perception. Do you remember when the moon was made of cheese? Do you remember when you questioned the reality behind absolutely everything? When you would look up at a tree or a parent or the roof of your house and without meaning to create a metaphor? Childhood is when everything that exists in the tangible word exists in a different form in the mental world. This is the place we must return to to create stark, interesting non-linear poetry. The entire world can be a metaphor again!


Let’s see how three contemporary poets approach surreal and non-linear poetry. The below poems are quite different from each other and break from reality in different ways. Schomburg’s work is obviously surreal. Britto’s poem delves deeply into a single, strange image and builds abstract connections from it. And Lighthart makes us see the intimate world in a fresh, new way.

Following each poem is a set of notes that highlight the poet’s tools, techniques, and approaches.

After studying the above tips and below annotated poems, you will find your reading, discussion, and writing assignments for the week.

Annotated Example #1

Zachary Schomburg

This is a Night of Evenly Spaced-Out Escalators

This is a night of evenly spaced-
out escalators. This is a night of werewolves.

Bodies are colliding into one another.
Trains, oceans. My body collided with hers
hers collided with his

his fell awkwardly to its death.
There are werewolves that scatter about evenly
but congregate at dead bodies.
Ants at a picnic. Trees to rivers.

There are werewolves in business casual
riding up the escalators, so evenly spaced-
out, so tremendously efficient
and consistent. This is a night of driving.

I am in my Mercury Topaz. She is in hers.
Moons are electrons above us.
We are hitting tons of werewolves.

Notes on poem.

  • The strange connections Schomburg makes. This poem exists simultaneously in two worlds: the mundane (escalators, trains, trees) and the horrific (werewolves, bodies, death).
  • The absurdity creates a strange, dark humor. Without the inclusion of werewolves, this wouldn’t be as surreal, funny, or resonant.
  • As we discussed above, notice how this poem couches only one dream-like image (the werewolves) into our world, creating a jarring emotional response.
  • Notice the way each image cascades in a dream-like manner. Somehow we move from night to urbanity to rural landscape and back to urbanity and finally back to night. So there is a consistency of structure we recognize and trust within which the beauty and absurdity thrives. 

Annotated Example #2

Paulo Henriques Britto



The tuba player

wrings a grimy and crusted music

from the intestines of the metal.


The trees, unaccustomed, all shiver

at the guttural sound. (So virginal are they.)

With the brusque gesture of its shoulders,

the sky, blue and perfectly clean, repels

the hoarse notes lifting weakly

into flight, and the notes

crash, corpulent

vultures struck from the air.


Indifferent, the tuba player stops, spits,

and plays on.


Notes on poem.

  • The title itself works to challenge reader expectations. The pastoral is a conventional poetic form that most readers are familiar with, yet Britto approaches it unconventionally.
  • Britto creates a world we can trust and inhabit. This is fundamental when toying with dream imagery.  Notice how he:
    1. Anchors us immediately with a specific, recognizable character. He ends the poem with the same character, making the poem progress almost like a narrative.
    2. Focuses each image so that every word in the poem relates directly to the body or music. This provides a clear thread for us to follow, making his surreal statements feel more authentic.
    3. Includes so many visceral words. Intestines, guttural, virginal, shoulders, corpulent— these words help the poem feel intimate and recognizable. Our own bodies work as reference points.
    4. Includes natural images too, providing further evidence that his dreamt world is very much our own tangible world.

Annotated Example #3

Annie Lighthart

Old Tapestry


See how strong the thread is, how the tree of life is stitched into place,

how all your sad thought cannot dampen this cloth.


Someone has woven a trusted face into every branch.

Even the hungry roots bear that smiling gaze.


Nothing has been forgotten.

Within the branches, the flowers wear your eyes.

To look at even one petal is to see your life hidden everywhere.


Notes on poem. Notice:

  • The first line presents a paradoxical image: a tree, stitched. In the second, we learn: perhaps the tree is not really a tree, but a cloth? The reader is enticed to meander in the area between these two strong images to begin their interpretive work.
  • The metaphor extends to verse 2. The tree is populated with faces – trusted, smiling. Who is the someone the poet may be referring to?
  • Verse 3 stuns the reader with its bold declaration, its guarantee of memory. The reader encounters their own memory and its limits, its madeleine cakes. A line like this may keep the reader occupied for a while.
  • The last verse continues its bold escalation of risky, yet compelling assertions, concluding in the life-affirming final line. What does it mean, to have one’s life hidden everywhere? Does this notion come with a responsibility for everything?
  • The poet appeals to the reader directly. This is risky – some readers don’t appreciate being talked to. What makes the poem a whisper in your ear rather than a speech from a podium? What entices the readers to trust, love the voice that addresses them?


“Invisible Architecture”, by Barbara Guest (essay; 1 p.)

“The Abandoned Hotel”, by Zachary Schomburg (poem)

“Keeping Things Whole”, by Mark Strand(poem)

“Darling” by Alex Dimitrov (poem)


In “Invisible Architecture”, Guest says, “The writer only slowly retains power over the poem, physical power, when the poem breaks away from the authority of the invisible architecture.” In at least 100 words, discuss what internal, invisible architecture you see in the three assigned poems and how the poets break away from it. You may write about one, two, or all three of the poems.

To create a robust conversation, don’t forget to comment on your fellow course mates’ comments.

Writing Exercise

Let’s call this week’s writing assignment: the dream come to life. Begin with a single dream-like image, be it pulled from your dream notebook or wholly invented. Remember: you can be a child again, and no metaphor is too “out there”. Using this unique image as your base, think about how you can incorporate it into the real world. Think about what things you can compare to it and contrast against it. Think about how to make readers trust you with this image and with the journey you take them on.


John Sibley Williams’ writing has appeared in American Literary Review, Third Coast, and RHINO. He is the author of eight poetry collections, most recently Controlled Hallucinations (FutureCycle Press, 2013). Four-time Pushcart nominee, he is the winner of the HEART Poetry Award and has been a finalist for the Rumi, Third Coast, Ian MacMillan, Best of the Net, and The Pinch Poetry Prizes. John serves as editor of The Inflectionist Review and Board Member of the Friends of William Stafford. He holds an MFA in Creative Writing from Rivier College and an MA in Book Publishing from Portland State University, and he currently works as Marketing Director of Inkwater Press and as a literary agent. John lives in Portland, Oregon.



On The Second Sex: “Myths: Dreams, Fears, Idols” with Rae Bryant

One is not born, but rather becomes, woman.” —Simone de Beauvoir

The Abridged Feminist Biography of Simone de Beauvoir with Cameos by Jean-Paul Sartre and Other Men

Simone “le castor [the Beaver]” de Beauvoir was born in Paris, France, in 1908. When she was twenty-one, she went to the Sorbonne to study philosophy and the art of sexual politics with her contemporary, Jean-Paul Sartre. “She was the youngest agrégée in French history,” taking second in exams only to Sartre’s first place. There is ongoing speculation as to who truly deserved the first place, but she continued to have sex with Sartre anyway. She even had sex with the people he was also sexing. It can be agreed by many scholars and critics that Beauvoir had a lot of sex.

In 1943, she saw published her first major work, a novel titled She Came to Stay. She dedicated the novel to Olga, a seventeen-year-old protégé with whom she was having sex and Sartre wanted to have sex but was rejected by young Olga and so he seduced and had sex with Olga’s sister, Wanda. A side note, for kicks: At the end of She Came to Stay, “the Beauvoir character murders the Olga character” (Menand).

For many years, Beauvoir continued to have sex with many people, not so much Sartre, anymore though, they wrote many letters back and forth about the sex they were having with other people  and the sex they imagined with other people. At some point, Beauvoir was dismissed from her teaching for having too much sex and writing about sex and socialism and women and equality and incomes of their own. The Nazis did not like her. Thankfully, neither the Nazis nor academia dismissed Sartre for having too much sex or socialism. That, of course, would have been ludicrous.

In 1949, Beauvoir saw published The Second Sex, written while Sartre was in a relationship with his latest lover, Vanetti, a French woman living in the US and to whom he proposed marriage. According to Louis Menand in his New Yorker article, “Stand by Your Man: The Strange Liaison of Sartre and Beauvoir,” this did not please Beauvoir, even though she was already having sex with Nelson Algren. Menand speculates that Sartre’s proposal to Vanetti was a “final push” against Beauvoir’s femme sensibilities, even though, Beauvoir had already rejected Sartre’s marital intentions years ago. An ongoing debate. The first US translation of The Second Sex was in 1989 by Howard Madison Parshley, a zoologist specializing in entomology and an avid fan of Beauvoir’s original text, though, his 1989 translation receives continued criticisms from Beauvoir academics as having cut too much of the text and leaving out too many female writers and their original citations. In 1983, “Margaret Simons informed [Beauvoir] . . . of the specific changes in the American text [and] Beauvoir responded . . . ‘dismayed to learn the extent to which Mr. Parshley misrepresented me'” (Gilman).

The Second Sex was criticized as pornography and placed on the Vatican’s list of forbidden texts, but nonetheless, became a bible of modern feminism. Four years after the first publication of Second Sex, a not-so-good translation appeared in the states. In 2009, “a far-more-faithful, unedited English volume was published, bolstering Beauvoir’s already significant reputation as one of the great thinkers of the modern feminist movement,” (Biography) sex and all.

Beauvoir was a preeminent thinker, writer, modernist feminist, a French resistance fighter, a U.S. Vietnam policy condemner, an abortion rights and women’s equality activist, and yes, she was a woman who had sex.

She died in 1986 and now shares a grave with Sartre in the Montparnasse Cemetery. Let’s just reflect, for a moment, on this.

In her fierce intellect and courage, we find in Simone de Beauvoir’s philosophies and actions not only the feminist ideals of the twentieth century but also ongoing gender ideologies to come. Let us end on perhaps her most famous words, On ne naît pas femme: on le devient. “One is not born, but rather becomes, woman” (2009).

The Second Sex: On ne Naît pas Femme: On le Devient

“One is not born, but rather becomes, woman” (2009).

“One is not born, but rather becomes a woman.” (1989).

In the 2009 translation of The Second Sex, the translators address la femme in the “Translator’s Note”:

One particularly complex and compelling issue was how to translate la femme. In Le deuxième sexe, the term has at least two meanings: “the woman” and “woman.” At times it can also mean “women,” depending on the context. “Woman” in English used alone without an article captures woman as an institution, a concept, femininity as determined and defined by society, culture, history. Thus in a French sentence such as Le problème de la femme a toujours été un problème d’hommes, we have used “woman” without an article: “The problem of woman has always been a problem of men.” 

Beauvoir occasionally — but rarely — uses femme without an article to signify woman as determined by society as just described. In such cases, of course, we do the same. The famous sentence, On ne naît pas femme: on le devient, reads, in our translation: “One is not born, but rather becomes, woman.” The original translation [1989] by H. M. Parshley read, “One is not born, but rather becomes a woman.”

What significance, if any, might this divergence in translations mean if viewed critically through a feminist/gender lens?

The Second Sex: Phallus-Plowshare and Woman-Furrow

In the 1989 translation:

He wishes to conquer, to take, to possess; to have woman is to conquer her; he penetrates into her as the plowshare into the furrow; he makes her his even as he makes his the land he works; he labors, he plants, he sows: these images are old as writing; from antiquity to our own day a thousand examples could be cited: “Woman is like the field, and man is like the seed,” says the law of Manu. In a drawing by Andre Masson there is a man with spade in hand, spading the garden of a woman’s vulva.8  Woman is her husband’s prey, his possession. 

8. Rabelais calls the male sex organ “nature’s plowman.” We have noted the religious and historical origin of the associations: phallus-plowshare and woman-furrow. (1989)

The passage to which the #8 footnote refers:

Formerly, he was possessed by the mana, by the land; now he has a soul, owns certain lands; freed from Woman, he now demands for himself a woman and a posterity. He wants the work of the family, which he uses to improve his fields to be…. (1989, 78)

In the 2009 translation:

He wants to conquer, take, and possess; to have a woman is to conquer her; he penetrates her as the plowshare in the furrows; he makes her his as he makes his the earth he is working: he plows, he plants, he sows: these images are as old as writing; from antiquity to today a thousand examples can be mentioned. “Woman is like the field and man like the seeds,” say the Laws of Manu. In an André Masson drawing there is a man, shovel in hand, tilling the garden of a feminine sex. 12 Woman is her husband’s prey, his property. 

12. Rabelais called the male sex “the worker of nature.” The religious and historical origin of the phallus-plowshare — woman-furrow association has already been pointed out. (2009, 170-171)

The passage to which the #12 footnote refers: 

Formerly he was possessed by the mana, by the earth: now he has a soul, property; freed from Woman, he now lays claim to a woman and a posterity of his own. He wants the family labor he uses for the benefit of his fields to be totally his, and for this to happen, the workers must belong to him: he subjugates his wife and his children. He must have heirs who will extend his life on earth because he bequeaths them his possessions, and who will give him in turn, beyond the tomb, the necessary honors for the repose of his soul. The cult of the domestic gods is superimposed on the constitution of private property, and the function of heirs is both economic and mystical. Thus, the day agriculture ceases to be an essentially magic operation and becomes creative labor, man finds himself to be a generative force; he lays claim to his children and his crops at the same time. (2009, 86-87)

Andre Masson and Toyen

In the Second Sex, Beauvoir 

Masson, André. Le génie de l’espèce (The Genius of the Species). 1942, drypoint and engraving, The Museum of Modern Art, New York.
Toyen. Dívčí sen II (A Girl Dream II). 1932. zincography and aquarelle, The ART Gallery, Chrudim.

Woman as Siren: Oh Brother Where Art Thou?

Detailed and Alternatively Stylized Scene with Multi-Sensory Focus

In Oh Brother, Where Art Thou? the Odyssey turns Appalachian. In this scene, we have concrete details: women washing clothes and singing their enticing lullaby, the men dirty, sweaty, travel worn, a stream, rocks… In this alternate telling, the sirens physically interact with the men. The sirens are beautiful, their song sweet.

Aside from the auditory representations, both the second and the third film adaptations of “Odysseus and the Sirens” are faithful representations of the first stick figure summary. The stick figure summary, though successful in allowing the viewer to focus on the auditory, leaves a great deal of detail out if one is writing a literary scene, though, the stick figures would be perfect for a light summary rendition on YouTube, and the simplicity can be enjoyable. 

It is the writer’s job to balance sensory detail and summary within the narrative. Both are necessary in creating a well-developed narrative, and the summary sections can be effective ligaments for the bones of the narrative, the more detailed and immersive scene work. But consider which of the above adaptations stay with you longer? Which of them transports you more thoroughly? 

Redneck Feminism in Good Ol’ Boy Land: Phallus-Plowshare and Woman-Furrow in Popular Culture

This section will become its own lesson, but for some reason, came to me while reading The Second Sex, again. Ahem.

Put your boots on and get ready to dance. As “Boys ‘Round Here” opens, we see a long, green convertible round the street corner and making its way toward the camera. Shelton sings “Red red red red red red redneck…” as the long convertible pumps up and down, plowing the asphalt. Then Shelton makes his way to the same corner, but coming the other way, driving his big red truck. On the bumper is a phrase: “Well with others.” He parks and begins pumping and plowing the asphalt, mirroring the long convertible’s motions. Shelton and the men in the convertible — speculated to be rappers but are actually actors playing the part in the video — exchange admirations for each others’ pumping and plowing of the asphalt. They are all smiling wide at their vehicles pumping and plowing the asphalt street.

Cut to Blake Shelton reclining in a chair on his porch, boots kicked up and leaning on the porch rail. Pistol Annies stand to the side, one of them, Miranda Lake, his wife. Consider their position to Blake Shelton as he reclines on his chair, drinking his beer on the porch.

Later, during their focal scenes, they are positioned and costumed with a great deal of care. As with all great film, and yes, music videos, positioning and costuming of “characters” means a great deal in the subtext of the scene or sequence. What does the positioning and costuming of Pistol Annies represent for you as the viewer? Furthermore, in the below lyrics, you’ll find Pistol Annies’ backup lyrics. What response is conjured in you, as the viewer and listener?

Also, how might Marxist and critical race theories play significantly within the contexts of this video?

“Boys ‘Round Here” Lyrics

Songwriters: Craig Wiseman, Dallas Davidson, Rhett Akins

Red red red red red red red red redneck
Well the boys ’round here don’t listen to The Beatles
Run ole Bocephus through a jukebox needle
At a honky-tonk, where their boots stomp
All night what? (That’s right)
Yeah, and what they call work, digging in the dirt
Gotta get it in the ground ‘fore the rain come down
To get paid, to get the girl
In your 4 wheel drive (A country boy can survive)
Yeah the boys ’round here
Drinking that ice cold beer
Talkin’ ’bout girls, talkin’ ’bout trucks
Runnin’ them red dirt roads out, kicking up dust
The boys ’round here
Sending up a prayer to the man upstairs
Backwoods legit, don’t take no shit
Chew tobacco, chew tobacco, chew tobacco, spit
Aw heck
Red red red red red red red red red red redneck
Well the boys ’round here, they’re keeping it country
Ain’t a damn one know how to do the dougie
(You don’t do the dougie?) No, not in Kentucky
But these girls ’round here yep, they still love me
Yeah, the girls ’round here, they all deserve a whistle
Shakin’ that sugar, sweet as Dixie crystal
They like that y’all and southern drawl
And just can’t help it cause they just keep fallin’
For the boys ’round here
Drinking that ice cold beer
Talkin’ ’bout girls, talkin’ ’bout trucks
Runnin’ them red dirt roads out, kicking up dust
The boys ’round here
Sending up a prayer to the man upstairs
Backwoods legit, don’t take no shit
Chew tobacco, chew tobacco, chew tobacco, spit
Let me hear you say
(Ooh let’s ride)
Through the country side
(Ooh let’s ride)
Down to the river side
Hey now girl, hop inside
Me and you gonna take a little ride to the river
Let’s ride (That’s right)
Lay a blanket on the ground
Kissing and the crickets is the only sound
We out of town
Have you ever got down with a
Red red red red red red red red red red redneck?
Do you wanna get down with a,
Red red red red red red red red red red redneck?
Girl you gotta get down
With the boys ’round here
Drinking that ice cold beer
Talkin’ ’bout girls, talkin’ ’bout trucks
Runnin’ them red dirt roads out, kicking up dust
The boys ’round here
Sending up a prayer to the man upstairs
Backwoods legit, don’t take no shit
Chew tobacco, chew tobacco, chew tobacco, spit
Red red red red red red red red redneck
(Ooh let’s ride)
I’m one of them boys ’round here
(Ooh let’s ride)
Red red red red red red red red redneck
(Ooh let’s ride)
Well all I’m thinkin’ ’bout is you and me, how we’ll be
So come on girl, hop inside
Me and you, we’re gonna take a little ride
Lay a blanket on the ground
Kissing and the crickets is the only sound
We out of town
Girl you gotta get down with a
Come on through the country side
Down to the river side


The Dixie Chicks took some heat for the satirical song and video, “Goodbye Earl.” Have they gone too far? How does the satire in this song and video compare to Jonathan Swift’s A Modest Proposal? How do they use chiaroscuro in tone and context to heighten the impact? Does it change your view of the song, at all, to know that it was written by Dennis Linde?

“Goodbye Earl”

Songwriter: Dennis Linde

Mary Anne and Wanda were the best of friends
All through their high school days
Both members of the 4H club, both active in the FFA
After graduation
Mary Anne went out lookin’ for a bright new world
Wanda looked all around this town and all she found was Earl
Well, it wasn’t two weeks after she got married that
Wanda started gettin’ abused
She’d put on dark glasses or long sleeved blouses
Or make-up to cover a bruise
Well she finally got the nerve to file for divorce
And she let the law take it from there
But Earl walked right through that restraining order
And put her in intensive care
Right away Mary Anne flew in from Atlanta
On a red eye midnight flight
She held Wanda’s hand as they worked out a plan
And it didn’t take ’em long to decide
That Earl had to die, goodbye Earl
Those black-eyed peas, they tasted alright to me, Earl
You’re feelin’ weak? Why don’t you lay down and sleep, Earl
Ain’t it dark wrapped up in that tarp, Earl
The cops came by to bring Earl in
They searched the house high and low
Then they tipped their hats and said, thank you ladies
If you hear from him let us know
Well, the weeks went by and spring turned to summer
And summer faded into fall
And it turns out he was a missing person who nobody missed at all
So the girls bought some land and a roadside stand
Out on highway 109
They sell Tennessee ham and strawberry jam
And they don’t lose any sleep at night, ’cause
Earl had to die, goodbye Earl
We need a break, let’s go out to the lake, Earl
We’ll pack a lunch, and stuff you in the trunk, Earl
Is that alright? Good! Let’s go for a ride, Earl, hey!
Ooh hey hey hey, ummm hey hey hey, hey hey hey

“Speak to a Girl”

Songwriters: Blake Anthony Carter, Dave Gibson, Joseph Spargur
She don’t give a damn ’bout your Benjamin Franklin’s, she wants Aretha
She don’t really care how you’re spending your money, it’s all how you treat her
She just want a friend to be there when she opens her eyes in the morning
She wants you to say what you mean and mean everything that you’re saying
‘Cause that’s how you talk to a woman, that’s how you speak to a girl
That’s how you get with the lady who’s worth more than anything in your whole world
You better respect your Mama, respect the hell out of her
‘Cause that’s how you talk to a woman and that’s how you speak to a girl
She don’t give a damn ’bout your pride or the lies that you’re hiding behind
She just wanna feel that you’re real, that she’s near to the man that’s inside
She don’t need to hear she’s a queen on a throne, that she’s more than amazing
She just wants you to say what you mean and to mean everything that you’re saying
‘Cause that’s how you talk to a woman, that’s how you speak to a girl
That’s how you get with a lady who’s worth more than anything in your whole world
You better respect your mama, respect the hell out of her
‘Cause that’s how you talk to a woman, that’s how you speak to a girl
That’s how you speak to, speak to her
That’s how you speak to, speak to her
‘Cause that’s how you talk to a woman, that’s how you speak to a girl
That’s how you get with a lady who’s worth more than anything in your whole world
You better respect your mama, respect the hell out of her
‘Cause that’s how you talk to a woman and that’s how you speak to a girl
That’s how you talk to a woman, that’s how you speak to a girl

Plows and mules in Their Eyes Were Watching God


“Naw, Ah needs two mules dis yeah. Taters is goin’ tuh be taters in de fall. Bringin’ big prices. Ah aims tuh run two plows, and dis man Ah’m talkin’ ’bout is got uh mule all gentled up so even uh woman kin handle ’im.”

Logan held his wad of tobacco real still in his jaw like a thermometer of his feelings while he studied Janie’s face and waited for her to say something. (Huston 766)

“Come to yo’ Grandma, honey. Set in her lap lak yo’ use tuh. Yo’ Nanny wouldn’t harm a hair uh yo’ head. She don’t want nobody else to do it neither if she kin help it. Honey, de white man is de ruler of everything as fur as Ah been able tuh find out. Maybe it’s some place way off in de ocean where de black man is in power, but we don’t know nothin’ but what we see. So de white man throw down de load and tell de nigger man tuh pick it up. He pick it up because he have to, but he don’t tote it. He hand it to his womenfolks. De nigger woman is de mule uh de world so fur as Ah can see. Ah been prayin’ fuh it tuh be different wid you. Lawd, Lawd, Lawd!” (Hurston, 556-557)

“You behind a plow! You ain’t got no mo’ business wid uh plow than uh hog is got wid uh holiday! You ain’t got no business cuttin’ up no seed p’taters neither. A pretty doll-baby lak you is made to sit on de front porch and rock and fan yo’self and eat p’taters dat other folks plant just special for you.” (Hurston, 809)




Works Cited

Beauvoir, Simone de. The Second Sex. Translated by Constance Borde and Sheila Malovany-Chevallier, Vintage  Books, 2009. 

Beauvoir, Simone de. The Second Sex. Translated by H. M. Parshley, Vintage Books, 1989.

Blake Shelton. “Boys ‘Round Here.” Based on a True Story…, Ten Point Productions, Inc., 2013, YouTube,

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