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Look We Have Coming to Dover!

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Nagra’s poem reflects the themes of Arnold’s poem, written a hundred years ago, where the he imagines the conflict and chaos that might result if the there was no religious basis to our society. The speaker highlights the struggles of immigrant life: the lack of official documentation, the difficulty of finding work and housing, and the threat of violence and deportation.

By turns realist and romantic, these charged and challenging poems never shy from confrontation, but remain, always, touched by a humorous zeal and an appetite for living. Lines 21-25: “Imagine my love and I, / our sundry others, Blair’d in the cash / of our beeswax’d cars, our crash clothes, free, / we raise our charged glasses over unparasol’d tables / East, babbling our lingoes, flecked by the chalk of Britannia! At anytime they know that they might be stabbed in the back or hurt by something simple, like asthma contracted in parks. This could therefore be interpreted as a criticism of those who are see immigration as hugely detrimental or even dangerous.

While there is variety within stanzas regarding line length, there is a very even structure across the poem with five stanzas of five lines. This also enables a broad range of interesting comparative points with other poems from the ‘Poems of the Decade’ collection. The immigrants are camouflaged while the animals are out in the open, making noise and going where they please. The beauty of Matthew Arnold’s Dover Beach scene is contrasted with Nagra’s poem, in which the sea has ‘gobfuls’ in its ‘phlegmed water’ and the cliffs are crumbling and ‘scummed’. begins with a good example of alliteration, the simple connection of the words “Seagull” and “shoal.

Some readers may see this as showing waves and tides with this gradual but clear flow and change, or alternatively the movement of people across the world throughout history and different cycles of immigration and emigration. Identity: British identity is explored through various iconic images and well known references, but this idea of identity is also increasingly morphed by additional cultural identities. They can be seen from the start with the contrast between the arrival of the immigrant and the presence of the tourists.For example, the first line of every stanza has eight, six, or seven syllables and the fifth somewhere between fourteen and sixteen. When looking at the poem as a whole the changes in line length become clearer, with each stanza progressing from short lines to long lines, before restarting the cycle for the next stanza. Alternatively it could be seen as further representation of cycles, perhaps arguing that changes in immigration are natural changes which should be expected. However, this is juxtaposed with the idea of being “stowed” and hidden away unnoticed, with it unlikely for people to be able to invade a country with no supplies.

When they finally make it to shore they drive off in an inconspicuous van and try to make lives for themselves.is the most acclaimed debut collection of poetry published in recent years, as well as one of the most relevant and accessible. The poet uses words in whatever way seems to convey his meaning, regardless of whether this is ‘correct’, and subtly conveys extra layers of meaning. When viewing the text of the poem on the page the first line of every stanza is the shortest and the last is the longest, with the middle three making up the distance between.

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