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10-17-10
Honors English 10
Schnoor 1-4
Analysis of Literary Structure and Theme in “Habitation” and “Love Accident”
Trip
(tr p)
n.
1. A going from one place to another; a journey.
2. A stumble or fall.
different common meanings; in common speech, these are very rarely confused.
However, when the word is used to describe the ever-touchy subject of love, this
distinction is blurred. One might argue, as Margaret Atwood does in her short poem
“Habitation,” that love is a “trip” – a long, gradual journey that all too possibly has no
clear end to it. Or, like Merrit Chelsay Minnis in her similar work, “Love Accident,” one
might believe that love is indeed a “trip” – a sudden stumble, arising from mishap or
misfortune, whose only destination is the unforgiving ground. Their use of the same word
but different definition to describe love can lead to great confusion. Nevertheless,
“Habitation” and “Love Accident” both argue that love is a trip; though the authors differ
in their opinions of what type love truly is, very similar literary structure and tone is used
to describe it.
emphasize each poem’s respective and very different theme—that is, punctuation is
virtually nonexistent in both. Each has (“each” is a singular noun, so “each [one] has,”
instead of “each have”) only three commas (apiece doesn’t work because it’s a singular
noun), and Atwood’s poem lacks even a period, merely ending with, “we are learning to
make fire” (Atwood, 13). “Love Accident” is only marginally more organized, with
Minnis employing a mere three periods throughout the entire piece. However, this shared
Peter Lommen
10-17-10
Honors English 10
Schnoor 1-4
lack of punctuation is used in each to achieve opposite views upon their mutual subject.
emphasize the idea that the process of falling in love is unending—that one never reaches
a metaphorical conclusion to his/this “trip.” However, Minnis takes the sense of unity
that is prolific in (perpetrate has a negative connotation and means “to commit,” or “to do
in a tasteless manner”) her (you had “Love Accident” as the subject, so “her” wouldn’t
work here) work, and uses it to demonstrate how that trip can flash past in the blink of an
eye. (I don’t really understand this sentence; where did the unity come from and how
does it demonstrate that love is sudden?) It is used to give the piece a sense of extreme
haste—almost (create long dashes by putting two short dashes between two words
without any spaces, and then typing a space after the second word—should be automatic)
as if one couldn’t read the words on the page fast enough to fully appreciate how quickly
one can stumble and end up face-down in love. (Again, what is used? The unity that
mysteriously appeared? I really like how this sentence begins, and the ending was fine,
but a little awkward because it wasn’t quite congruent with your point) Stringent
Similarly, the staggering enjambment that characterizes both works also serves to
convey their contrary ideas. In each, verses are cut off at what are seemingly the worst
places possible. Lines such as four and five of Atwood’s work (“The edge / of the
desert”) and thirteen through sixteen of Minnis’ (“two eagles tangled / their wings over /
a canyon”) utilize an awkward, shambling style of line-break. (When quoting line breaks,
there is a space before and after the forward slash) However, this technique is used
successfully to emphasize their differing themes about falling in love. Atwood’s use of
Peter Lommen
10-17-10
Honors English 10
Schnoor 1-4
versification illustrates the staggering, plodding progress that one makes in the journey of
love. Like a cart with square wheels, love doesn’t go fast, but does slowly, painfully
move forward. Minnis, on the other hand, uses the stumbling poetic structure of her prose
to emphasize the feeling that the speaker has, quite literally, fallen into love, entirely
through some unforeseen misfortune. Again, a similarity between these two texts
Lighting upon a different literary tool that these pieces once again use to enforce
their conflicting ideas, both Atwood and Minnis use negative tone words in their
respective works to display their dissatisfaction or reluctance about their progress down
love’s path; they exploit the same implement for very different reasons. The texts are
both characterized by melancholy phrases such as “where painfully and with wonder”
(Atwood, 12) and “love/came like a thresher” (Minnis, 21-22), neither of which highlight
their opinions on love in any uncertain terms: it is something their respective speakers
mutually regret, and seem to share a despairing abhorrence for their journeys into the
mire of love. However, their reasons for experiencing these scarring emotions are again
quite different: the speaker from “Habitation” is rather dissatisfied with the road that her
love has taken; it is not as she wished it to be. Minnis’ protagonist doesn’t enjoy her
situation any more than Atwood’s, but she is unhappy because she didn’t want to fall in
love at all, yet she was “stuck… tangled… and… hooked” (Minnis, 11, 13, 15, 17) in
love’s embrace. Once more, their different ideas about love as a “trip” are highlighted by
their similarities.
And now, the end of this essay’s “trip” has come. But what kind of trip was it? Is
this analysis merely a straight drop down from a hypothesis to a foredrawn conclusion,
Peter Lommen
10-17-10
Honors English 10
Schnoor 1-4
with an inevitable answer? Or is it a reasoned journey, passing by specific points and
arguments along its path, that eventually lead it to an ultimate result? Minnis and Atwood
certainly might disagree on that question. As already stated, both have a habit of using
the exact same structure and tone to draw completely divergent ideas from the other’s –
perhaps something like the debate between “Habitation” and “Love Accident” could be
drawn from any ideas they might have about this essay’s course. When these poems are
looked at objectively, it becomes clear that they are paradoxical reflections of each other:
the salt and pepper of the texts – that is, their literary techniques and instruments – are
quite the same, but their metaphorical meat and potatoes – their theme - their raisons
d'être, (and that of any piece of literature), are poles apart from each other.