Sp08-250-Group3

="Introduction to Poetry" by Billy Collins lines 7-8 ("or walk inside the poem's room / and feel the walls for a light switch")=

Group 3: So-Young, Erin, Lynzie
Facilitator: //Type over these words to volunteer as the Facilitator.// Polisher: //Lynzie Kelly//

__Expert move #1: identifying the figurative language__
The fourth stanza of "Introduction to Poetry" by Billy Collins, “or walk inside the poem’s room / and feel the walls for a light switch," uses both metaphor and imagery (7-8). The first line is a metaphor because it is impossible for a poem to physically have a room; therefore, it’s only logical that the poem is being //compared// to a room. Thus, “walk[ing] inside the poem’s room” is metaphorical for a reader immersing themselves in a poem’s text.

To “feel the walls for a light switch” is metaphorical as well. The light switch is compared to comprehension; once the switch is found, the poem will be clarified. Yet t he line is also an image because of the verbs that are involved—the subject must “walk” into a room and “feel” the walls for a light switch. Both verbs are used for illustration. However, the imagery is conditional on the establishment of the metaphor. If one was not aware of the metaphor being used in this passage, the imagery would have no real significance to the poem.

__Expert move #2: exploring denotations__
The speaker wants his subject to “walk inside the poem’s room” (7). Walking is not running. It is not skipping, or jumping, or crawling. The use of this specific word is significant. To simply “walk” is distinct. It is devoid of any emotion or hurriedness. It is a calm, effortless action. Furthermore, it must be noted that the subject is being asked to walk //inside// the poem’s room, not //into// the room. To walk into a room suggests that one was previously outside of it. But to walk inside of a room gives the impression that one is already in the room. The room is not new to the subject. Collins compares this room to a poem’s contents. What is a room? A room is an enclosed structure within a structure. It is a piece of something larger. A room can be filled with various items or be left empty. It can be decorated to reflect the occupant’s personality, or to serve a specific purpose—like a doctor’s examining room. A room usually has a door or doorway of some type. Most rooms have windows. There are many types of rooms: classrooms, bedrooms, living rooms, waiting rooms. “Room” can also refer to space of any size and dimension. The room in the poem contains a light switch of some sort. The subject is asked to “feel the walls” for this switch (8). To “feel” is to experience sensations. Collins’ poem most likely uses “feel” to suggest physical contact. Yet there are other words for physical touch; instead of “feel[ing]” the walls, the subject could be asked to “probe” or “search,” “explore” or “caress,” “pat” or “investigate.” The particular use of “feel” imparts a basic, clear image to the reader. Much like the earlier use of "walk," the word "feel" carries little emotion. Why does the writer choose to use “light switch” over “light bulb”? Both are classic metaphors for understanding a concept. However, there is a slight difference; a light switch //connects to// a light bulb. What happens when a light switch is flipped? Well, either a light bulb turns on or doesn’t. Rather than “switch,” Collins could have used “pull chain” or “button” or “toggle.” The word “switch” has multiple meanings: it refers to a type of beating or whipping; a swap or exchange; or a button of some type—though Collins is most likely referring to an electrical switch. An electrical switch can be turned on or off quite simply. They are usually less than a foot from a room’s doorway; however, the height placement can vary. These varying height placements can confuse people searching for a light switch in a dark room. Let's consider, for a moment, that the speaker is not intending for the subject to find an electrical light switch--what if the speaker really means a light (weightless) switch (whip)? This would change the poem's meaning entirely! If the subject was meant to find a whip, they would naturally put it to use, beating the room and whipping it senseless. This idea is actually brought up later in Collins' poem. Interesting.

__Expert move #3: unpacking the figurative and connotative meanings__
The speaker wants us to “walk inside the poem’s room” (7). We need to explore the poem’s content, much like we explore a room. We don’t have to skip around the room, or ride a bicycle inside it. We are simply being asked to walk around the room, to not just enter it and then stand there motionless. In this way, we are being asked to not just skim the poem’s text; we’re being invited to spend time with it and read closely. When we metaphorically navigate the room and all that it contains, we are essentially navigating the poem and understanding its various features. The windows, furniture and wall color of a room are, in essence, the similes, metaphors, and imagery of a poem. Why do we rush when we read poetry? Do we not have time to sit and chat? Collins is asking us to spend time in the poem’s room and attempt to understand its personality. Be nosy; poke around a little, experiment with the poem. Walk around and get a feel for the poem’s space and essence. The speaker instructs the reader to “feel the walls for a light switch” (8). It is the intent to act that the speaker is interested in, more so than the result. The speaker does not say, “Feel the walls for the light switch, //and turn the light on//.” This is a notable detail. The speaker is asking us to simply attempt to understand poetry. It’s understandable if the effort leads to more confusion, but it is not acceptable for us to not even try. Not all light switches lead to a bulb that works. All we need to do is feel the walls for the switch, to search out the poem’s meanings, and if we succeed we will be flooded with awareness in much the same way a room is flooded with light. When we “feel the walls for a light switch” it is because the room is too dark for us to see. Similarly, when we read a poem closely it is because the meaning is too obscured for us to find. But when we find that light switch—when we find that poetic nugget we’ve been searching for—the room is bright, the poem makes sense, and everything is transformed. The details in this stanza make an impression on the reader’s mind; most everyone has blindly felt for a light switch in a dark room. That universal sense of searching, apprehension, and confusion are represented by two simple lines in Collins’ poem. The sensation of rough walls, a held breath, a paused moment...until the switch is found and the room becomes flushed with light. A minimal movement—the flick of a tiny switch—but that one act transforms the room entirely. It is literally seen in a new light, much like poetry. Sometimes the smallest detail in a poem can change our view on the entire piece. The quest for the light switch is figurative for a reader’s confusion about poetry. The speaker could be pointing out how straightforward poetry analysis can be; with a simple flick of the switch, the poem could be illuminated. All it takes is a little effort and some searching. The room’s need for light reflects a poem’s need for comprehension; instead of stumbling around a dark room, totally confused and lost, one could flip a switch and bring everything into realization. The same can be said for a poem. If a reader cannot comprehend the poem’s larger meaning, they are simply stumbling around the poem and bouncing off its lines.

__Expert move #4: recontextualizing within the whole poem__
Beneath the metaphor presented in lines 7-8 is a larger issue: the poem itself is an objection to many students' approach to poetry. By asking his readers to "walk inside the poem's room / and feel the walls for a light switch" the speaker seems almost exasperated and bewildered by how difficult students make the process—it’s a simple light switch! Just flip it! Furthermore, we as readers are asked to make an honest effort to understand poetry. Spend time with the poem, visit its room, and explore. Walk around in the dark for a while, feel the poem's walls, and then flip the light switch of comprehension. ...