This LITERALLY Made My Day!!!!

this poem lives rent free in my mind

💌 poems for the month of love 💌

Having a Coke with You by Frank O’Hara

The Quiet World by Jeffrey McDaniel

Wait For Me by Konstantin Simonov (tr. by Mike Munford)

A Kiss on the Forehead by Marina Tsvetaeva

Love by Joseph Brodsky

Your Unripe Love by Paruyr Sevak (from “Anthology of Armenian poetry")

Love poem by Tishani Doshi 

Maybe Under Some Other Sky by Willie Perdomo

Warming Her Pearls by Carol Ann Duffy

Ich finde dich (I find you) by Rainer Maria Rilke

Where does such tenderness come from? by Marina Tsvetaeva

I Loved You by Alexander Pushkin

Like a Small Café, That’s Love by Mahmoud Darwish (translated by Mohammad Shaheen)

Our Story by William Stafford

The Kiss by Sara Teasdale

The Queer Symbolism of Dead Poets Society

that’s right y’all i actually did it. tw/cw for mentions of Neil’s death, homophobia, reclaiming queer

Dead Poets Society; a beloved, slightly problematic staple of dark academic films. Since its release in 1989, it has gained a strong following over the years, and even more speculation. Fans of the film have long believed that the central characters, Todd and Neil, were in love. Furthermore, there are theories that not only were the main characters lovers, but major plotlines and themes possess metaphors of queerness. Debate has been made over the reality of these theories, and it’s pretty believable. This essay has no intention to change any thoughts on the matter, more like reading into the content and considering what the general opinion is. 

Anyone who has seen the movie or even read a brief summary should be aware of the major theme of the story; tradition versus nonconformity. Mr. Keating made a point to challenge tradition, which, considering the patriarchal, conservative setting, was quite risky. It’s almost like queer people have been challenging tradition for centuries. ‘Tradition,’ or heteronormativity, against the ‘nonconventional’ is instead celebrated. The Dead Poets Society was all about defiance from societal norms and living authentically, in other words not having to hide.

“We all have a great need for acceptance, but you must trust that your beliefs are your own, unique, even though others may think them odd or unpopular. Even though the herd may go ‘that’s bad.’” - Keating

Deviating from tradition not only takes form in the Dead Poets Society being revived, but in the confrontation of supposed gender roles. A deep passion for theatre is connected with homosexuals and has roots in queer culture since at least the early 20th century, from the author’s knowledge. The group had taken a keen interest in poetry, as well being long associated with femininity or homosexuality, by reasons of toxic masculinity. With harmful intentions or not, poetry is still a staple of queer culture. Infamous queer poets like Sappho, Emily Dickinson, Oscar Wilde, and Walt Whitman have been influential in their works since the sixth century. Walt Whitman specifically is mentioned many times in this film. One of his more well-known poems, “Oh Captain, My Captain” is referenced various times. Out of all the poems to choose, why go with the poem written by a hypothesized gay man about a president who also may have been gay? To add to this, during the scene in which Todd chases Neil around while the latter reads his poetry, Neil has the gall to say “I’m being chased by Walt Whitman.” As if that scene wasn’t already one of their more emotionally charged moments that lead to this essay’s creation.

That is not where the references to queer culture stops. During the audience’s first introduction to English teacher John Keating, he is whistling the tune of ‘1812 Overture,’ composed by notoriously homosexual composer Tchaikovsky. In the cave, Charlie Dalton recites a line from Shakespeare’s ‘Sonnet 18,’ famously written about a feminine man, recognizable from the line: “Shall I compare thee to a summer’s day?” That sonnet created much skepticism over Shakespeare’s sexuality and some consider him to have been queer.

The thing with queer people indulging in these interests are both fine points in the queer identity and culture, as well as stereotypes against queer people in that aspect. What a fun time.

The symbolism and references are not the only evidence of this being a queer movie. There are the characters themselves. Most frequently discussed, is the case of Neil and Todd. Although Todd is new to the school and riddled with anxiety, he ends up quite close to Neil. Did it help that they were roommates? Certainly, but there is quite a bit more to it than that. Neil had developed the habit of being in Todd’s space quickly, and Todd got rather comfortable with Neil by the time the play auditions rolled around. Even more, Neil is very frequently seen looking at Todd in a way that friends don’t typically do. When Todd performed the improvised poem for the class, it had cut to Neil, looking positively enamored at Todd. The aforementioned Walt Whitman reference to Todd is to be taken into consideration as well. Todd’s reaction to Neil’s death too made quite the difference. It is normal to mourn for a lost friend, but was there a reason to show Todd in such a state of despair? Charlie had known Neil much longer, yet all seen in the final film, Todd showed the most aggravated grief. Yes, in the original script, Charlie had had a grieving moment, but why keep Todd’s? It might have been for character development, or it could have been much, much more personal.

Because of the fandom’s hope for canonical queer characters, former cast member Gale Hansen has graciously supplied some answers via Twitter on several occasions. He has said that he ships Todd and Neil and confirmed that Charlie could’ve been portrayed as nonbinary. 

Besides the many references, metaphors, and instances of symbolism, there is still one more area that needs to be covered; the relation between the Dead Poets Society and being a queer person. Considering a very queer individual is writing this, this part may get a little long and personal. Throughout the film, Neil feels the worst pressure to conform to the life his father wants for him and struggles with it immensely. He feels hopeless and drained from every short conversation with his father, and it did end up killing him slowly. He despaired over who he was. He knew what he was, he enjoyed who he was, but faced criticism over being himself. Neil’s father hated the parts of Neil he couldn’t control and suppressed his son’s identity. Seeing Neil on stage was a turning part in the movie, as if Mr. Perry is seeing his son for the first time how he really is. He wasn’t hiding, he was out. 

Yes, it is quite true that people just couldn’t live if their passion was taken away for a bleak existence. That could’ve been the case for Neil. Or, as this whole thing is about finding how this film mirrors queerness, he could not live knowing that he would be despised by his own father. It might just be the queer existence at it’s saddest state, but it certainly is understandable. 

Taking in all of the reasons why this movie could be a piece of inexplicably queer media, there is just the fact that it might not be. It’s subjective some look at it and think ‘yeah, they are definitely gay’ whereas someone else might not look at it that way. This essay was just a way of proving some points, really. I analyzed the content based on my own view and took my thoughts into account. Keating did say that the reader’s opinion is one that matters.

summary of act 1

but my ass still doesnt wanna move and lie down on the comfy bed! life is hard dudes-

You guys just have to trust me on this one and click here okay?

• An Oxford comma walks into a bar, where it spends the evening watching the television, getting drunk, and smoking cigars.

• A dangling participle walks into a bar. Enjoying a cocktail and chatting with the bartender, the evening passes pleasantly.

• A bar was walked into by the passive voice.

• An oxymoron walked into a bar, and the silence was deafening.

• Two quotation marks walk into a “bar.”

• A malapropism walks into a bar, looking for all intensive purposes like a wolf in cheap clothing, muttering epitaphs and casting dispersions on his magnificent other, who takes him for granite.

• Hyperbole totally rips into this insane bar and absolutely destroys everything.

• A question mark walks into a bar?

• A non sequitur walks into a bar. In a strong wind, even turkeys can fly.

• Papyrus and Comic Sans walk into a bar. The bartender says, "Get out -- we don't serve your type."

• A mixed metaphor walks into a bar, seeing the handwriting on the wall but hoping to nip it in the bud.

• A comma splice walks into a bar, it has a drink and then leaves.

• Three intransitive verbs walk into a bar. They sit. They converse. They depart.

• A synonym strolls into a tavern.

• At the end of the day, a cliché walks into a bar -- fresh as a daisy, cute as a button, and sharp as a tack.

• A run-on sentence walks into a bar it starts flirting. With a cute little sentence fragment.

• Falling slowly, softly falling, the chiasmus collapses to the bar floor.

• A figure of speech literally walks into a bar and ends up getting figuratively hammered.

• An allusion walks into a bar, despite the fact that alcohol is its Achilles heel.

• The subjunctive would have walked into a bar, had it only known.

• A misplaced modifier walks into a bar owned by a man with a glass eye named Ralph.

• The past, present, and future walked into a bar. It was tense.

• A dyslexic walks into a bra.

• A verb walks into a bar, sees a beautiful noun, and suggests they conjugate. The noun declines.

• A simile walks into a bar, as parched as a desert.

• A gerund and an infinitive walk into a bar, drinking to forget.

• A hyphenated word and a non-hyphenated word walk into a bar and the bartender nearly chokes on the irony

- Jill Thomas Doyle

but oh that 2%!

I am genuinely, about 98% sure, that I will never experience true, permanent happiness.

a little louder for all the stupid pigheaded men out there-