Diverse Culture Essay Example

which ended up causing minority cultures to isolate themselves further. The result was that Britain became a segregated society. Despite efforts to eliminate racism, it has actually increased to the point where school children in Bradford need coaching to navigate between the white Christian and Muslim communities. The government's attempts to address racism do not seem effective, as racism in Britain remains prevalent. In October 2003, a controversial program called 'The Secret Policeman' was also aired.

This documentary featured a journalist who underwent police training and embedded himself within the Manchester police force. Equipped with a hidden microphone and camera, he shed light on a disturbing case of institutionalized racism within the police. The footage revealed shocking admissions from officers, including a belief that Black or Asian individuals were more likely to be arrested and even a statement suggesting that Stephen Lawrence deserved to die. Perhaps most concerning is that the police, who are entrusted to uphold justice in Britain, are exposed as deeply corrupted in this program.

In October 2003, a news article on the BBC website reported on the burning of gypsy effigies in Firle, East Sussex during a bonfire celebration. The event involved parading a caravan with derogatory images and the slogan 'pikeys' through the streets before setting it on fire. Trevor Philips, chairman of the Commission for Racial Equality, emphasized that incidents like these, followed by mere apologies, contribute to a culture that tolerates racism, discrimination, and victimization based on people's identity.

While racism continues to be an ongoing issue today, it is officially acknowledged that all individuals possess equal rights. However, this viewpoint was not prevalent during the 1960s when minority groups began

advocating for equality. Prominent figures such as Martin Luther King and Malcolm X actively campaigned for equal rights for everyone. Martin Luther King delivered his renowned speech titled 'I have a Dream', which became an iconic moment of that era. Additionally, an impactful image from the 60s depicts a Buddhist monk self-immolating as a protest against oppression faced by Buddhists in South Vietnam.

Written in 1964, during a time of civil rights unrest and rising capitalism in America, Robert Lowell expressed his viewpoint through his poem 'For the Union Dead'. Born in Boston in 1917 and passing away from a heart attack in 1977, Lowell composed this poem precisely one hundred years after the conclusion of the American Civil War. This period also saw political turmoil and the struggle for black people's equal rights through the Civil Rights movement.

Both Malcolm X and Martin Luther King were influential leaders in the Civil rights movement. In his poem 'For the Union Dead,' Robert Lowell discusses not only the discrimination faced by black individuals but also the societal shift towards a money-centric culture where moral values and emotions are disregarded. Lowell uses the metaphor of a 'Sahara of snow' to vividly portray the current state of the Boston aquarium, drawing a strong comparison to an expansive and desolate wasteland similar to the Sahara desert.

The conjunction of 'Sahara' and 'snow' being unconventional and contrasting ideas parallels the opposition between black people and racists, which was the central concern during that era. The utilization of alliteration in 'broken windows' and 'bronze weathervane' connects the two statements. In a subsequent stanza, Lowell employs the phrase 'cod has lost half its scales.' Fishing,

particularly 'cod,' has perpetually been linked with Boston; the cod has traditionally symbolized the city with prestige. However, Lowell describes it as decrepit, symbolizing the deterioration of Boston's grandeur.

Lowell adds to this effect by ending the line with the phrase 'the airy tanks are dry', which also serves as a symbol of the disappearance of traditional sentiments, just like the water in the tanks. In the second stanza, he begins with the adverbial 'once', indicating a specific and poignant memory. Lowell then goes on to describe how he felt a tingling sensation while observing the fish at the aquarium. This emphasizes his excitement and consequently evokes sympathy for the author, as something he deeply cherished was being ruthlessly destroyed.

Lowell effectively uses the verb 'drifting' in the last line of the stanza to describe the bubbles emerging from the cod's mouth. This choice of language conveys the notion that the fish inhabit their own tranquil and calm world, separate from the chaos and difficulties of modern American life. The portrayal of the aquarium as an escape further underscores this idea. Additionally, Lowell depicts himself as an observer of this "fish world" and perhaps experiences a similar detachment when contemplating modern American society. Ultimately, he characterizes the fish as being submissive and passive with the phrase 'cowed and compliant' in the stanza's closing line.

There is alliteration linking the words 'cod', 'cowed', and 'compliant' in the first stanza, emphasizing their connection as descriptors of fish. The alliteration is effective because the shape of the mouth when pronouncing these words resembles that of a fish. Additionally, the adjectives themselves convey meaning; 'cowed' means afraid and 'compliant' means obedient, further

highlighting the fish's innocence. This innocence can be associated with black people who are forced to be afraid and obedient. In the third stanza of 'For the Union Dead', the line 'My hand draws back.' is included.

I often sigh still. The caesura gives a short pause to allow the reader to hypothetically travel back to the present. Also, the harsh 'ack' sound of back brings the reader back with a jolt, like waking from a dream. The word 'still' emphasizes that even though he was referring to his childhood in modern society, he longs for the 'kingdom of the fish and reptile'. He describes it as 'dark downward', and the alliteration links these two controversial adjectives. They describe everything modern America is not.

Modern skyscrapers and city streetlights with large neon signs have illuminated the night, eradicating darkness. Lowell effectively conveys a sense of not belonging to either world. Similar to how he used to observe the fish in an aquarium, he now views contemporary society as an outsider. In the same stanza, he recalls a particular memory to highlight its significance. The phrase "I pressed against the new barbed and galvanised fence on Boston common" spans two stanzas, concluding in the third stanza with "barbed and galvanized." This creates an allusion of being confined and imprisoned.

However, starting the fourth stanza with 'fence on Boston Common' contradicts the previous allusion, demonstrating how oppression has infiltrated unexpected places. This serves as a harsh reality check, signifying that the author cannot revert back to the America of their childhood. It also suggests that the fence acts as a barrier, hindering their connection to the modern world and further

reinforcing their sense of not belonging. The author even describes it as a 'cage,' intensifying the notion of being trapped. Additionally, 'cage' carries connotations of oppression, thus tying back to racism and serving as a motivation for writing the poem.

The author utilizes a metaphor in which he compares the 'steamshovels' to 'dinosaurs'. This comparison is effective because 'dinosaur' carries connotations of extinction, as well as the brutality associated with the teeth and jaws of Tyrannosaurus Rex. In the final line of this stanza, Lowell refers to the car park as an 'underworld garage', which holds dual meanings. While the car park is physically located underground, the author also makes a reference to the underworld, hell, and evil. The following stanza commences with the phrase 'Parking spaces luxuriate'. This suggests opulence and extravagance, indicating that the car park will cater exclusively to wealthy individuals.

The poor's enjoyment of the aquarium in the commercial world is being replaced by a money-making scheme exclusively for the rich. The term 'civic sandpiles' refers to construction projects funded by citizens' taxes and organized by the city council. Lowell illustrates this occurrence in the 'heart of Boston', highlighting how commercialism has taken over. This idea is further exemplified in the following stanza, where we perceive the statehouse trembling from excavations, as it confronts Colonel Shaw. At a literal level, the shaking is caused by digging and machinery.

The statue of Colonel Shaw, a leader of the Negro Infantry in the American Civil War, symbolizes anger on a metaphoric level. It serves as a commemoration for the Negro soldiers who lost their lives defending rights that are now taken for granted by those in

the statehouse. In stanza eight, the statue is described as "Their monument sticks like a fishbone in the city's throat." This simile compares the monument's ability to irritate racists in the statehouse to the discomfort caused by a fishbone lodged in one's throat.

The monument in the city's throat affects the voice of the statesmen. In stanza nine, Colonel Shaw is described as 'lean as a compass needle', symbolizing his role as a guiding force for his men. The metaphor 'he has an angry wrenlike vigilance' in the same stanza implies that while normally peaceful, the Colonel and his soldiers would fiercely defend their homes and families.

The stanza ends by stating that the statue, disliked by the author, "seems to winch at pleasure," implying disapproval of the modern commercial attitude towards life. These descriptions of Colonel Shaw highlight his reverence for a man who believed in fairness, equality, and the true values of life. In the thirteenth stanza, it is mentioned that Shaw's father did not desire an extravagant monument for his son. Instead, he wished for him to be buried alongside his comrades, the men he had fought alongside, whose bodies were tossed into a ditch—a mass grave. The following stanza begins with the line "The ditch is nearer." This simple yet impactful statement serves as a reminder that death is always close at hand.

The advertisement refers to a photograph of the atomic bomb exploding at Hiroshima, suggesting that a Mosler safe survived the blast. Lowell is deeply angered by the exploitation of an event that caused the deaths of countless individuals for commercial purposes. Once more, he observes America's preoccupation with materialism and

financial gain. In the penultimate stanza, there is a single line: 'Colonel Shaw is riding on his bubble, he waits for the blessed break.' This metaphor depicts Shaw and Lowell waiting for the arrival of freedom, anxiously awaiting 'the blessed break.'

However, as they wait for freedom, they travel farther away from it within the confines of their life "bubble". The last stanza commences with a concise yet impactful declaration: "the aquarium is gone". This statement conveys the loss of the traditional values of Lowell's childhood, overshadowed by the consumerism prevalent in modern America. In this new era, cars have replaced the fish, as "giant fined cars nose forward like fish". The phrase "a savage serility slides by on grease" suggests that now we are all servants to money, striving to effortlessly slide through life. This use of sibilants serves to strengthen and connect the phrase.

America's relentless pursuit of power and wealth propels it forward, unstoppable. 'For the Union Dead' delves into various aspects of American life throughout different eras. Penned a century after the American Civil War, this poem alludes to the significant historical event which aimed to eradicate slavery and secure equality for African Americans. Notably, Martin Luther King Jr.'s iconic speech also recalls the American Civil War and highlights its aim to eliminate racism. Furthermore, the poem reflects on Robert Lowell's own childhood experiences, closer in time to the present moment.

The poem mixes present and future elements to depict the grim reality of American life. While the overall tone may differ, both Robert Lowell's poem and Benjamin Zephaniah's 'What Stephen Lawrence has taught us' highlight the bitter and hopeless future they foresee.

In contrast, Zephaniah expresses anger and forcefulness, while Lowell merely presents his viewpoint without imposing it on the reader. In April 1993, Stephen Lawrence, a black schoolboy, was fatally stabbed by five white youths while waiting at a bus stop.

However, during their trial, a mistake occurred with the evidence, resulting in their acquittal. Subsequently, an inquiry took place four years later. Nevertheless, the youths were not retried due to the legal prohibition of being tried twice for the same offense. Nonetheless, this inquiry exposed errors committed by the Metropolitan police throughout the murder investigation. Benjamin Zephaniah's "What Stephen Lawrence has taught us," written in 2001, reflects on these events with a noticeable angry tone. The poem's style adopts a colloquial approach as Stephen Lawrence portrays his personal perspective of the world.

The text highlights the importance of using simple language and avoiding complex vocabulary to ensure easy comprehension. It discusses the article 'What Stephen Lawrence has taught us' which confidently states the fact that 'we know' who the killers are. This emphasizes that due to a police error, the killers were able to escape punishment, as if we are certain of their identity, the police must have made a significant mistake. Despite the courts not finding the white youths guilty, we, as readers, are aware of their guilt. The following sentence employs the verb 'strut'.

This is repeated two lines later to enhance its impact. The term "strut" conveys a high level of confidence and gives the impression that the murderers consider themselves above the law. The very word "strut" carries a sense of wickedness, as the slow 's' sound at the beginning leads up to

the harsh 't' sound at the end. This causes the word to be expelled from your mouth like a distasteful piece of food. The association with disgust clearly reflects Stephen Lawrence's opinion of the killers. The simile "As proud as sick Mussolini" strongly evokes memories of the Second World War dictator.

Mussolini's arrogance was visually portrayed through the use of low angled photography, creating an impression of heightened importance and power. By drawing a comparison between the killers and Mussolini, it becomes clear that they possessed a sense of superiority not only over Stephen Lawrence, but also over the law itself. The symbolism behind Mussolini as a representation of evil and dictatorship serves to reinforce the killers' hatred and their belief in their own superiority. This consequently intensifies the readers' disdain towards them. Benjamin Zephaniah further characterizes the killers as "compassionless and arrogant," employing the use of two adjectives that are positioned on separate lines, yet connected by the conjunction "and."

This emphasizes the importance of these words and captures the readers' attention towards them. Subsequently, Zephaniah exchanges the verb 'strut' for 'paraded', creating a parallel effect. Following this, there is another simile where the murderers are referred to as 'angels of death'. This irony arises from the fact that angels typically evoke notions of sanctity and heaven. The irony persists in the subsequent line, describing the killers as being 'protected by the law'. Additionally, 'an angel of deaths' carries strong connotations reminiscent of the grim reaper, further bolstering the concept of malevolence.

The text highlights the irony and contradictions surrounding the association of angels with protection, which in turn creates negative images of both the police

and killers. It further explores the portrayal of 'black people' in the second stanza, wherein the term is used to symbolize all minority groups subjected to racial abuse. The idiom 'Black people do not have chips on their shoulders' serves to convey that they are not seeking conflict. Additionally, it explains that they bear 'injustice on their backs', signifying the suffering they endure.

The mention of "injustice on their backs" implies the notion of enduring strain or carrying a burden, evoking connotations of slavery. This alludes to the type of injustice being referred to. The speaker further states that they possess "justice on their minds." By connecting the back - a tangible, physical body part - with injustice, it highlights the concrete nature of injustice. However, justice is associated with the mind, which cannot be physically touched or seen, mirroring how justice itself is intangible and cannot be directly seen or experienced.

The text suggests that black people will never truly experience justice despite their hopes. The author employs a metaphor, comparing the road to liberty with the road from slavery, to emphasize that the abolition of slavery does not guarantee complete justice and freedom. This metaphor is impactful and evokes associations with slavery, the civil rights movement led by Martin Luther King Jr., and the prolonged struggle of black people for human rights. By referencing "the road from slavery," the author implies connections to the American Civil War and the failure to uphold the principles that led to its occurrence.

The third stanza of 'What Stephen Lawrence has taught us' emphasizes the importance of not taking everyday tasks for granted, specifically waiting for a

bus. The use of alliteration in 'to take the tedious task' magnifies the idea of waiting and the passage of time. Additionally, Zephaniah employs a rhetorical question, 'Why are we paying for a police force that will not work for us?', to express his belief that the police force was responsible for Stephen Lawrence's killers evading justice.

The effectiveness of the rhetorical question lies in its implied obviousness, which greatly enhances the emphasis by refraining from giving a direct answer. The critique of the police force extends beyond that and challenges the perception of personal freedom held by individuals. Furthermore, the fourth stanza reiterates the previous attack on both the police force and the government for their failure to hold the killers accountable. Phrases such as "the illusion of freedom" and "institutionalised racism" carry considerable weight in conveying these ideas powerfully.

The concept of 'illusion of freedom' implies that regardless of one's thoughts or the rhetoric of politicians, true freedom does not exist if black individuals are killed without consequences. This notion is reinforced by the expression 'false sense of security as we walk the streets'. The term 'institutionalised racism' pertains to the police force and their endorsement of racist practices. Zephaniah criticizes both academics and highly revered police officers, referred to as 'super cops'. The colloquial usage of the term 'cop' in America accentuates the prevalence of racism, considering that certain American law enforcement agents are known for their racist tendencies. The alliteration connecting the words 'define' and 'die' in the following lines further emphasizes this point.

This highlights the ongoing issue of black people being killed and mistreated, while scholars engage in debates about the definition

of institutionalized racism. The repetition of "we continue" three times reinforces the perpetuation of these injustices. The phrase "we continue emptying our pockets on the pavements" holds a dual significance. On one hand, it alludes to being subjected to police searches due to the assumption that black individuals are criminals. On the other hand, it suggests that black individuals persist in paying taxes for a law enforcement and legal system that fails to safeguard their well-being.

The most provocative line in the poem is the rhetorical query 'Why are black people so frequently slain without any perpetrators?' This encapsulates Zephaniah's perspective and poses a thought-provoking question to those in power. The initial two lines of the fifth stanza begin with 'We are not discussing' and then proceed to feature two nouns divided by 'or'. This identical framework connects the nouns while carrying greater impact than mere enumeration. The opening four lines express our willingness to disregard the past, our lack of desire for retribution, and our demand for future fairness.

In the following lines, Zephaniah employs the term 'dis' instead of 'this', signaling his shift to his native Jamaican dialect. This serves as a reminder of his African heritage and his affiliation with an ethnic minority, enhancing the authenticity and credibility of his message. Additionally, he concludes by proclaiming 'God save the Queen', serving as a reminder of his Jamaican roots while also acknowledging his British identity. Furthermore, when Zephaniah beseeches 'And God save all those black children who want to grow up, god save all the brothers and sisters', he implores not only for divine protection over the Queen but also for the well-being of black

children and all individuals.

The title is reiterated for the third time, employing the rule of three, and asserts that 'racism is easy when you have friends in high places,' once again alluding to the perpetrators being granted immunity. However, it proceeds to state 'and friends in high places have no use whatsoever when they are not your friends.' This implies that although they can bail you out of trouble, they do not genuinely care about you like a true friend should.

At the end of the poem, Zephaniah employs a metaphor in the last stanza when he directly addresses Mr Condon, who was the head of the Metropolitan Police at that time. Zephaniah condescendingly suggests that Mr Condon should 'pop out of Teletubby land'. This depiction implies that Mr Condon is disillusioned and implies that if he were to briefly visit reality, he would understand the truth of the situation. By referring to him as being in 'Teletubby land', Zephaniah emphasizes his point as it symbolizes an extreme fantasy world where everything is ideal.