There
is a place where the sidewalk ends
And before the street begins,
And there the grass grows soft and white,
And there the sun burns crimson bright,
And there the moon-bird rests from his flight
To cool in the peppermint wind.
Let us leave this place where the smoke blows black
And the dark street winds and bends.
Past the pits where the asphalt flowers grow
We shall walk with a walk that is measured and slow,
And watch where the chalk-white arrows go
To the place where the sidewalk ends.
Yes we'll walk with a walk that is measured and slow,
And we'll go where the chalk-white arrows go,
For the children, they mark, and the children, they know
The place where the sidewalk ends.
And before the street begins,
And there the grass grows soft and white,
And there the sun burns crimson bright,
And there the moon-bird rests from his flight
To cool in the peppermint wind.
Let us leave this place where the smoke blows black
And the dark street winds and bends.
Past the pits where the asphalt flowers grow
We shall walk with a walk that is measured and slow,
And watch where the chalk-white arrows go
To the place where the sidewalk ends.
Yes we'll walk with a walk that is measured and slow,
And we'll go where the chalk-white arrows go,
For the children, they mark, and the children, they know
The place where the sidewalk ends.
From the first stanza, I definitely got the notion that this area between the where the sidewalk ends and the street is extremely inviting. The descriptive words used, soft, bright, the moon-bird rests, creates a very peaceful setting. It seems to me that this is where the author wants to be. Generally sidewalks and streets can be found in a metropolitan area, and the author wants to escape the street and the sidewalk. However, I am confused as to how being between the sidewalk and the street would actually offer an escape, because in my mind, leaving the place altogether and going to a country setting where these things can always be found seems like the best solution. Perhaps she is making a commentary on the idea that we are destroying what is beautiful with the construction of our cities, and there are only very small places where one can find an area of beauty, as described in the first stanza.
ReplyDeleteI agree that the descriptive words in the first stanza create a peaceful setting that makes us believe the author wants to go there. However, I do not think this place is meant to be thought of as something tangible, but rather a mindset. In the second stanza she uses the word "dark" and "smoke" which give off ominous imagery to show that the place she is currently entangled in is one of negativity, so I think it is safe to infer that she wants to leave the place. But the fact that she refers to the sidewalk ending does not make sense to be taken literally, and this incongruity leads me to believe that there is a deeper meaning in that the place she wants to go to is more of a state of mind. I see this being a state of mind because the space between the sidewalk and street creates an image of a small curb area, but is described with such gleeful and welcoming words like "crimson bright", "white", and "soft", which give off an over-exaggeration of happiness brought from the place, and if taken literally would not make sense.
ReplyDelete(This is Alexandra W by the way)
DeleteI also agree with Alex that the "inbetween" area from the sidewalk and the street is not meant to be taken literally. However, I believe that the place is more of an imaginary land because the first stanza describes this wonderful place with images of delightful things such as "soft", "white", "bright", "peppermint". Then, at the end of the poem Silverstein mentions that the children know of the place: "For the children, they mark, and the children, they know/ The place where the sidewalk ends". The fact that children are mentioned and the place is described as wonderful makes me think that this middle ground place is either an imaginary world or one's imagination in general because children are often creative and wild and free with their thouhghts.
ReplyDeleteI pretty much agree with everything that has been said so far. I absolutely agree that "where the sidewalk ends" represents an imaginary place where Silverstein wants to go. I think on top of what Adam said about the destruction of matural and earthly things with urbanization, but I also believe that Silverstein comments on how everything in society moves too quickly. In both the second and thrid stanzas she refers to their walking speed as, "measured and slow," thus suggesting that in her imaginary world, things will not move so fast, and the inhabaitants of her world will actually enjoy its beauty.
ReplyDeleteI think that the ideas of Adam and Erica, and the ideas of Alex, Gabby, and Tommy are actually all inter-connected. The first and most prominent thing that stood out to me was the clear division Silverstein creates between the beautiful and serene imagery of the "soft," "white," "bright," and "crimson" place where the sidewalk ends and the "black," "smokey," "dark," and "winding" place after. I feel like Silverstein is attempting to set up a clear distinction between the beauty that comes within appreciating the the things we actually have and the destruction that comes when we choose to ignore nature and create something when it isn't needed. In other words, we cannot appreciate all that we truly have in nature and in this place called earth. We don't see what we are afforded, and thus turn to destruction and blackness, thinking we are creating but really we are destroying natural beauty and covering up with the "smoke" and "asphalt" what we really had - blinding us further. Yet this idea of imaginary and a state of mind are also involved in the message. Silverstein tries to show through her defiance of time, as things move "slow," and her labeling of nature as inherently pure and "white," that we as a society and as a people cannot come to appreciate what we have if we do not first place ourselves in a state of mind where beauty can shine through and this addiction to urbanization is forgotten. This is where I think the mentioning of children is crucial. Children are associated with an innocent and pure mind, and Silverstein uses them as a model, showing that children have the ability to appreciate the beauty in nature and in what we have, but when we grow older we lose that and become blind. If we as adults, the ones in control, can put ourselves in that pure mindset like children - as Gabby mentioned - we can end up at that beautiful place where the sidewalk ends...
ReplyDeleteWhat a stretch...
DeleteI think Alex hit it right on the head. the use of children in theis poem is very cruical. Not only are children used to represent inocence Sliverstein also uses them to show how busy and consumed adult get with their own lifes. In stanza 2 and 3 there is a repition of "Yes we'll walk with a walk that is measured and slow" meaning that adults and society need to take a step back and and allow themseleves to enjoy life and then he goes on to write "For the children, they mark, and the children, they know" meaning that kids know how to enjoy life because they dont get consumed with their life and are not always on the move so they are happy.
DeleteI lean toward believing that neither of these places are literal places but instead two different perspectives - a unique state of mind. In regards to "where the sidewalk ends", the childhood imagination. Alex stated that Silverstein uses children as a model, which I agree with. I think the repetition of "children" in the second to last line emphasizes the idea that Silverstein wants the children to be the example. I don't know if I agree though that this is because a child is "pure"; I think the implications of that word choice might be problematic. I do agree though with Gabby when she says, "The fact that children are mentioned and the place is described as wonderful makes me think that this middle ground place is either an imaginary world or one's imagination in general because children are often creative and wild and free with their thoughts." It is, in my opinion, their joy that their imagination lets them conjure, especially the "cool in the peppermint wind", that makes them the model.
ReplyDeleteThe opposite then that you have been discussing is not necessarily the "city" vs the country, though I understand that analysis. I believe it is again a state of mind as just like the child state of mind seems just beyond reach, I think the language of this opposite is the same with "dark street wind[ing] and bend[ing]." Adults live in a routine world, a darkness of sorts. Their vision of the beauty (imagination) of the world is obscured. At the end, it is then suggested that they find this childlike state to find more happiness.
I agree that this place "where the sidewalk ends" is an imaginary place that criticizes all of society. Her decision to make it an imaginary place emphasizes her criticism on adults as they live in their routine lives full of "pits where the asphalt flowers grow" with absolutely no imagination whatsoever. This land Silverstein created represents the loss of all imaginative thoughts in the adult world.
ReplyDeleteFrom the poem, it seems as though "where the sidewalk ends" is imaginary. Although the vivid descriptions initially paint the scene to be one that is a literal place perhaps representing a city that the speaker (or author) knew well, I believe that to lead to a greater truth and in making a bigger commentary it is only a figuritive place. Because Silverstein writes for both children and adults, his description and commentary that he makes in this poem about society is one that both age groups can comprehend and that is imaginary. This place that Silverstein creates symbolizes the youth and innocence of the world as is described as "grass grows soft and white" and "the sun burns crimson bright." White symbolizes the innocence and creativity that children have and then in the last stanza Silverstein makes his commentary on society crystal clear with the comment of "for the children, they mark, and the children, they know the place where the sidewalk ends." He infers that this place that children know and are able to go is one that as people age, they lose the ability to go to, thus as a society adults especially need to open their minds and eyes to creativity.
ReplyDelete-Fiona M-S
Okay I defiantly see the technique analysis more clearly in that Silverstein is contrasting the imagination of children to the lack of imagination that adults have. This is especially professed when the smoke is used as a literal clouding of the imagination of the adults. I also think the arrows are important in this poem as to help with the meaning. The general connotation of the arrows would be to associate them with leading somewhere. This could mean that since people can "watch" and "go" where these arrows are leading them that anyone who "watches" or attempts to revisit this world of imagination can "go" there as well. The repetition of the arrows shows their significance and given that there are two different actions associated with the arrows, I feel they have to be connected in some way or another. Any thoughts on what the arrows might be pushing towards other than that adults have the ability to come back to a world of imagination if they put effort in?
ReplyDeletedefinitely***
ReplyDeleteAt closer analysis I agree with you Alex with the symbol of the "white arrows" leading to some destination. Silerstein elaborates on these arrows by describing them as "chalk-white." Perhaps the "chalk-white" describing the arrows infers that the arrows are erasable, symbolizing how easily they can be erased if adults don't focus their attention on creativity and reaching "where the sidewalk ends." I also recognize how the arrows are used by Silverstein to relate this place to one that is more realistic, thus allowing the reader to relate to the poem more. Perhaps initially as a young reader the symbol and meaning of the arrows was not understood but now that the reader has undergone change and maturity, they have the ability to comprehend the greater meaning of not only the arrows but the poem as a whole.
ReplyDelete-Fiona M-S
To answer Erica's question, I think that Silverstein's "place where the sidewalk ends" is representitive of a creative mind set that adults should try to become more accustomed to. I think that Mrs. Roush has a point when she said that Silverstein wants children to be the example because of the repetition of "children" pertaining to this place. The first two stanzas show a contrast in tone and word choice to show the differences between the two places. The first stanza uses euphony with words like "soft", "white", and "bright" to describe the "place where the sidewalk ends". The second stanza is a contrast to this place because Silverstein uses unpleasent diction with words like "black", "pit", and "asphalt". This contrast in addition to the importance of children shows that the "place" is a creative mindset because only the children can go to the end of the sidewalk. Alex W said, the imaginations between children and adults are the contrast between the imagery and syntax of the first two stanzas which also shows how the end of the sidewalk is a creative mindset.
ReplyDeleteObviously my first analysis of the poem has been greatly expanded, and I thank those of you who brought up the crucial focus on children. I read what Erica said about childhood being a state of mind, and I totally agreed. As Mrs. Roush said as well, adults seem to live in a monotonous world with little variety. Children are still very carefree, and open to experience. Since they "mark" and "know" this place where the sidewalk is, it is essential for them to protect it. It seems that when children stop seeking this place, it is when they fall into the dark, everday life of being an adult. As long as one can hold on to their knowledge this place, and continue to strive in it, they seem to be, in essence, saved from the "pits where the asphalt flowers grow". Pit is a very important word here, as it creates the notion that one can never escape once they enter. Once one allows their creative side to succomb to routine, it seems as though they can never truly gain it back.
ReplyDeleteThe ideas verbalized above add great depth to the understanding of this poem. Although I do not disagree with the contributions made, I do still have one burning question about this poem that, in putting it out there I may find has no measurable significance. Regardless, I agree that the children are used as models in this poem because they represent the carefree, imaginative, open-minded presence that adults lose within the monotony of the "pits." However, is there any significance in the sidewalk ending, and further that the children know the sidewalk ends? I was unsure if this held any significant meaning, and wanted to pose it to all of you. I feel like the sidewalk ending is symbolizing the point in which the child-like mindset stops; the sidewalk is a marker of the ability to think openly like the (model) children do. However, the children know that the sidewalk ends. Does this mean that the children see it as inevitable that one day they will lose the beautiful mindset they possess, so they should do all they can while they are still young? Or does it mean that the children look at adults, and see the monotony and the drear in their dullness and identify adulthood as the end of the sidewalk, thus they try to distance themselves from ever being in that position? (Like when we were kids, living in the moment and thinking that it would last forever, not wanting to grow up). OR, could it be the exact opposite, like when kids want to grow up fast, and Silverstein is actually shedding light on how it is unfortunate that we as kids want to grow up so fast, for the real value in youth is the mindset that we have and how open it is. Just throwing some ideas out there...
ReplyDelete-Monty
People! the author is a dude not a she!!
ReplyDelete