What Kind Of Will Do I Need – Rupi Kaur has been maligned as a simple person, a socialite, a sarcastic and a sarcastic person. I do not want to argue about the character of the author himself, but I firmly believe that all art can be separated from its creator. If we cut the work of Rupi Kaur in her Instagram comments, we are free to provide the details that we found on the page, as in any song. One of the few defining features of Kaur’s poetry is the line break, so I would assume that everyone intentionally kept it. Kaur’s poem comes with small doodles attached to each page – in the spirit of post-structuralism we will consider these parts of the text. With these popular items in mind, let’s review our first one:
The high reading of this poem, as with all of Kaur’s poems, is very simple. It shows the existence of love that escapes, and shows the difference between the person who gives energy. But between those lines are expressions of autistic despair. To know:
What Kind Of Will Do I Need
Placed in its own line. When I read Kaur, I always try to consider each line as a complete thought in itself. This often has an esoteric meaning that will be obscured by ignoring the line breaks, as many do. “Kind” is, along with “kin”, a derivative of the Old English “cynde” – a word that can refer to a family, species, or gender. We read this line, therefore, as “I do not want
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Of love”. Not only love, but all the feelings associated with it are rejected by the speaker. Perhaps all feelings altogether. Continued.
“The kind of love that is boring”, “The kind of love that is boring”, “The kind of love that is boring” – those who refer can be careful here. The division between this line and the previous one is emphasized by the emphatic clauses that would be set against each other if they were combined – “love” vs “that”. In our reading above, “water” indicates emotional exhaustion. Here, emotions themselves are the source of fatigue – exhausting. “Love style” is boring or boring. Why not both? Expressing love (as a noun) with love (as a verb) leads to the lack of the former to support the latter. Kaur paints a bleak picture of human relationships. Limited possessions place great limits on our ability to love others, and, at least for the speaker, love is not a fully fulfilling thing. If he were to love someone, he would end his love quickly. We’re not given to understand exactly why his emotions are so guarded, but we can sympathize with the painful confusion of having to fall in love only to lose it completely.
A simple statement of desire. Despite his emotional weakness, the speaker still yearns for connection. The human element in him still wants to be with others. Loneliness is its own prison. The syllabic sequence here mimics the previous line – they are two sides of the same coin. The desire for companionship is part of the confusion that tears him apart.
Without punctuation, we save further confusion. “I need someone who gives me strength” is available, and is now on the top reading. This may be someone who restores the speaker’s feelings, but more likely he is someone who simply provides an association that he does not have. He can make peace with the lack of love, as long as he has someone who supports him in his life. But in the question mark this also becomes a continuation of the despair in the previous lines. “Who gives me strength?” Others are inspired by love. In a good relationship, love not only gives strength to both parties, but also strengthens their bond. It creates a feedback loop of energy that both people get from it. But since he can’t restore his ability to love like others do, the speaker is prevented from getting this privilege. He is cursed in a way that hinders him not only as a partner, but as an individual. This increases its price. Someone who at least gives him energy might be the next best thing.
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The image in this poem is a lily visited by birds. Their symbiotic relationship reflects the true love the speaker longs for.
This song is more complicated. We start with “Don’t make mistakes” – a piece that makes a little sense in itself, so we turn again to history. “Sin” comes from the German “mis” which means “bad” or “wrong”, and the Old Norse “taka” – to understand, or catch. Turning a little more literally, we can say that this line is “don’t catch the wrong thing”.
It is important to work on separating the first line from the second, because the second line that is now released adds a lot of complexity of sound to the work. “Salt for sugar” in link 1 tells us not to mistake the two for each other. A casual glance may reveal a white powder, but the difference should be obvious even to the naked eye upon close inspection. Only, line 2 gives a simple change – salt for sugar. Some of the first for some of the second.
Here, we need to be careful about drawing pictures in our reading. A spoonful of salt and a spoonful of sugar pour two white powders on a plain table. These two are from different sources, which is the first thing we show about the nature of this work. The second comes from the nature of the two ruins – an incomparable comparison. Indeed, images of fertility and feminine beauty influence Kaur’s work. We can assume that the idea of this image is not accidental.
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The first two lines establish the mood of the poem: barter. Barter is a creative process – two or more people contribute to the process by themselves, the result is more than the sum of its parts. Marketing and spirituality are similar concepts in this way. In fact, capitalism, the evolution / destruction of barter, is often described as a Thanatic impulse that overcomes the erotic. Barter is an exciting and playful, Kaur’s concept made it even better. “Salt for sugar” appears as an example of this type of change.
Of course, barter depends on the participation of both parties, otherwise it is just adultery. On another level, these three lines are almost saccharine home advice. “Don’t take the wrong thing – exchange salt for sugar, if he wants you.”
Much has been made of the effects of toxic masculinity on male and female relationships. One aspect of this that has not been explored is the frequency with which women encourage their patriarchs to date their partners. When she heard that his heart had softened, Lady Macbeth said to her husband:
What beast is t, then, that caused you to break this company for me? When you try to do it, you are a man; (1.7.49)
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Kaur encourages women to be gentle with their partners. Substituting sugar for salt is an example he uses – foods that are sweet are considered in many cultures to have a positive effect. On the other hand, the direction of the change is confusing – perhaps it removes sugar, and uses salt. Either way, the point is the same – to go against his “will” would be to “take the wrong”.
“If he wants you to be with him, he will,” is the motto. In a home reading, it would be better to see as “if you fulfill his wishes, he will be with you.”
If this song was just about how to be a good wife, it wouldn’t be worth writing. Kaur’s presentation is based on her description of fertility. Under this light, we understand that “fulfilling his desire” is connected to conception through the example of barter, and then, “and you will” becomes a true statement word.
This song comes out on top as a reassurance to women who have doubts about their relationship. One level is deeper, and it becomes advice on how to maintain a relationship. The level is deeper, and the advice is more powerful than just baking. Our speaker from the previous poem, without love to give, can still find the scars from having a child the perfect way to get a partner’s support.
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This song marks a departure, both for Kaur and for us. We won’t go line by line through this, as it is long. For Kaur, the voice has changed – the previous two pieces could be read as a woman expressing her inner thoughts, but this one is clearly speaking to someone. Has our speaker changed? In high level reading, maybe, but we close reading we will treat it as if the speaker is not changed – to a woman with emotional dysregulation. In this case, we will know who he is talking to. Returning again to our metatextual issue, the most prominent person in Kaur’s work besides the speaker himself is the speaker’s partner, whether real or imagined.