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In his essay "Art as Technique," Viktor Shklovsky observes that people lose their perceptions of things because of habitualization. When, for instance, a person picks up a pen that he has used repeatedly, he is not really cognizant of of this object in its entirety; instead, the pen is only recognizable as his tool for writing. But, contends Shklovsky, the fine arts make the familiar seem different--even strange--thereby enabling a person to "recover the sensation of life."
One poem that, perhaps, can serve as an example of this making of the familiar something strange is Emily Dickinson's poem "A Narrow Fellow in the Grass." (see link below)
In her verse, Dickinson describes a snake without mentioning what he is. Instead, she depicts this "fellow" with unorthodox descriptions and metaphors such as "a spotted shaft," "a whiplash/Unbraiding in the sun," one of "nature's people," and "this fellow" who causes "a tighter breathing/And zero at the bone."
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