While James Wright's poem “Lying in a Hammock” accentuates desperation in fleeting moments of time, and Franz Wright's poem “Flight” exposes the consequences of a distant father on a son who desires a relationship he never had, the two poems are linked by the underlying theme of detachment. It is evident, by juxtaposing these two works, divided by literary devices such as style or syntax, the underlying themes are circumstantially shared and induced by the difficulties of life itself. John Wright sets the scene on someone else's farm, lying in a hammock; the poem seems to be in a conscious dream state. The butterfly sleeps and blows like a leaf: Wright paints these dreamy images of nature, his mind moving from the butterfly to the empty house, to the retreating cowbells, to the golden droppings of the horses, to the time of day and the lone hawk. . Every example, every personification blurs the boundary between human and non-human life, the boundary of reality. Every line, every image, visual or audio, is held with the utmost consideration, always building on the previous one. Every phrase is a critical part of the process, no note should be ignored. Neither the two trees, nor the embellished horse droppings, not even the title should be left without pause and reflection. The title tells the reader that Wright is essentially out of place; he is on another's farm, absorbed in his surroundings, unconsciously forced by nature's ethereal painting to feel as if he does not belong to him. Unfortunately, the reader may not fully understand this until the end of the poem, where he declares that he has wasted his life. The reader is forced to believe that part of his appreciation is a kind of sadness that comes from the poet's lack of tangi... middle of the paper... far away, light years away. Wright pulls back from an abysmal distance to no distance - closer than his bones - systematically arranged for emphasis. The memory of his father is like a wound that refuses to heal. The reader can feel the direct absence, the pain. In the fourth and final segment of Volo, past and present collide; set in 1963, the poet retains his age of 45. Both James and Franz Wright share the feeling of being trapped behind a glass wall, James from the outside world and Franz from his father. At the end of Franz's poem the wall does not dissolve but expands to include father and son. Franz Wright's final section relieves him of some of the desire by which he has been consumed. Wright's dream is the only place where he can reunite with his father, the only place where they can be "together, walking, talking happily, laughing and breathing”..”