Poetry Commons^™

Litmag 1993-94, University Of Missouri-St. Louis

Litmag

Litmag’s goal is to nurture the creativity of the students, staff, and alumni of UMSL by increasing awareness of diverse literary and artistic talent. We aim to provide an inclusive, professional, and high-quality publication free of charge to UMSL and the local community

Ivy Leaves, 1993-1994, Ivy Leaves Editorial Staff

Ivy Leaves

The 1994 edition of the Anderson College journal of art and literature, Ivy Leaves.

The names of the known editors for this issue of Ivy Leaves were Jennifer Cox, Renate Gunnels, Alison Mode, Barry Watts, Shannon Betsinger, Lisa Edmonds, Andi Jacoby, Mary Nell Tysinger, Merry Lee Wentzky, Wayne Cox, and Susan Wooten.

Our Pain, Bentina Chisolm

Michigan Journal of Gender & Law

A poem.

Productive Destruction: Torture, Text, And The Body In The Old English 'Andreas', Christopher R. Fee

English Faculty Publications

Writing in the Old English Andreas is at once both a productive and a destructive activity. We first become aware of the dangerous power of the written word quite early in the poem, when we learn that the Mermedonians have subverted the normally productive activity of writing into a tool for calculating the execution dates of their prisoners (134-37). Later, the words uttered by the devil to incite the Mermedonians against Andreas illuminate the lexical relationship between the destructive nature of writing and the productive nature of torture in the semiotic context of the poem. Finally, in a sort of …

The Promethean, Volume 02, Number 02, Winter 1994, English Department, Concordia University-Portland

The Promethean

During the course of the term, I have been fortunate enough to have studied the many complex ideas behind the question, "What is a hero?" It has occured to me that heroes may do very little but stand for very much. Consider the "hero" whom we applaud for saving someone's life: the action, in itself, may take very little time and is done with even less thought; the "hero" places herself in a perilous position in order that someone else may live, not to gain attention or reward. It is this force, this respect for humanity which holds us together. …

The Female Language Barrier: A Close Reading Of The Poetry Of Emily Dickinson And Adrienne Rich, Annmarie Faiella

Honors Theses

Historically, the First Amendment right to free speech was limited to certain groups. Language, although constitutionally guaranteed since 1776, has not always been a freedom for everyone. Among those at language's mercy are immigrants, slaves, and women. Women's speech was limited not by a lack of knowledge, but by a societal acceptance of women as inferior.

What then do women do to overcome this ever-present chasm? What women did in the nineteenth century, the 1960s, and are still doing today is: write more creatively. The tighter the restraint of language, the more inventive the woman must be to use it …

Robert Frost And Maya Angelou: Poet-As-Rhetor In The Presidential Inauguration: Textual Symbols And The Symbol Of Enactment, Donna M. Witmer

Masters Theses

This criticism uses an organic approach to examine the rhetorical properties of Frost's and Angelou's inaugural poems and their individual enactments respective of the constraints and exigencies in the Presidential inaugurations of Kennedy and Clinton. Apparently responding to the constraints of television's sound bite as well as to exigencies of the traditional inauguration and the need to serve a new generation and a culturally diverse population, the Clinton Administration combined the poetic form, used to heighten an emotional response, with an enactment as a synecdochic symbol, used to assert sociopolitical ideology.

The Watermark: A Journal Of The Arts - Vol. 02 - 1994-1995, University Of Massachusetts Boston

The Watermark: A Journal of the Arts (1993-ongoing)

No abstract provided.

Lights And Shadows - 1994, University Of North Alabama

Lights and Shadows

Art and Literature Magazine

The Midwest Quarterly; Vol. 35 No. 2, Kelly Cherry, Adam Drozdek, Dan Vogel, Donald A. Crosby, Stephen Brockmann, James V. Mehl, Marcia Arrieta, Craig Challender, Philip Dacey, George Estreich, Carol Hamilton, Suzanne Keyworth, William Kloefkorn, Greg Kuzma, Lyn Lifshin, Mathew Murrey, Marjorie Saiser, Coreen Dwyer Wees, James W. Goodrich, Jo Mcdougall, Jared Carter

The Midwest Quarterly: A Journal of Contemporary Thought

Taking seriously C.P. Snow's mid-century caution that scientists and writers had increasingly little understanding of the other, KELLY CHERRY explains how she and other poets have reflected the scientific world. Author of ten books, including God's Loud Hand, a volume of poems to be published this year by Louisiana State University Press, Cherry is Professor of English at the University of Wisconsin, Madison.

After Kurt Gödel's proof that no theory can completely explain a system, particularly one involving arithmetic, ADAM DROZDEK suggests, only the intellectually arrogant scientist can presume to understand the nature of humans. Yet many have tried in …

A Handful Of Bees, Dzvinia Orlowsky

English Faculty Publications

The poems of Dzvinia Orlowsky negotiate matter and spirit with a feisty dreaminess. Wavering between these two worlds, the author of A Handful of Bees inhabits that pre-dawn landscape where wakefulness emerges only to recede, like a herd of horses or an outcropping of firs, into sleep mist. This is a countryside of honest uncertainty.
– Mary Maxwell, AGNI

I’d like to point out for particular mention Orlowsky’s handling of her religious background. Raised in a Ukrainian family, she was brought up to be a practicing Catholic. This subject has been explored by numerous writers, yet few can capture the …

0590: Maurice Harmon Papers, 1993-1994, Marshall University Special Collections

Guides to Manuscript Collections

This collection contains materials related to Maurice Harmon’s work during his time at Marshall University and slightly after. The bulk of the collection consists of works in progress by Harmon and others at Marshall. The works in progress included in this collection are “Sean O'Faolain”, Constable (London, England), 1994 and “Preserving the Word: Descriptive Catalogue of Maurice Harmon’s Library of Anglo-Irish Literature and Criticism” compiled by Barbara R. Brown and edited by Lisle G. Brown, John Deaver Drinko Academy for American Political Institutions and Civic Culture, 1996. These works consist of both proofs and files on floppy disks. Other materials …

Theseus And Ariadne, Charles Simic

The Prose Poem: An International Journal

No abstract provided.

A Window In The Poem, Jack Anderson

The Prose Poem: An International Journal

No abstract provided.

After A Fast, Walking In A Field Of Germinated Wheat, David Axelrod

The Prose Poem: An International Journal

No abstract provided.

The Barkeaters, Allan Aycock

The Prose Poem: An International Journal

No abstract provided.

The Committals, Michael Benedikt

The Prose Poem: An International Journal

No abstract provided.

What I Dreamed About, Catherine Bateson

The Prose Poem: An International Journal

No abstract provided.

Cafe Life (I), Michael Benedikt

The Prose Poem: An International Journal

No abstract provided.

212 Sewell Street, Krista Blagg

The Prose Poem: An International Journal

No abstract provided.

The Pine Cone, Robert Bly

The Prose Poem: An International Journal

No abstract provided.

The Boy Who Had One Thought, Robert Bly

The Prose Poem: An International Journal

No abstract provided.

Sure, It's True ..., Giannina Braschi

The Prose Poem: An International Journal

No abstract provided.

From Two Slow Roads ..., Giannina Braschi

The Prose Poem: An International Journal

No abstract provided.

I Always Knew ..., Giannina Braschi

The Prose Poem: An International Journal

No abstract provided.

From The Ochre World - #22, Jon Davis

The Prose Poem: An International Journal

No abstract provided.

From The Ochre World - #24, Jon Davis

The Prose Poem: An International Journal

Note: The Ochre World is a 45 page poem, formed at the junction of a dream, a news event, and some photographs of the Lascaux cave paintings. Some of the poem's sections can stand alone, others cannot, but all are enriched by a scheme of recurring imagery and an evolving "argument." Although unnumbered in the full manuscript, I have given these sections—which occur late in the poem—numbers, so the reader can feel the duration, at least, of the absent sections.
-- J.D.

[from original publication, 1994.]

From The Ochre World - #36, Jon Davis

The Prose Poem: An International Journal

Note: The Ochre World is a 45 page poem, formed at the junction of a dream, a news event, and some photographs of the Lascaux cave paintings. Some of the poem's sections can stand alone, others cannot, but all are enriched by a scheme of recurring imagery and an evolving "argument." Although unnumbered in the full manuscript, I have given these sections—which occur late in the poem—numbers, so the reader can feel the duration, at least, of the absent sections.
-- J.D.

[from original publication, 1994.]

From The Ochre World - #37, Jon Davis

The Prose Poem: An International Journal

Note: The Ochre World is a 45 page poem, formed at the junction of a dream, a news event, and some photographs of the Lascaux cave paintings. Some of the poem's sections can stand alone, others cannot, but all are enriched by a scheme of recurring imagery and an evolving "argument." Although unnumbered in the full manuscript, I have given these sections—which occur late in the poem—numbers, so the reader can feel the duration, at least, of the absent sections.
-- J.D.

[from original publication, 1994.]

From The Ochre World - #25, Jon Davis

The Prose Poem: An International Journal

Note: The Ochre World is a 45 page poem, formed at the junction of a dream, a news event, and some photographs of the Lascaux cave paintings. Some of the poem's sections can stand alone, others cannot, but all are enriched by a scheme of recurring imagery and an evolving "argument." Although unnumbered in the full manuscript, I have given these sections—which occur late in the poem—numbers, so the reader can feel the duration, at least, of the absent sections.
-- J.D.

[from original publication, 1994.]