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Articles 1291 - 1320 of 21522
Full-Text Articles in Poetry
Woods In September, Kay Mullen
Hawk, As Dusk Is Coming On, Mary Oliver
Vox Balaenae, David J. Rothman
If You Are Going To Take It Up Anyway, Listen, James Doyle
If You Are Going To Take It Up Anyway, Listen, James Doyle
Appalachia
No abstract provided.
End Of March Again, Robin Chapman
Lighting A Charcol Grill, Francis Blessington
Snow Geese, Wally Swist
Tents, Robin Chapman
North Branch Of The Big Thompson River, Sharon White
Sharp-Shinned Hawk, Wally Swist
In The White Mountains, Kay Mullen
Of Wading In Wetlands, Mary Linton
The Trees, Mary Oliver
The Saints Of April, Todd Davis
Grapevine, Francis Blessington
That's Life, John Menechino
That's Life, John Menechino
Master's Projects
This capstone project is a collection of poetry, meant to showcase all of what I have learned about developing a strong writing collection during my time in the MAPW program. The collection covers a myriad of topics, but many of them detail the mundane things in life and the small joys they have. Some poems also detail heavy mental thoughts, and encourage self-reflection and deep thinking.
The Poetic Experience As Supported By A Teacher/Poet’S Heartfelt Empathy, Joseph S. Pizzo
The Poetic Experience As Supported By A Teacher/Poet’S Heartfelt Empathy, Joseph S. Pizzo
New Jersey English Journal
This poem focuses on the productivity that is possible when a supportive teacher/poet establishes a supportive classroom environment within which their students can write and explore in a classroom where the positive outweighs the negative, thereby encouraging creativity.
Experimental Forms And Identity Politics In 21st Century American Poetry, Ronnie Stephens
Experimental Forms And Identity Politics In 21st Century American Poetry, Ronnie Stephens
Dialogue: The Interdisciplinary Journal of Popular Culture and Pedagogy
“Experimental Forms and Identity Politics in 21st Century American Poetry” explores the function of form in American poetry and its proximity to whiteness. Through an analysis of experimental and nontraditional forms I argue that poets Fatimah Asghar, Jericho Brown, Franny Choi, Natalie Diaz, Ilya Kaminsky, and Danez Smith challenge traditional notions of what a poem is; these authors use graphics and co-opt familiar text objects to challenge larger assumptions about gender identity, ableism, and the immigrant experience. These experimental forms are grounded in a larger poetic tradition that alters traditional forms, such as the sonnet, to disrupt and further dialogue …
Caffeine And Me, Chad Erickstad
Teddy Roosevelt National Park, Jonathan Sladko
Teddy Roosevelt National Park, Jonathan Sladko
Floodwall Magazine
I love traveling, and I hope to make it an integral part of my life by getting a job as a commercial pilot in the future. I also love capturing the beauty of the world as I see it while traveling full of vibrant colors, awe-inspiring scenery, and diverse cultures. I hope my photography is able to capture the world as I see it, so that I may share it with you.
Bernese Oberland, Jonathan Sladko
Bernese Oberland, Jonathan Sladko
Floodwall Magazine
I love traveling, and I hope to make it an integral part of my life by getting a job as a commercial pilot in the future. I also love capturing the beauty of the world as I see it while traveling full of vibrant colors, awe-inspiring scenery, and diverse cultures. I hope my photography is able to capture the world as I see it, so that I may share it with you.
Love Medicine, Casey Fuller
Love Medicine, Casey Fuller
Floodwall Magazine
I love words. Words are totally amazing. Words allude, cordon off, cordon in, exfoliate, and blossom. And words are just so strange. The meaning in words can change over, their footprints marking you with their history. And yet, one conclusion I’ve come to as an English PhD student at the University of North Dakota, as a person who lives and breathes and teaches words every day, is that words can’t express all of my feelings. It’s a sad notion for me—one that I’ve tried to deny. So, as an English PhD student who is far enough along in his studies …
Minima Moralia, Casey Fuller
Minima Moralia, Casey Fuller
Floodwall Magazine
I love words. Words are totally amazing. Words allude, cordon off, cordon in, exfoliate, and blossom. And words are just so strange. The meaning in words can change over, their footprints marking you with their history. And yet, one conclusion I’ve come to as an English PhD student at the University of North Dakota, as a person who lives and breathes and teaches words every day, is that words can’t express all of my feelings. It’s a sad notion for me—one that I’ve tried to deny. So, as an English PhD student who is far enough along in his studies …
Naked Lunch, Casey Fuller
Naked Lunch, Casey Fuller
Floodwall Magazine
I love words. Words are totally amazing. Words allude, cordon off, cordon in, exfoliate, and blossom. And words are just so strange. The meaning in words can change over, their footprints marking you with their history. And yet, one conclusion I’ve come to as an English PhD student at the University of North Dakota, as a person who lives and breathes and teaches words every day, is that words can’t express all of my feelings. It’s a sad notion for me—one that I’ve tried to deny. So, as an English PhD student who is far enough along in his studies …
Tree-Lined, Chad Erickstad
Tree-Lined, Chad Erickstad
Floodwall Magazine
The world we experience is constantly evolving; yet many of our experiences are universal through time. I use photography to capture these universal moments as well as the ones unique to our moment in history. I find nature to be a fertile subject, often at its most brutal or its most serene. I am also interested in ways we have shaped nature and architecture to function for our modern needs and meet our current definition of “aesthetically pleasing.”
Summer School, Nicholas Baldwin
Summer School, Nicholas Baldwin
Floodwall Magazine
I question conventional boundaries through a series of action and reaction, a safari between permanence and transience, interrogating whether paper is shaped forever. Pulp painting promises a negotiation of form while carrying abstraction. My intention is to evoke that magic certitude borne of a dedicated approach. Having caught some idea, I broaden it with weird fibers, give the thing depth, complete a cycle of reasoning by returning to the starting point in a way a sculptor might imagine the pose of a figure hidden in a lump of stone. By marrying feeling and intellect, I find a facility of control. …
Marbled Frog Wood Cut, Nicholas Baldwin
Marbled Frog Wood Cut, Nicholas Baldwin
Floodwall Magazine
I question conventional boundaries through a series of action and reaction, a safari between permanence and transience, interrogating whether paper is shaped forever. Pulp painting promises a negotiation of form while carrying abstraction. My intention is to evoke that magic certitude borne of a dedicated approach. Having caught some idea, I broaden it with weird fibers, give the thing depth, complete a cycle of reasoning by returning to the starting point in a way a sculptor might imagine the pose of a figure hidden in a lump of stone. By marrying feeling and intellect, I find a facility of control. …
Imitating, Nicholas Baldwin
Imitating, Nicholas Baldwin
Floodwall Magazine
I question conventional boundaries through a series of action and reaction, a safari between permanence and transience, interrogating whether paper is shaped forever. Pulp painting promises a negotiation of form while carrying abstraction. My intention is to evoke that magic certitude borne of a dedicated approach. Having caught some idea, I broaden it with weird fibers, give the thing depth, complete a cycle of reasoning by returning to the starting point in a way a sculptor might imagine the pose of a figure hidden in a lump of stone. By marrying feeling and intellect, I find a facility of control. …
Dominoes, Nicholas Baldwin
Dominoes, Nicholas Baldwin
Floodwall Magazine
I question conventional boundaries through a series of action and reaction, a safari between permanence and transience, interrogating whether paper is shaped forever. Pulp painting promises a negotiation of form while carrying abstraction. My intention is to evoke that magic certitude borne of a dedicated approach. Having caught some idea, I broaden it with weird fibers, give the thing depth, complete a cycle of reasoning by returning to the starting point in a way a sculptor might imagine the pose of a figure hidden in a lump of stone. By marrying feeling and intellect, I find a facility of control. …
Sometimes I Worry, Sevi Sapunar-Lahr