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The author points out the effectiveness of applying poetic style in writing research papers specially when they are about the pulp mills and paper industry. She said that most people just ignore poetry because, just like coating chemistry, they find it uninteresting. The author has mentioned the celebration of April as the National Poetry Month in the U.S., thus, she added, that poetry is already a part of people's daily lives.

In healthcare institutions across the country, the role of poetry continues to emerge within the liminal spaces between the medical humanities and clinical care. While the field of narrative medicine is well-developed generally, formal review of the state of poetry as a healing modality is limited. Poetry in the medical humanities literature has often been described by its indefinability as much as by its impact on healing. The power of poetry in healthcare is thought to be multi-faceted and deserves to be explored further. Poetry can be medicine for both patient and clinician. "Poetic Medicine" is a modality that has been utilized for the healing of grief, loss, wounds of the psyche and spirit, and as a process for expanding resiliency in healthcare-applications that are particularly relevant to the practice of hospice and palliative medicine-for patient and clinician alike. While numerous approaches share common themes, current programs bringing poetry into healthcare have been operating largely in isolation from each other-with a lack of national consensus on definitions or structures of interventions. Such isolation is a major restriction to the study and growth of Poetic Medicine. While it is not known with certitude, the number of Poetic Medicine programs in healthcare in the United States appears to be growing. In this paper, we propose an initial framework to define the role and impact of poetry in healthcare and then describe two different, well-established Poetic Medicine programs in the United States. [ABSTRACT FROM AUTHOR]

Why does anyone write poetry? Lisel Mueller (1924-2020) was a poet, author, and translator with a long and much-decorated career. She and her family fled Nazi Germany in the 1930s and emigrated to the United States, where she would establish herself as a writer. The poem "When I Am Asked" describes the beginning of her journey into poetry, undertaken during a period of grief after the death of her mother. Her writing would come to include nine collections of poetry and myriad accolades, including the 1981 National Book Award and the 1997 Pulitzer Prize for Poetry. Though her ouvre is filled with evocative works, this piece stands out as particularly relevant to physicians and other writers who find solace by expressing themselves through the art of poetry. [ABSTRACT FROM AUTHOR]

Purpose – Poets House, a poetry special collection in New York, hosts an annual exhibit of the preceding year's poetry publications in the USA. This paper aims to offer a selection of recommended titles that reflect the range of poetry titles including single-author works, anthologies, and prose about poetry. Design/methodology/approach – The paper researched and requested donations of 2010-2011 poetry titles from US poetry publishers to assemble and display a comprehensive collection of poetry publications, from which a selection of 50 titles was made. The selections should appeal to a range of poetry readers, from novices and students to poets looking to access the latest work from their peers. Findings – Over 2,500 poetry titles were published and/or available to readers in the USA between June 2010 and June 2011. These titles range from mainstream publishers to independent presses to artists' collectives publishing works from established poets as well as emerging and international poets. Research limitations/implications – Without a budget for collection development, the exhibit and resulting titles represent those which publishers have opted to donate to the library. Every effort is made to be all-inclusive, with the understanding that publishers may send only a selection of their list. The selected titles herein are based on the titles received for the exhibition. Practical implications – For 19 years Poets House's annual Showcase has been the main collection-development tool. Publishers donate copies of their titles, which are arranged by publisher for a month-long exhibition. This approach enriches the poetry special collection, a unique poetry library built on community participation. The all-inclusive collection-development approach results in a full representation of poetry publishing. Originality/value – A selection made from a comprehensive collection of the year's poetry titles offers a sample of poetry publishing from large to small presses and the self-published in the USA. [ABSTRACT FROM AUTHOR]

There is a strong connection between cities and literature; they inhabit and shape each other. Sociologists have studied the relationship between them, looking at how literary meaning is developed and how it shapes urban and social milieus. While there is a large body of poetry-based research, newspaper poetry remains largely unexplored in the United States. Drawing on discourse and content analysis of a new and never-used set of poems published in Milwaukee's two major alternative newspapers between 1967 and 1973, this article analyses poetic representations of Milwaukee's social, institutional and urban dimensions. Additionally, it examines variability and continuity in the focus of these poems, as well as the factors that might shape these patterns. The results show multiple technical and rhetoric mechanisms used by poets when representing that historical period poetically and reveal that even in periods of intense social upheaval, 'love' and 'death' appear to be the primary themes in which poets focus on. This article also devotes particular attention to the relationship between poetry and the urban space, and the implications of platforms of distribution and consumption in poetic representations of cities' historical periods and change building on literature on the connections between local environment and cultural production. [ABSTRACT FROM AUTHOR]

This article explores the relationship between metaphors and emotion in the context of adolescent distress and psychotherapeutic treatment. Drawing on data from an ethnographic study of Mexican American adolescents receiving outpatient treatment for a variety of emotional and behavioral problems, the article examines what I call "prescribed" metaphors deployed in mainstream, manualized child and adolescent Cognitive Behavioral Therapies commonly used in mainstream clinical contexts. I explore the models of emotion communicated to youth by one such metaphor, youth responses to this metaphor, and the potential implications for young people as they take up the underlying models and affective practices embedded in the metaphor. Specifically, I examine how youth respond to messages about emotion metacognition and emotion regulation embedded in a metaphor that equates feelings with temperatures that can be monitored and objectively measured. I find that youth are at once convinced that abstract knowledge about internal states is inherently valuable because it is linked to desired forms of personhood, but also concerned about the limits of technical metaphors to capture aspects of lived experience and the flattening and homogenization of affect that might accompany the practices such metaphors help to enact. I analyze alternative interpretations of prescribed metaphors as well as the spontaneous metaphors used by youth to talk about their emotions and experiences of distress, in an effort to think through the politics and poetics of emotion metaphors in the context of an evidence-based psychotherapy for young people. [ABSTRACT FROM AUTHOR]

The article examines the use of song-poetry as a vital element in the labor movement in the period 1865-1895. Karl Reuber is not a name scholars are likely to recall. Reuber earned his livelihood polishing furniture and pianos in Pittsburgh in the decades surrounding the Civil War. Like most working-class Americans, he did not leave behind personal papers or memoirs. He was simply one of the millions of workers who owed their survival to the nation's burgeoning industrial base. However, Reuber also joined those who repeatedly rose in protest against the abuses of the rising capitalist elite from 1865 to 1895 and who sought to check capitalist domination by joining fellow workers in a movement for collective redress. Worker gatherings featured song-poetry as a regular part of their agenda, while labor "bards" engendered considerable followings with skills of composition and declamation. The majority of these bards emerged from the ranks of the nation's burgeoning workforce, iron molders, coal miners, coopers, machinists, printers, shoemakers, bakers, railroad brakemen and engineers. This lore and song certainly deserves study in its own right. However, the greatest value of song-poetry may derive from its examination as cultural artifacts and historical documents.

Rhetoric and poetics have a long historical relationship; however, there is a dearth of literature in contemporary rhetorical studies that analyzes poems as forms of democratic dissent. This article begins with an assessment of John F. Kennedy’s eulogy of Robert Frost, followed with an analysis of Amiri Baraka’s “Black Art,” a poem that both supports and challenges Kennedy’s defense of poetry. Ultimately, this paper makes an argument for why critics might pay closer attention to poetry as both a medium for expressing dissenting messages and as an example of how language play itself can function as valuable democratic dissent. [ABSTRACT FROM PUBLISHER]

An interview with Dr. Tiffanie Tate Moore, author of "FloweTry: A collection of 108 poetic flows on Life, Love, and Liturgical issues" is presented. Topics discussed include influence of Dr. Moore's life journey on the poems and influence of poems on her life, numbers of poem in her book, and poem that inspired the most joyful memories in her life.

This paper investigates the ambiguous process of Czesław Miłosz’s integration with America (both its nature and culture) in the context of his literary commitments and“private obligations” to American poetry. It was a long and painful process, a constant struggle with the condition of exile, feelings of homelessness and uprootedness that finally revealed to the poet a “new identity” of the modern man, bound to recognize his unstable, shaky position in space and time. According to Miłosz, America was the testing ground for all mankind, and the very core of American literature had always been the question: “Who am I?”. Thus, Miłosz’s serious involvement in American history and culture gave him a new perspective on global civilization; it helped to recreate his own identity and to achieve a balance between homelessness and belonging. [ABSTRACT FROM AUTHOR]

The article explores the engagement of Australian poet A. D. Hope with Russian literature and argues for its centrality in Hope's thinking in the last three decades of his poetry. The author discusses Hope's essays, epistolary correspondences, and the notebooks archived at the National Library of Australia to trace Hope's familiarity with the Russian language, his translation projects, and the Russian essays Hope includes in his book "The New Cratylus: Notes on the Craft of Poetry."

This paper outlines the ways that Navajo poetry was framed in the late 1960s and early 1970s, as “unsophisticated” and non-literary by the introductory materials written by non-Native Americans for collections of Native American poetry. At issue was a view that saw the use of Navajo English, a distinctive vernacular dialect, as a deficient form of language use and the ways this was iconically read as an exemplar of the “inarticulate” Indian stereotype. I analyse the way that T.D. Allen presents Navajo poet Blackhorse Mitchell's first written poem and I contrast that with the ways that Mitchell described the motivations for the writing of the poem, the meaning of the poem, and the ways that in performing the poem in 2008 he changes the tense system that was imposed by Allen onto the poem back to a Navajo English aspectual system. Mitchell reasserts his authorship over this poem and the expressive potential of that poem. [ABSTRACT FROM AUTHOR]

This paper examines Robert Pinsky's book-length poem "An Explanation of America" (1979) through the lens of postnational critique. Although at first glance the poem embodies Pinsky's commitment to the unitary idea of American nation and culture, it also provides a useful vantage point from which to explore late twentieth-century poetry's engagements with global and local frameworks. "An Explanation of America" upholds the value of patriotism as a form of social attachment, but also acknowledges the role of cosmopolitan consciousness in the construction of American identity. In doing so, the poem clarifies the issues of identity, alterity and multiculturalism at the heart of current conversations about American postnation. [ABSTRACT FROM AUTHOR]

The article presents a literary criticism of the poetry collection "Battle-Pieces," by Herman Melville, analyzing the treatment of nationalism in their poetic voicing. The literary debate over Unionism in the post-Civil War era of the United States is highlighted. The author asserts that Melville intentionally utilized the influence of poetry as a form of political discourse.

Relates the experiences of an Alaska Indian college student while studying at the University of Alaska-Anchorage and the public outcry of Alaska Indians over the poem "Indian Girls." Inequality in the university; Information on the conflict between the Indian student and a poetry professor; Description of the poem.

Presents updates concerning the Wallace Stevens Society in the U.S. as of Fall 2001. Literary award received by poetry editor Joseph Duemer from the Ohio State University; Papers that will be presented at the Wallace Stevens Society program in New Orleans, Louisiana; Initiation of the fourth annual Wallace Stevens Memorial Poetry Reading in West Hartford, Connecticut.

Provides an overview of the papers presented at the conference "Greek at a Slight Angle: Cavafy and Classical Poetry," held at the University of Michigan in Ann Arbor in March 2002. Aim of the conference; Theme of the "Cavafy's Poetry of the Lost," by Daniel Mendelsohn; Focus of the conference.

This poem reflects on my work as an elementary level bilingual teacher. In the poem I highlight poignant moments shared with my Latinx students. I also explore my positionality and its significance in my work as a teacher. The poem uses a fluid mixture of English and Spanish to represent the daily linguistic culture of our shared classroom life. [ABSTRACT FROM AUTHOR]

This article provides a unique lens for understanding young children's poetry writing. It focuses on defamiliarization as a cultural tool and practice to engage students' imagination, playfulness, creativity and aesthetic experience into their poetry writing and to experience the world differently and aesthetically. The research aims of this article are (a) to examine how familiar things were defamiliarized in children's poetry writing process and poems and (b) to explore what and how aesthetic experiences could result from the defamiliarization process. More specifically, three key literacy events were selected from different writing units during one academic year. Ethnographic discourse analysis was adopted to examine the teacher–student interactive conversations in poetry writing when they defamiliarized their familiar things, places and situation. The data analysis showed that the defamiliarization process made an important contribution to the young writers' development of language, literacy and their sense of self as a writer. The results exemplified defamiliarization processes as a way to promote the teaching and learning of writing for aesthetic experience beyond linguistic text production. Furthermore, the article provides critical indicators that link children's writing and multilayered aesthetic experience, and it highlights the critical role of an adult/teacher in channelling children's affinity with play, imagination, creativity and aesthetic experience into their poetry writing. [ABSTRACT FROM AUTHOR]

An interview with U.S. writer Stephanie Strickland is presented. She states her interest in code, mathematics, and poetry as languages. She notes that electronic literature does not tends towards fragmentation and reading and knowledge acquisition make use of fragment in number of ways. She mentions that one cannot control proprietary obsolescing of platforms and commercial refusal to agree to common standards.

The article discusses the connection of poetry on the role of classroom teachers at the higher education in the U.S.

The article analyzes the pharmacological racial imagination of the late poet and novelist Jean Toomer. Topics discussed include allusions to the modernist soda fountain to American popular culture, identity as a bubbling fluid in the novel "Cane," and literary modernism linking pathology and pain with the fragmented aesthetic in Toomer's narratives.

This article presents a study which analyzes citations from 19 leading print and digital literary journals in North America over a ten-year-period to examine the publication frequencies of academically affiliated writers as well as these writers' strength in various literary genres. It notes the increase in undergraduate and graduate programs for creative writing at universities in North America.

Writing on such diverse works as Shakespeare's King Lear, Wallace Stevens's “Sunday Morning” and Vincente Minnelli's The Bandwagon, Stanley Cavell is a philosopher consistently moved to philosophize in the realm of the aesthetic. Cavell invokes Stevens, particularly, at moments of his oeuvre both casual and constructive. In a commemorative address of the “Pontigny-en-Amérique” encounters at Mount Holyoke College in 2006, Cavell takes Stevens as his direct subject. During the original Pontigny colloquia, held during the wartime summers of 1942–44, some of the leading European figures in the arts and sciences (among them Hannah Arendt and Claude Lévi-Strauss) gathered at Mount Holyoke with their American peers (Stevens, John Peale Bishop and Marianne Moore) for conversations about the future of human civilization and the place of philosophy in a precarious world. Stevens suggested at the Pontigny meeting that the philosopher, compared unfavourably to the poet, “fails to discover.” As it is precisely Cavell's acknowledgement of the accidental or the unexpected as displaced from philosophy that draws him to the writings of Stevens, the Mount Holyoke encounters promise an illuminating dialogue between the two. The affinity between such central champions of the poetic dimension of American philosophy is sometimes obvious, more times in question. [ABSTRACT FROM PUBLISHER]

This paper discusses the real depiction of society in the Harlem poems of Langston Hughes. The introduction deals with the origin of slavery and the beginning of Harlem Renaissance. The African Americans begin to understand their significance in America. The Black writers of the twentieth century started to express this newborn feeling of having significance in society, the need for social equivalence, protesting against injustice, wanting to go in search of African roots and the feeling of belongingness in America. Langston Hughes especially, among many other writers took to freezing history in the lines of his poems. The most remarkable pieces of work are the poems that deal with the happenings in Harlem. [ABSTRACT FROM AUTHOR]

An introduction to a series of articles about U.S. poetry during the time of crisis from 2000 to 2009 is presented, including one by Kaplan Harris on the response of New Narrative poets to acquired immunodeficiency syndrome (AIDS), the concept of belatedness as poetry technique after the September 11, 2001 terrorist attacks by Ann Keniston, and another on the proliferation of poetic nationalism after the attacks by Juliana Spahr.

The poet John Ashbery lived in Paris from roughly 1955 to 1965. It was during this period that Ashbery began writing art reviews, often examining the work of various Americans also living in Paris at this time. Among the many painters Ashbery was to review and publish about, one was the Chicago-born, Paris-based abstract expressionist Joan Mitchell and an exhibition of hers at a Paris gallery in 1964. In this essay I examine the early, more ''abstract'' poetry that Ashbery was developing during this period, thinking about it alongside the paintings of Mitchell (and, in particular, his writings about them). My contention is that Ashbery was in many ways emboldened by Mitchell's complex engagements with representation and abstraction, especially as they relate to the landscape. Ashbery was, through his close examination of such work, moved towards ever greater poetic and linguistic experimentations of his own. [ABSTRACT FROM AUTHOR]