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This article examines Francisco P. Ramírez’s editorial practice of altering reprint poems culled from periodicals, books, and anthologies from across the Hispanophone world and reprinted in Southern California. By isolating El Clamor Público’s poems, mapping their potential citational provenance and place of publication, and comparing reproductions to originals, I show how Ramírez’s reprint practices shaped authorship and genre in his paper. I propose Ramírez’s reprint practices are important examples of the print culture norm of editing reprint poems to centralize the reading public’s interests and experiences. Ramírez’s reprint practices made the poems more understandable to and relevant for a California audience while at the same time facilitating an intellectual and cultural sense of belonging that resists the reproduction of knowledge and aesthetics from a non-California epistemology. [ABSTRACT FROM AUTHOR]

This study analyzes the depiction of nature in poetry, especially in Ibn-Khafaja's and Wordsworth's selected poems. This study is based on New Criticism's conceptual, analytical, and theoretical approaches. New Criticism studies the achievement of the works' meanings by studying their "interrelationships of sound, texture, structure, rhetoric, and a host of other literary devices" (Bressler, 2011, p. 57). The significance of the study is to provide a parallel comparative study between these two poets whose religions, traditions, languages, and eras are dissimilar. Ibn-Khafaja recognizes his surrounding nature as the ideal and beautiful place where people feel relaxed, hopeful, and pleased. He states that humankind and nature are originally adapted to each other, and people are always fascinated by the beauty of nature. He sees nature as the typical shelter to stay happy and peaceful. He is fascinated by the images of the mountains, horses, birds, and trees. On the other hand, Wordsworth shows nature as a place of happiness, perfectness, and peace. He accentuates the deep relationship between human beings and nature, and how people admire nature in its beautiful images. Wordsworth presents how the fascinating images of nature can affect man's mood and mind. [ABSTRACT FROM AUTHOR]

The Sunni revivalist Muḥammad Ibn ʿAbd al-Wahhāb (d. 1792) has been subjected to rigorous scrutiny by a number of scholars. Much remains unknown about Ibn ʿAbd al-Wahhāb's life and work, however, not least the rationale behind his idiosyncratic style of authorship. Examining the scholar's theological writings from the vantage point of Arabia's oral vernacular and popular religious traditions casts new light on the particularities of Ibn ʿAbd al-Wahhāb's appeal. That appeal, this paper argues, is rooted in phenomena that were seemingly peripheral or even anathema to his puritanical religious mission, namely, poetry and magic. [ABSTRACT FROM AUTHOR]

The line is arguably the most defining feature of poetic structure. Discussions of prosody are prone to the limitations of convention, though the poet may strive for more freedom in the line. This paper begins by noting an example of a radical use of page space from Mallarmé and goes on to describe recent innovations and experiments with line breaks in work by Australian and New Zealand poets, and to summarise the functions of the line breaks used. These explorations of form show that the poetic line is neither static nor redundant in contemporary practice, and suggest the need for poets to reappraise the possibilities made available to them by the work of their peers. [ABSTRACT FROM PUBLISHER]

Trauma needs containment and recognition in order to be handled, and this project enabled the soldier to do both through the use of writing and poetry. This paper is based on the qualitative findings of an 18-month long poetry therapy group conducted in a veteran's center, and follows the progress of the veterans as they learned to use writing and poetry to focus on the present and reconnect to a broad spectrum of emotions they had been trained to suppress. The paper describes the theory behind the exercises and their impact on the veterans. [ABSTRACT FROM AUTHOR]

This paper examines the processes of creative writing, exploring in particular how intuition and analysis, unconscious and conscious, work together, and how the social and the personal are involved in these processes. The author discusses her experience of writing a sustained narrative poem with lyrical elements, and then as a teacher-educator discusses the implications for our understanding of the creative processes and classroom practice. Following the work of Csikszentmihalyi and colleagues (1994, 1996), the paper traces how not only personal but also social, cultural and disciplinary factors are at play in the development of the work. The first of these is the domain of knowledge and practice that has preceded the creative writer and must be mastered before s/he is in a position to innovate on the established norms. Next comes the "problematic" or dissonance, which arouses the psychic energy that engages both the conscious, analytical activities of the mind and its intuitive, even unconscious sphere. (Intuition is taken to refer to those more diffuse mental activities that are a-logical, non-analytical, associative, aesthetic and metaphoric.) As the work develops, the various processes are described and shown to be recursive: incubation (during which ideas churn around below the threshold of consciousness), insight (the "eureka" moment, when the pieces of the puzzle fall together), followed by evaluation of the idea (for its appropriateness and elegance, given the problematics) and the elaboration of the idea into a more fully worked out poem. After drafting, the field of experts is engaged - those who act as gatekeepers to determine whether the creative idea, product or process will be accepted into the domain. The paper concludes by arguing for the value of creative writing in English classrooms. [ABSTRACT FROM AUTHOR]

Through a focus on 'Moi, Eugénie Grandet', one of the last exhibitions Louise Bourgeois worked on before her death in 2010, this article explores the artist's writings, both public and private, and her interactions with writers, to assess the potentially literary nature of her written and visual works. Arguing that Bourgeois's dialogues with Honoré de Balzac's novel Eugénie Grandet is a contemporary and feminist response to a longstanding tradition of pictorial appropriations of Balzac's work—from Paul Cézanne's 'Frenhofer, c'est moi!' to Pablo Picasso's illustrations for the centenary edition of Balzac's The Unknown Masterpiece—this article brings to light a literary intertext to Bourgeois's visual works and contends that it is a crucial aspect of her œuvre. Reckoning with a growing critical interest in the artist's archives and a rising number of edited volumes devoted to her writings, this article considers existing claims that identify Bourgeois as a writer and a poet. Aligning with Roland Barthes's definition of the literary text as a 'new cloth woven with old quotations' and the figure of active reader developed in Barthes's own dialogues with Balzac, this article contends that Bourgeois's literariness is found in simultaneous writing, reading and visual practices and in the ambivalence—between dependency and resistance—towards the words they rely on. Ultimately, this exploration of Bourgeois's words participates in a wider debate on the status of artists' writings, first articulated in Linda Goddard's 2012 special issue of this journal, where they are defined through their 'heightened awareness of the inescapable tensions and crossovers between practice and discourse' and the way they 'bear the trace of this consciousness'. [ABSTRACT FROM AUTHOR]

Ideological bias put blinders on my eyes and cotton in my ears preventing me from taking an authentic ethnographic stance toward working-class women during the 2016 American presidential elections. The poem, Deplorables, recognizes that bias and tries to right it through concrete examples. In so doing, the poem is about any powerless woman who has been treated deplorably. And that’s why poetry. [ABSTRACT FROM AUTHOR]

An analysis of what Mayakovsky, Auden, Jarrell and other modern poets have written about their editing practices reveals a tension between the modernist proclamation that 'there are no rules' (Mayakovsky) and the fact that poets nonetheless need to find some sort of critical standard by which to edit their own work. In the case of an extreme egomaniac like Mayakovsky, one might be tempted to equate that critical standard with the massive law of his own ego - were it not that some part of him clearly finds its productions at times wanting. But if so, where does that critical voice come from? Upon what does it base its judgements? The psychoanalytic theory of the super-ego is key to my argument, which poses a challenge not merely to New Criticism's ideas about objective judgement, but also to the Freudian, and now common-sense, equation between the artist's work and the freedom of unconscious utterance. It suggests that such freedom comes by way of the critical voice in one's own head. [ABSTRACT FROM AUTHOR]

In this essay I offer a series of autobiographical ruminations and poems for inviting readers to reflect on poetic possibilities for conceiving and fostering the well‐being of teachers. As an educator, I am confronted daily with challenges. In order to sustain my spirit and energy, I turn to poetry, both reading and writing poetry, and I find in poetry a location of wisdom, sustenance and hope. One of my great concerns about teaching is that the demands are so relentless that even the most dedicated teachers often experience burnout, dissatisfaction, ennui, hopelessness and despair. Therefore, I claim that teachers, both beginning and experienced, should learn to know themselves as poets in order to foster living creatively in the pedagogic contexts of classrooms and the larger pedagogic contexts outside classrooms. I invite both new and experienced teachers to consider the significance of a phrase like ‘living poetically’. I seek to contextualize the more practical and pragmatic considerations of teaching in an understanding of pedagogy as a poetic, emotional, personal, spiritual commitment and experience. My claim is simply that transformative learning can be effectively promoted by giving attention to poetry and poetic knowing and poetic living. I am learning to live poetically, and I am learning that the heart of pedagogy is revitalized and sustained by poetic knowing, being and becoming. Poetry engages us with language, nurtures the inner life, acknowledges the particular and local, encourages us to listen to our hearts, fosters flexibility and trust, and invites creativity and creative living. [ABSTRACT FROM AUTHOR]