Breaking Down Barriers: The Power of Urban Poetry in Social Justice Movements

Poetry has long played a considerable function in social justice motions throughout history. From the civil liberties motion to the defend gender equality, poets have actually utilized their words to motivate, educate, and mobilize neighborhoods. The power of poetry lies in its ability to communicate intricate feelings and concepts in a concise and impactful way. It has the capability to touch hearts, obstacle minds, and fire up a passion for change. Throughout history, poets have actually been at the forefront of social justice motions, utilizing their words to clarify injustices and advocate for equality. In modern love poems , poets like Walt Whitman and Emily Dickinson utilized their poetry to challenge social norms and advocate for specific liberty. During the civil liberties motion in the 1960s, poets like Langston Hughes and Maya Angelou provided voice to the battles of African Americans and inspired a generation to eliminate for equality. The value of poetry in advocacy can not be overstated. It has the power to humanize complex issues, evoke empathy, and create a sense of shared experience. Poetry can reach people on an emotional level, making them more responsive to new ideas and viewpoints. It can also work as a call to action, motivating individuals to get involved and make a distinction. The Evolution of Urban Poetry: From the Streets to the Phase Urban poetry, likewise known as spoken word or slam poetry, has its roots in the streets of marginalized neighborhoods. It became a type of expression for those who felt unheard and marginalized by society. In the 1960s and 1970s, urban poetry began to gain appeal as poets took their words from the streets to the phase. Gradually, urban poetry has actually evolved into an effective art form that integrates elements of storytelling, efficiency, and activism. Poets utilize rhythm, rhyme, and wordplay to engage audiences and communicate their messages. They typically include components of music, theater, and dance into their efficiencies, creating a multi-sensory experience for the audience. Significant city poets like Gil Scott-Heron, Nikki Giovanni, and Saul Williams have had a considerable effect on the art type. They have actually pushed the limits of what is possible with poetry, utilizing their words to challenge societal norms and motivate modification. Their performances have mesmerized audiences and accentuated crucial social concerns. The Power of Spoken Word: How Urban Poets Mesmerize Audiences Spoken word poetry has a distinct power to captivate audiences and produce a sense of intimacy and connection. Unlike written poetry, which is frequently checked out calmly, spoken word poetry is meant to be performed and heard. The poet's voice, tone, and body movement all add to the overall effect of the efficiency. Urban poets utilize a range of techniques to engage and mesmerize audiences. They frequently use brilliant images, metaphor, and storytelling to bring their words to life. They utilize rhythm and repetition to produce a musicality that draws listeners in. They likewise use their bodies and gestures to enhance the performance, making it a really immersive experience. Examples of effective spoken word efficiencies can be found in the work of poets like Sarah Kay, Andrea Gibson, and Rudy Francisco. Their performances are raw, emotional, and deeply personal. They deal with a large range of subjects, from love and heartbreak to social justice and identity. Their words resonate with audiences, leaving a lasting effect long after the performance is over. Breaking Down Barriers: How Urban Poetry Transcends Race and Class One of the most exceptional aspects of metropolitan poetry is its ability to transcend race and class. It has the power to bring people from various backgrounds together, creating a sense of unity and shared experience. In a world that typically feels divided, urban poetry has the prospective to bridge gaps and foster understanding. Urban poets often address concerns of race and class in their work, clarifying the experiences of marginalized communities. They utilize their words to challenge stereotypes, confront systemic oppressions, and advocate for equality. By sharing their stories and perspectives, they develop a space for discussion and compassion. Poets like Claudia Rankine, Danez Smith, and Patricia Smith have utilized their poetry to deal with problems of race and class in powerful and thought-provoking methods. Their words challenge listeners to challenge their own biases and analyze the methods which they add to systemic inequalities. Through their poetry, they influence individuals to act and work towards a more just and equitable society. The Crossway of Poetry and Activism: How Urban Poets Drive Modification Urban poets are not only artists however likewise activists. They utilize their poetry as a tool for driving social and political modification. Through their words, they raise awareness about important issues, challenge the status quo, and inspire individuals to do something about it. Urban poets frequently work together with grassroots companies, community groups, and social justice motions to enhance their message. They carry out at rallies, demonstrations, and community occasions, using their poetry to activate and stimulate audiences. They also use social media platforms to reach a wider audience and participate in online activism. Examples of metropolitan poets who have actually been associated with activism and advocacy work can be discovered in the work of poets like Aja Monet, Mahogany L. Browne, and Clint Smith. They have used their poetry to promote for racial justice, gender equality, and immigrant rights. Their words have motivated people to get associated with activism and make a difference in their communities. Poetry as a Tool for Empowerment: How Urban Poets Provide Voice to the Marginalized Urban poetry has the power to empower marginalized communities by giving them a voice and a platform to share their stories. It supplies a chance for individuals who have actually been silenced or disregarded by society to be heard and seen. Urban poets frequently give voice to underrepresented groups, clarifying their experiences and struggles. They challenge stereotypes, face systemic injustices, and advocate for equality. By sharing their stories and point of views, they empower others to do the same. Poets like Denice Frohman, Fatimah Asghar, and Angel Nafis have utilized their poetry to provide voice to the marginalized. They have actually taken on concerns such as migration, mental health, and LGBTQ+ rights in their work. Their words have actually resonated with people who have felt undetectable or unheard, inspiring them to speak up and share their own stories. The Healing Power of Poetry: How Urban Poets Attend To Injury and Injustice Urban poetry can be an effective tool for healing, both for people and neighborhoods. It provides an area for individuals to process their feelings, face trauma, and discover solace in shared experiences. It likewise serves as a way of attending to social and political injustices, offering voice to those who have actually been silenced or disregarded. Urban poets typically resolve issues of trauma and injustice in their work, using their words to bring attention to the discomfort and suffering experienced by marginalized neighborhoods. They offer a platform for individuals to share their stories and find healing through the power of words. Poets like Eve Ewing, Hanif Abdurraqib, and Safia Elhillo have used their poetry to deal with problems of trauma and injustice in effective and transformative ways. Their words provide comfort, recognition, and want to those who have experienced pain or oppression. Through their poetry, they produce a space for healing and resilience. From Demonstration to Progress: How Urban Poets Inspire Action Urban poets have a distinct ability to inspire action and change through their work. Their words can ignite an enthusiasm for justice, challenge social norms, and mobilize neighborhoods. By sharing their stories and perspectives, they inspire individuals to get involved and make a difference. Urban poets typically use their poetry to call attention to important social and political issues. They challenge the status quo, challenge systemic injustices, and supporter for equality. Through their words, they motivate people to take action and work towards a more simply and fair society. Examples of city poets who have actually been involved in effective projects for social and political modification can be discovered in the work of poets like Elizabeth Acevedo, Clint Smith, and Danez Smith. They have actually used their poetry to promote for issues such as weapon violence prevention, racial justice, and LGBTQ+ rights. Their words have actually motivated people to get involved in advocacy and make a tangible impact in their neighborhoods. The Worldwide Effect of Urban Poetry: How Poets Connect Throughout Borders Urban poetry has a global effect, transcending borders and cultures. Poets from various countries and backgrounds connect with each other through their shared love of words and their commitment to social justice. They team up, share ideas, and motivate each other to press the limits of the art type. Through social media platforms and online communities, metropolitan poets connect with each other throughout borders. They share their work, engage in discussion, and support each other's creative ventures. This international network of poets develops a sense of solidarity and unity, regardless of the geographical distances that separate them. The worldwide effect of urban poetry can be seen in the work of poets like Warsan Shire, Rupi Kaur, and Koleka Putuma. famous modern poets with people from various cultures and backgrounds, motivating them to use poetry as a tool for modification. Through their poetry, they produce a sense of connection and understanding that transcends borders. The Future of Urban Poetry: How the Art Form Continues to Evolve and Inspire Urban poetry continues to progress and influence, pressing the borders of what is possible with words. As brand-new voices emerge and brand-new point of views are shared, the art form continues to grow and adjust to the changing times. New and emerging urban poets are making their mark on the art type, bringing fresh point of views and innovative strategies. They are using their poetry to deal with pushing social issues, challenge societal norms, and influence modification. Their words have the power to form the future of metropolitan poetry and drive social justice movements forward. Examples of new and emerging urban poets can be found in the work of poets like Amanda Gorman, Danez Smith, and Morgan Parker. They are utilizing their poetry to resolve issues such as racial justice, climate change, and psychological health. Their words motivate people to think seriously, challenge the status quo, and work towards a more simply and equitable society. The Enduring Tradition of Urban Poetry in Social Justice Movements The long-lasting legacy of urban poetry in social justice movements can not be overstated. Throughout history, poets have used their words to inspire, inform, and mobilize neighborhoods. They have actually provided voice to the marginalized, challenged societal standards, and promoted for equality. Urban poetry has the power to go beyond race and class, bringing individuals from different backgrounds together. It has the ability to recover, resolve trauma, and provide solace in shared experiences. It influences action and drives social and political modification. As we seek to the future, metropolitan poetry will continue to progress and motivate. New voices will emerge, new perspectives will be shared, and brand-new methods will be checked out. The power of poetry in social justice motions will withstand, reminding us of the significance of words in producing a more just and fair world.

The Art of Emotion: How Reading Poems Can Help You Connect with Your Feelings

Poetry has been a powerful kind of expression throughout human history. From ancient civilizations to modern times, poets have utilized their words to capture the essence of human emotions and experiences. Poetry has the special capability to convey intricate emotions in a way that other types of communication can not. It can evoke feelings of pleasure, unhappiness, love, and anger, all within a couple of lines or stanzas. The power of poetry depends on its capability to take advantage of the depths of our souls and link us with our own feelings and the emotions of others. How Reading Poetry Can Help You Get In Touch With Your Inner Self Reading poetry can be a transformative experience that allows us to get in touch with our inner selves on a much deeper level. When we checked out poetry, we are welcomed to slow down and assess the words and their significance. of modern poetry can help us gain self-awareness and a better understanding of our own feelings. modern romantic poets explore universal themes and experiences, which can resonate with readers and make them feel less alone in their own struggles. For instance, the poem "The Roadway Not Taken" by Robert Frost motivates readers to reflect on the choices they have made in life and the courses they have actually taken. This poem welcomes readers to consider their own individual journeys and the impact that their choices have actually had on their lives. By engaging with this poem, readers can gain insight into their own decision-making procedures and review the courses they have actually picked. The Restorative Advantages of Reading Emotional Poetry Research has shown that reading psychological poetry can have healing benefits for readers. When we check out poetry that explores tough emotions or experiences, it can help us procedure and make sense of our own feelings. Poetry offers a safe area for readers to check out complex sensations such as grief, anger, and love. Research studies have actually found that reading poetry can lower tension levels and enhance total wellness. When we engage with emotional poetry, it can assist us release suppressed feelings and supply a sense of catharsis. By reading about the experiences of others through poetry, we can gain a more comprehensive point of view on our own feelings and discover solace in understanding that we are not alone in our battles. Comprehending the Role of Poetry in Emotional Intelligence Emotional intelligence is the capability to recognize, comprehend, and handle our own feelings, as well as the emotions of others. It plays a crucial function in personal and expert growth. Reading and composing poetry can assist develop psychological intelligence by fostering self-reflection and empathy. When we read poetry, we are exposed to a wide range of feelings and experiences. This exposure helps us develop a deeper understanding of our own feelings and the emotions of others. By engaging with various point of views and voices through poetry, we can broaden our emotional vocabulary and end up being more attuned to the feelings of those around us. The Connection Between Poetry and Empathy Poetry has the power to cultivate compassion within readers. When we check out poems that explore the experiences of others, it allows us to step into their shoes and see the world from their viewpoint. This empathetic connection can assist us establish a higher understanding and empathy for others. For example, the poem "Still I Increase" by Maya Angelou talks to the experiences of resilience and overcoming adversity. By reading this poem, readers can get insight into the struggles faced by marginalized communities and develop empathy for those who have faced comparable difficulties. How Poems Can Assist You Process Complicated Feelings Poetry has a special capability to assist readers procedure complex emotions such as sorrow, anger, and love. When we check out poems that deal with these emotions, it can provide a sense of recognition and understanding. For example, the poem "Funeral Blues" by W.H. Auden checks out the depths of sorrow and loss. By engaging with this poem, readers who have actually experienced loss can discover solace in understanding that their sensations are valid and shared by others. Poetry can supply an area for readers to confront and process these intricate emotions in such a way that feels safe and cathartic. The Art of Reading Poetry Mindfully for Emotional Recovery Reading poetry mindfully is an essential aspect of using it as a tool for psychological recovery. Mindful reading includes totally immersing oneself in the words and feelings of the poem, without judgment or distraction. To read poetry mindfully, it is valuable to find a peaceful area where you can completely concentrate on the words. Take your time to read each line and stanza, allowing the feelings to wash over you. Take note of how the poem makes you feel and any ideas or memories that arise. Enable yourself to totally experience the feelings that the poem evokes, without trying to analyze or translate them. Finding Motivation in Poems to Express Your Own Emotions Checking out poetry can inspire readers to express their own emotions through composing or other innovative outlets. When we engage with effective poems, it can ignite a trigger within us and influence us to discover our own voice. For example, the poem "I Know Why The Caged Bird Sings" by Maya Angelou speaks with the experiences of injustice and resilience. By reading this poem, readers may be inspired to compose their own poems or stories that show their own experiences of overcoming difficulty. The Value of Variety in Poetry for Emotional Connection It is important to read poetry from diverse voices and point of views in order to connect with emotions and experiences outside of our own. By engaging with poetry from various cultures, backgrounds, and identities, we can expand our understanding of the human experience. Diverse poetry allows us to step into the shoes of others and get insight into their distinct struggles and victories. It assists us develop empathy and compassion for those whose experiences may be different from our own. By seeking out poetry from varied voices, we can broaden our psychological horizons and foster a higher sense of connection with others. Tips for Incorporating Poetry into Your Daily Emotional Practice Incorporating poetry into your day-to-day psychological practice can be an effective method to get in touch with your emotions and promote overall well-being. Here are some useful suggestions for making poetry a regular part of your regimen: 1. Reserve dedicated time each day to check out poetry. Whether it remains in the morning, during your lunch break, or before bed, discover a time that works best for you. 2. Develop a comfortable reading space where you can completely immerse yourself in the words and emotions of the poem. This could be a comfy chair, a peaceful corner of your home, or perhaps outside in nature. 3. Keep a journal or note pad close-by to take down any ideas or reflections that emerge while checking out poetry. This can help you procedure and understand your own emotions. 4. Share your preferred poems with others. Poetry is suggested to be shared and can trigger meaningful discussions and connections with others. 5. Explore writing your own poems or innovative expressions motivated by the poems you read. This can be a cathartic method to reveal your own feelings and experiences. The Enduring Tradition of Poetry in Getting In Touch With Our Emotions In conclusion, poetry has an enduring tradition in assisting us connect with our emotions and each other. Throughout history, poets have utilized their words to capture the essence of human feelings and experiences. Reading emotional poetry can help us take advantage of our inner selves, process complex feelings, develop psychological intelligence, and cultivate empathy for others. By incorporating poetry into our everyday psychological practice, we can harness the power of this art type to promote self-awareness, recovery, and individual growth. Whether we are reading poems that reflect our own experiences or checking out varied voices and point of views, poetry has the capability to touch our souls and advise us of our shared mankind. Let us embrace the power of poetry and enable it to guide us on a journey of psychological connection and self-discovery.

Breaking the Rules: How Modern Poetry is Redefining the Art Form

Poetry has actually been a part of human culture for centuries, with its origins dating back to ancient civilizations such as Mesopotamia and Egypt. Throughout history, poetry has evolved and changed, reflecting the altering times and the shifting point of views of society. Comprehending modern poetry books of poetry is essential in order to value and evaluate the works of modern poets. By analyzing the key differences between standard and modern poetry, in addition to the various impacts that have formed modern-day poetry, we can get a much deeper understanding of this art kind and its significance in modern society. The Advancement of Poetry: From Conventional to Modern Standard poetry describes the poetic forms and structures that prevailed before the emergence of contemporary poetry in the late 19th and early 20th centuries. Conventional poetry typically abided by stringent guidelines of meter, rhyme, and type, such as sonnets, ballads, and haikus. These poems were characterized by their musicality and adherence to established conventions. Modern poetry, on the other hand, broke away from these conventional forms and welcomed experimentation and innovation. Modern poets sought to challenge the recognized standards of poetry by exploring new styles, utilizing unconventional language, and experimenting with kind and structure. This shift marked a considerable departure from the conventional notions of what poetry need to be. The Development of Modern Poetry: Breaking the Rules One of the defining attributes of contemporary poetry is its rejection of conventional rules and conventions. Modern poets looked for to break devoid of the restrictions of meter, rhyme, and type in order to reveal themselves more easily. They challenged the notion that poetry had to comply with a particular set of rules in order to be thought about legitimate or significant. Popular modern poets such as T.S. Eliot, Ezra Pound, and William Carlos Williams were at the forefront of this motion. They declined standard poetic types and experimented with brand-new methods of expressing their ideas and emotions. For example, Eliot's "The Waste Land" is a fragmented and intricate poem that defies standard narrative structure, while Pound's "In a Station of the City" condenses a vivid image into just two lines. The Power of Free Verse: How Modern Poets are Liberating Language Among the most significant developments in modern poetry is the increase of complimentary verse. Free verse is a kind of poetry that does not adhere to any specific meter or rhyme plan. Instead, it allows the poet to utilize language in a more flexible and meaningful method. Free verse uses poets the liberty to try out language and form, enabling them to create special and innovative works. It permits a more natural and conversational tone, and can be used to communicate a vast array of emotions and concepts. Modern poets such as Walt Whitman, Langston Hughes, and Allen Ginsberg have actually accepted totally free verse as a way of expressing their uniqueness and breaking away from standard poetic conventions. The Role of Experimentation in Modern Poetry Experimentation has always been a driving force in the advancement of poetry, however it became especially popular in the modern period. Modern poets looked for to push the borders of what was considered acceptable in poetry, challenging established standards and conventions. Lots of contemporary poets explore form and structure, developing brand-new poetic methods and designs. E.e. cummings played with punctuation and capitalization in his poems, producing a visual representation of his concepts on the page. Similarly, Gertrude Stein utilized repetition and wordplay to challenge standard concepts of significance and coherence. The Impact of Technology on Modern Poetry The advent of innovation has actually had a profound effect on modern-day poetry. With the increase of the web and digital media, poets have had the ability to reach broader audiences and experiment with brand-new types of expression. Lots of contemporary poets have actually embraced innovation as a tool for creating and sharing their work. For example, poets such as Rupi Kaur and Warsan Shire have actually gained appeal through social media platforms such as Instagram, where they share their poems in a visually enticing format. Additionally, poets have used technology to experiment with multimedia forms, incorporating components such as noise, video, and interactive aspects into their work. The Impact of Pop Culture on Modern Poetry Popular culture has likewise had a substantial impact on modern-day poetry. As society has actually become more interconnected and media-saturated, poets have actually drawn motivation from popular culture and integrated it into their work. Modern poets frequently engage with pop culture in order to talk about contemporary issues and check out the intricacies of modern life. For example, poets such as Claudia Rankine and Danez Smith have used popular culture referrals to deal with problems of race, identity, and social justice. By including components of popular culture into their work, these poets are able to get in touch with a broader audience and make their poetry more accessible and pertinent. The Value of Diversity in Modern Poetry Diversity is an essential aspect of contemporary poetry. As society ends up being more varied and multicultural, it is necessary for poetry to reflect the experiences and point of views of a wide range of voices. Modern poets have accepted variety by checking out themes of race, gender, sexuality, and identity in their work. They have challenged traditional notions of what poetry need to be by providing voice to marginalized communities and clarifying their experiences. Poets such as Audre Lorde, Ocean Vuong, and Nikki Giovanni have utilized their poetry to promote for social justice and equality. The Intersection of Politics and Poetry in the Modern Period Politics has actually always been linked with poetry, but in the contemporary age, the crossway in between the two has become even more noticable. Modern poets have utilized their work to deal with political problems and advocate for social change. Poetry has the power to motivate and set in motion people, making it an effective tool for political advocacy. Modern poets such as Langston Hughes, Maya Angelou, and Amiri Baraka have actually used their poetry to challenge the status quo and provide voice to the marginalized. They have actually resolved issues such as racism, inequality, and oppression, using their words to provoke idea and stimulate discussions. The Role of Performance in Modern Poetry Efficiency has ended up being an essential part of modern poetry. Efficiency poetry, likewise known as spoken word poetry, is a kind of poetry that is suggested to be carried out live in front of an audience. It frequently incorporates aspects of theater, music, and storytelling. Performance poetry enables poets to engage with their audience in a more direct and immediate way. It brings poetry to life, allowing the poet to utilize their voice, body movement, and gestures to convey meaning and emotion. Poets such as Sarah Kay, Saul Williams, and Andrea Gibson are understood for their effective performances, which mesmerize audiences and bring their words to life. The Future of Modern Poetry: Where is the Art Type Headed? The future of modern poetry is uncertain, however there are numerous patterns that may form its advancement in the coming years. One potential modification is the ongoing integration of technology into poetry. As innovation continues to advance, poets might explore new ways of incorporating multimedia aspects into their work. Another possible modification is the continued emphasis on variety and inclusivity in modern-day poetry. As society ends up being more aware of the need for representation and equality, it is likely that poets will continue to explore styles of race, gender, sexuality, and identity in their work. Furthermore, the type and structure of modern poetry might continue to progress. Poets may try out new poetic methods and styles, pushing the limits of what is considered acceptable in poetry. The Significance of Modern Poetry in Contemporary Society Modern poetry plays a substantial role in contemporary society by providing voice to marginalized neighborhoods, challenging established norms and conventions, and attending to pushing social and political concerns. It permits a variety of perspectives and experiences to be heard and acknowledged. Modern poets have the power to motivate, provoke thought, and trigger conversations. They have the capability to shed light on the intricacies of the human experience and to challenge the status quo. Through their words, contemporary poets can produce compassion, understanding, and connection amongst individuals from different backgrounds and experiences. In conclusion, the evolution of poetry from standard to modern kinds has actually been marked by a rejection of established standards and conventions, a concentrate on experimentation and development, and a commitment to variety and inclusivity. Modern poets have actually challenged standard concepts of what poetry need to be, utilizing language in new and unconventional ways to reveal their concepts and feelings. The significance of modern-day poetry in modern society can not be overstated. It has the power to influence, provoke thought, and stimulate discussions. It allows for a diversity of voices and experiences to be heard and acknowledged. As society continues to progress, it is most likely that contemporary poetry will continue to press the limits of what is thought about acceptable in poetry, exploring new themes, explore form and structure, and resolving pushing social and political concerns.

From T.S. Eliot to Rupi Kaur: A Journey Through Modern Poetry

Poetry has actually been a type of creative expression for centuries, with its roots dating back to ancient civilizations such as the Greeks and Romans. In time, poetry has developed and changed, showing the altering times and cultural shifts. Modern poetry, in particular, emerged in the late 19th and early 20th centuries as an action to the industrial revolution and the rapid modifications taking place in society. Modern poetry is identified by its experimentation with form, language, and topic. It often breaks away from standard poetic conventions and checks out new ways of expressing feelings and concepts. Modern poets sought to capture the intricacies of the modern-day world, addressing themes such as alienation, disillusionment, and the fragmentation of society. T.S. Eliot: The Pioneer of Modernist Poetry One of the most prominent figures in modern poetry is T.S. Eliot. Born in St. Louis, Missouri in 1888, Eliot moved to England in 1914 and became a British citizen in 1927. His most popular work, "The Waste Land," released in 1922, is considered a landmark in modernist poetry. " The Waste Land" is a complex and fragmented poem that reflects the disillusionment and anguish felt by many after World War It includes multiple voices, languages, and cultural references, developing a collage-like result that mirrors the fragmented nature of modern-day life. The poem checks out styles of death, decay, and spiritual emptiness, recording the sense of misery that pervaded post-war society. Eliot's usage of allusions to mythology, literature, and faith includes depth and intricacy to his work. He believed that poetry ought to be tough and tough for readers, requiring them to engage with the text on a deeper level. "The Waste Land" changed contemporary poetry by pressing the boundaries of kind and content, paving the way for future generations of poets to experiment and innovate. The Rise of Confessional Poetry: Sylvia Plath and Anne Sexton In the mid-20th century, a new kind of poetry emerged called confessional poetry. This design of poetry focused on the personal experiences and feelings of the poet, often diving into intimate and in some cases controversial subject. Two prominent figures in confessional poetry are Sylvia Plath and Anne Sexton. Sylvia Plath, born in 1932 in Boston, Massachusetts, is known for her deeply personal and confessional poems. Her most famous work, "Daddy," published posthumously in 1965, explores styles of identity, power, and the complex relationship in between a daughter and her father. The poem is filled with vibrant images and extreme feelings, showing Plath's own struggles with mental illness and her turbulent relationship with her dad. Anne Sexton, born in 1928 in Newton, Massachusetts, was another prominent figure in confessional poetry. Her poem "Her Kind," released in 1960, looks into themes of identity, social expectations, and the battles faced by ladies in a patriarchal society. Sexton's raw and honest representation of her own experiences resonated with lots of readers and assisted to promote confessional poetry as a category. The Beat Generation: Allen Ginsberg and Jack Kerouac The Beat Generation, a literary movement that emerged in the 1950s, had an extensive impact on contemporary poetry. The Beat poets declined traditional society and its worths, seeking rather to check out alternative lifestyles and obstacle societal norms. Two essential figures in the Beat Generation were Allen Ginsberg and Jack Kerouac. Allen Ginsberg's poem "Groan," published in 1956, is considered one of the defining works of the Beat Generation. The poem is an enthusiastic and unfiltered critique of American society, dealing with themes such as sexuality, substance abuse, and the search for spiritual meaning. "Groan" surprised and outraged many readers with its specific language and questionable subject, but it likewise resonated with a generation of youths who felt disillusioned with the status quo. Jack Kerouac's novel "On the Road," published in 1957, is another iconic work of the Beat Generation. The novel follows the journeys of Kerouac's change ego, Sal Paradise, as he starts a series of journey across America. "On the Roadway" records the spirit of disobedience and freedom that defined the Beat Generation, with its characters looking for to leave the restrictions of society and find meaning in their own experiences. The Witchcrafts Movement: Amiri Baraka and Nikki Giovanni The Black Magics Motion, also called the Black Visual, emerged in the 1960s as a reaction to the civil liberties motion and the continuous struggle for racial equality. This cultural and artistic movement looked for to commemorate black culture and identity, challenging white-dominated organizations and promoting self-determination. Amiri Baraka, formerly referred to as LeRoi Jones, was a key figure in the Black Arts Movement. His poem "Someone Blew Up America," released in 2001, is an effective review of American society and its treatment of marginalized communities. The poem addresses themes of bigotry, authorities cruelty, and political corruption, requiring a revolution and an extreme change of society. Nikki Giovanni, another prominent poet of the Black Arts Movement, is known for her vibrant and empowering poetry. Her poem "Ego Tripping," published in 1972, celebrates black identity and history, challenging standard stories that have actually marginalized black voices. Giovanni's poetry is characterized by its strong voice and unapologetic event of blackness. The Impact of Langston Hughes on Modern Poetry Langston Hughes, among the most well known poets of the Harlem Renaissance, had a profound influence on contemporary poetry. Born in 1902 in Joplin, Missouri, Hughes was a crucial figure in the African American literary and cultural movement of the 1920s and 1930s. Hughes' poem "The Negro Speaks of Rivers," released in 1921, is an effective exploration of black identity and history. The poem traces the history of African Americans from ancient civilizations to today day, commemorating their strength and strength. "The Negro Speaks of Rivers" is an influential operate in contemporary poetry, challenging traditional narratives and offering voice to marginalized communities. The Introduction of Feminist Poetry: Adrienne Rich and Audre Lorde Feminist poetry emerged in the 1960s and 1970s as a reaction to the ladies's freedom motion and the continuous battle for gender equality. This type of poetry looked for to challenge patriarchal norms and provide voice to women's experiences. Adrienne Rich, among the most influential feminist poets of the 20th century, checked out styles of gender, sexuality, and power in her work. Her poem "Diving into the Wreck," published in 1973, is a powerful expedition of female identity and the look for self-discovery. Rich's poetry is defined by its lyrical language and its ability to capture the intricacies of females's experiences. Audre Lorde, another prominent figure in feminist poetry, dealt with problems of race, sexuality, and intersectionality in her work. Her poem "A Litany for Survival," released in 1978, is an effective call to action, urging marginalized neighborhoods to come together and fight for their rights. Lorde's poetry is identified by its intense and unapologetic voice, challenging societal standards and promoting for social justice. The Haiku Revival: Basho and Matsuo Haiku poetry, a conventional type of Japanese poetry, experienced a revival in the 20th century as poets all over the world welcomed its simpleness and elegance. Haiku is characterized by its brevity and its focus on capturing a single minute or image. Matsuo Basho, a 17th-century Japanese poet, is thought about the master of haiku. famous modern poets "The Old Pond," published in 1686, is one of the most famous haiku on the planet. The poem catches the essence of a frog delving into an old pond, stimulating a sense of stillness and harmony. Matsuo's contemporary, Yosa Buson, likewise made significant contributions to haiku poetry. His poem "In the cicada's cry," released in the 18th century, catches the fleeting beauty of a summer evening, with the noise of cicadas filling the air. Buson's haiku is characterized by its vivid images and its capability to evoke a sense of nostalgia. The Contemporary Poetics of Warsan Shire Warsan Shire, a British-Somali poet, has acquired worldwide acclaim for her effective and evocative poetry. Born in 1988 in Kenya to Somali parents, Shire's work explores styles of identity, displacement, and the experiences of refugees and immigrants. Shire's poem "Home," published in 2011, is a haunting exploration of what it indicates to belong and to be rooted out from one's homeland. The poem captures the pain and yearning felt by those who have actually been required to leave their homes due to war or political unrest. Shire's poetry is identified by its raw emotion and its ability to offer voice to those who have been silenced. Rupi Kaur: The Instagram Poet Who Changed the Video game Rupi Kaur, a Canadian poet of Indian descent, has actually gained extensive popularity for her minimalist and accessible poetry. Kaur's work frequently attends to styles of love, heartbreak, and healing, resonating with a generation of readers who get in touch with her sincere and relatable voice. Kaur's debut collection, "Milk and Honey," released in 2014, became a bestseller and catapulted her to popularity. The collection is divided into four sections, each checking out a various element of love and loss. Kaur's poetry is characterized by its simplicity and its ability to record complex feelings in simply a couple of words. The Future of Modern Poetry The development of contemporary poetry has actually been marked by experimentation, innovation, and a desire to catch the complexities of the modern world. From T.S. Eliot's groundbreaking "The Waste Land" to the confessional poetry of Sylvia Plath and Anne Sexton, modern poets have pressed the borders of type and material, challenging conventional conventions and providing voice to marginalized communities. As we want to the future, it is clear that contemporary poetry will continue to evolve and adjust to the altering times. With the rise of social networks platforms such as Instagram, poets like Warsan Shire and Rupi Kaur have actually found new methods to reach audiences and connect with readers worldwide. The future of contemporary poetry holds excellent prospective for social change and cultural improvement. As poets continue to explore new forms, try out language, and address pressing social issues, they have the power to challenge societal norms, offer voice to marginalized neighborhoods, and inspire readers to see the world in brand-new ways. best modern poetry books will continue to be a powerful tool for self-expression, compassion, and understanding in an ever-changing world.

Louise Glück | Poems 1962 - 2012 | excerpt from Parable Of The Dove | Meadowlands

Diane Arbus

Gerard Malanga

1966

क़ूवते लफ़्ज़

kuwate lafz akhir kanha jaanyekya Bas in panno me hi simat jaayeEhsaso ko kuch is kadar likhoRooh wa qalb me bas utar jaaye… क़ूवते लफ़्ज़ अखिर कंहा जांएक्या बस इन पन्नों में ही सिमट जाएएहसासों को कुछ इस कदर लिखोरूह व क़ल्ब में बस उतर जाए.. “Rashid Ali Ghazipuri”

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It bugs me that so many people's default example of published fanfic is 50 Shades of Grey.

What about West Side Story, a famous modern AU of Shakespeare's Romeo and Juliet?

What about Dante's Inferno, a self-insert RPF if I've ever seen one?

What about Wicked, a pre-canon AU of The Wizard of Oz?

Hell, what about Percy Jackson? There's definitely an argument to be made that that's a modern AU of various Greek myths.

Humans have been writing fanfic as long as they have been telling stories. In about the year 20 BC, our dear Roman poet Ovid wrote the Heroides, a series of aggrieved "letters" from the female characters of famous myths to their respective male heroes. Are you telling me that Ovid, writing a letter from the perspective of Queen Dido to Aeneas -- Aeneas, whose fantastical adventures were put into poem by Virgil -- wasn't writing an outsider-POV fic? A fic that is, in fact, translated in Latin classes world-wide today!

There is so much famous fanfic out there, but people tend to forget that it is fanfic once it becomes mainstream enough. And as a consequence of that, people who aren't into fandom don't see how beautiful fanfic is, and some members of fandom feel shame associated with writing and reading fic. But fanfic is beautiful, and it is something humans have always done, and it is nothing to be ashamed about.

So if you ever find yourself in a situation to give an example of published fic, think outside the box. Remember that published fanfics hide in plain sight; once they're famous enough, we no longer think of them as fanfic. And never forget that fanfic is a very, very old human tradition, and your ancestors who partook in it would not have wanted you to feel ashamed of it.

The truth about Medusa and her rape... Mythology breakdown time!

With the recent release of the Percy Jackson television series, Tumblr is bursting with mythological posts, and the apparition of Medusa the Gorgon has been the object of numerous talks throughout this website… Including more and more spreading of misinformation, and more debates about what is the “true” version of Medusa’s backstory.

Already let us make that clear: the idea that Medusa was actually “blessed” or “gifted” by Athena her petrifying gaze/snake-hair curse is to my knowledge not at all part of the Antique world. I still do not know exactly where this comes from, but I am aware of no Greek or Roman texts that talked about this – so it seems definitively a modern invention. After all, the figure of Medusa and her entire myth has been taken part, reinterpreted and modified by numerous modern women, feminist activist, feminist movements or artists engaged in the topic of women’s life and social conditions – most notably Medusa becoming the “symbol of raped women’ wrath and fury”. It is an interesting reading and a fascinating update of the ancient texts, and it is a worthy take on its own time and context – but today we are not talking about the posterity, reinvention and continuity of Medusa as a myth and a symbol. I want to clarify some points about the ACTUAL myth or legend of Medusa – the original tale, as told by the Greeks and then by the Romans.

Most specifically the question: Was Medusa raped?

Step 1: Yes, but no.

The backstory of Medusa you will find very often today, ranging from mythology manuals (vulgarization manuals of course) to Youtube videos, goes as such: Medusa was a priestess of Athena who got raped by Poseidon while in Athena’s temple, and as a result of this, Athena punished Medusa by turning her into the monstrous Gorgon.

Some will go even further claiming Athena’s “curse” wasn’t a punishment but a “gift” or blessing – and again, I don’t know where this comes from and nobody seems to be able to give me any reliable source for that, so… Let’s put this out of there.

Now this backstory – famous and popular enough to get into Riodan’s book series for example – is partially true. There are some elements here very wrong – and by wrong I do mean wrong.

The story of Medusa being raped and turned into a monster due to being raped does indeed exist, and it is the most famous and widespread of all the Medusa stories, the one people remembered for the longest time and wrote and illustrated the most about. Hence why Medusa became in the 20th century this very important cultural symbol tied to rape and the abuse of women and victim-blaming. HOWEVER – the origin of this story is Ovid’s Metamorphoses, from the first century CE or so. Ovid? A Roman poet writing for Roman people. “Metamorphoses”? One of the two fundamental works of Roman literature and one of the two main texts of Roman mythology, alongside Virgil’s Aeneid. This is a purely Roman story belonging to the Roman culture – and not the Greek one. The story of Medusa’s rape does not have Greek precedents to my knowledge, Ovid introduced the element of rape – which is no surprise given Ovid turned half of the romances of Greek mythology into rapes. Note that, on top of all this, Ovid wasn’t even writing for religious purposes, nor was his text an actual mythological effort – he wrote it with pure literary intentions at heart. It is just a piece of poetry and literature taking inspiration from the legends of the Greek world, not some sort of sacred text.

Second big point: The legend I summarized above? It isn’t even the story Ovid wrote, since there are a lot of elements that do not come from Ovid’s retelling of the story (book fourth of the Metamorphoses). For example Ovid never said Medusa was a priestess of Athena – all he said was that she was raped in the temple of Athena. I shouldn’t even be writing Athena since again, this is a Roman text: we are speaking of Minerva here, and of Neptune, not of Athena or Poseidon. Similarly, Minerva’s curse did not involve the petrifying gaze – rather all Ovid wrote about was that Minerva turned Medusa’s hair into snakes, to “punish” her because her hair were very beautiful, and it was what made her have many suitors (none of which she wanted to marry apparently), and it is also implied it is what made Neptune fall in love (or rather fall in lust) with her. I guess it is from this detail that the reading of “Athena’s curse was a gift” comes from – even though this story also clearly does victim-blaming of rape here.

But what is very fascinating is that… we are not definitively sure Neptune raped Medusa in Ovid’s retelling. For sure, the terms used by Ovid in his fourth book of Metamorphoses are clear: this was an action of violating, sexually assaulting, of soiling and corrupting, we are talking about rape. But Ovid refers several other times to Medusa in his other books, sometimes adding details the fourth-book stories does not have (the sixth book for examples evokes how Neptune turned into a bird to seduce Medusa, which is completely absent from the fourth book’s retelling of Medusa’ curse). And in all those other mentions, the terms to designate the relationship between Medusa and Neptune are more ambiguous, evoking seduction and romance rather than physical or sexual assault. (It does not help that Ovid has an habit of constantly confusing consensual and non-consensual sex in his poems, meaning that a rape in one book can turn into a romance in another, or reversal)

But the latter fact makes more sense when you recall that the rape element was invented and added by Ovid. Before, yes Poseidon and Medusa loved each other, but it was a pure romance, or at least a consensual one-night. Heck, if we go back to the oldest records of the love between Poseidon and Medusa, back in Hesiod’s Theogony, we have descriptions of the two of them laying together in a beautiful, flowery meadow – a stereotypical scene of pastoral romances – with no mention of any brutality or violence of any sort. As a result, it makes sense the original “romantic” story would still “leak” or cast a shadow over Ovid’s reinvented and slightly-confused tale.

Step 2: So… no rape?

Well, if we go by Greek texts, no, apparently Medusa was not raped in Greek mythology, and only became a rape victim through Ovid.

The Ancient Greek texts all record Poseidon and Medusa sleeping with each other and having children, but no mention of rape. And the whole “curse of Athena” thing is not present in the oldest records – no temple of Athena soiling, no angry Athena cursing a poor girl… “No curse?” you say “But then how did Medusa got turned into a Gorgon”? Answer: she did not. She was born like that.

As I said before, the oldest record of Medusa’s romance but also of her family comes from Hesiod’s Theogony (Hesiod being one of the two “founding authors” of Greek mythology, alongside Homer – Homer did wrote several times about Medusa, but only as a disembodied head and as a monster already dead, so we don’t have any information about her life). And what do we learn? That Medusa is part of a set of three sisters known as the Gorgons – because oh yes, Ovid did not mention Medusa’s sister now did he? How did Medusa’s sisters ALSO got snake-hair or petrifying-gaze if only Medusa was cursed for sleeping with Neptune? Ovid does not give us any answer because again, it is an “adaptational plot hole”, and the people that try to adapt Ovid’s story have to deal with the slight problem of Stheno and Euryale needing to share their sister’s curse despite seemingly not being involved in the whole Neptune business. Anyway, back to the Greek text.

So, you have those three Gorgon sisters, and Medusa is said to be mortal while her sisters are not. Why is it such a big deal? Because Medusa wasn’t originally some random human or priestess. Oh no! Who were the Gorgons’ parents? Phorcys and Keto/Ceto, aka two sea-gods. Not just two sea-gods – two sea-gods of the ancient, primordial generation of sea-gods, the one that predated Poseidon, and that were cousins to the Titans, the sea-gods born of Gaia mating with Pontos.

So the Gorgons were “divine” of nature – and this is why Medusa being a mortal was considered to be a MASSIVE problem and handicap for her, an abnormal thing for the daughter of two deities. But let’s dig a bit further… Who were Phorcys and Ceto? Long story short: in Greek mythology, they were considered to be sea-equivalents of Typhon and Gaia. They were the parents of many monsters and many sea-horrors: Keto/Ceto herself had her name attributed and equated with any very large creature (like whales) or any terrifying monster (like dragons) from the sea. The Gorgons themselves was a trio of monsters, but their sisters, that directly act as their double in the myth of Perseus? The Graiai – the monstrous trio of old women sharing one eye and one tooth. Hesiod also drops the fact that Ladon (the dragon that guarded the golden apples of the Hesperids), and Echidna (the snake-woman that mated with Typhon and became known as the “mother of monsters”) were also children of Phorcys and Ceto, while other authors will add other monster-related characters such as Scylla (of Charybdis and Scylla fame), the sirens, or Thoosa (the mother of Polyphemus the cyclop). Medusa herself is technically a “mother of monsters” since she birthed both Pegasus the flying horse and Chrysaor, a giant. So here is something very important to get: Medusa, and the Gorgons, were part of a family of monsters. Couple that with the absence of any mention of curses in these ancient texts, and everything is clear.

Originally Medusa was not a woman cursed to become a monster: she was born a monster, part of a group of monster siblings, birthed by monster-creating deities, and she belonged to the world of the “primordial abominations from the sea”, and the pre-Olympian threats, the remnants of the primordial chaos. It is no surprise that the Gorgons were said to live at the edge of the very known world, in the last patch of land before the end of the universe – in the most inhuman, primitive and liminal area possible. They were full-on monsters!

Now you might ask why Poseidon would sleep with a horrible monster, especially when you recall that the Greeks loved to depict the Gorgons as truly bizarre and grotesque. It wasn’t just snake-hair and petrifying gaze: they had boar tusks, and metallic claws, and bloated eyes, and a long tongue that constantly hanged down their bearded chin, and very large heads – some very old depictions even show her with a female centaur body! In fact, the ancient texts imply that it wasn’t so much the Gorgon’s gaze or eyes that had the power to turn people into stone – but that rather the Gorgon was just so hideous and so terrifying to look at people froze in terror – and then literally turned into stone out of fear and disgust. We are talking Lovecraftian level of eldritch horror here. So why would Poseidon, an Olympian god, sleep with one of these horrors? Well… If you know your Poseidon it wouldn’t surprise you too much because Poseidon had a thing for monsters. As a sort of “dark double” of Zeus, whereas Zeus fell in love with beautiful princesses and noble queens and birthed great gods and brave heroes, Poseidon was more about getting freaky with all sorts of unusual and bizarre goddesses, and giving birth to bandits and monsters. A good chunk of the villains of Greek mythology were born out of Poseidon’s loins: Polyphemus, Antaios, Orion, Charybdis, the Aloads… And even his most benevolent offspring has freaky stuff about it – Proteus the shapeshifter or Triton half-man half-fish… So yes, Poseidon sleeping with an abominable Gorgon is not so much out of character.

Step 3: The missing link

Now that we established what Medusa started out as, and what she ended up as… We need to evoke the evolution from point Hesiod to point Ovid, because while people summarized the Medusa debate as “Sea-born monster VS raped and punished woman”, there is a third element needed to understand this whole situation…

Yes Ovid did invent the rape. But he did not invent the idea that Medusa had been cursed by Athena.

The “gorgoneion” – the visual and artistic motif of the Gorgon’s head – was, as I said, a grotesque and monstrous face used to invoke fright into the enemies or to repel any vile influence or wicked spirit by the principle of “What’s the best way to repel bad stuff? Badder stuff”. Your Gorgon was your gargoyle, with all the hideous traits I described before – represented in front (unlike all the other side-portraits of gods and heroes), with the face being very large and flat, a big tongue out of a tusked-mouth, snake-hair, bulging crazy eyes, sometimes a beard or scales… Pure monster. But then… from the fifth century BCE to the second century BCE we see a slow evolution of the “gorgoneion” in art. Slowly the grotesque elements disappear, and the Gorgon’s face becomes… a regular, human face. Even more: it even becomes a pretty woman’s face! But with snakes instead of hair. As such, the idea that Medusa was a gorgeous woman who just had snakes and cursed-eyes DOES come from Ancient Greece – and existed well before Ovid wrote his rape story.

But what was the reason behind this change?

Well, we have to look at the Roman era again. Ovid’s tale of Medusa being cursed for her rape at the hands of Neptune had to rival with another record collected by a Greek author Apollodorus, or Pseudo-Apollodorus, in his Bibliotheca. In this collection of Greek myths, Apollodorus writes that indeed, Medusa was cursed by Athena to have her beautiful hair that seduced everybody be turned into snakes… But it wasn’t because of any rape or forbidden romance, no. It was just because Medusa was a very vain woman who liked to brag about her beauty and hair – and had the foolish idea of saying her hair looked better than Athena’s. (If you recall tales such as Arachne’s or the Judgement of Paris, you will know that despite Athena being wise and clever, one of her main flaws is her vanity).

“Wait a minute,” you are going to tell me, “The Bibliotheca was created in the second century CE! Well after Greece became part of the Roman Empire, and after Ovid’s Metamorphoses became a huge success! It isn’t a true Greek myth, it is just Ovid’s tale being projected here…” And people did agree for a time… Until it was discovered, in the scholias placed around the texts of Apollonios of Rhodes, that an author of the fifth century BCE named Pherecyde HAD recorded in his time a version of Medusa’s legend where she had been cursed into becoming an ugly monster as punishment for her vanity. We apparently do not have the original text of Pherecyde, but the many scholias referring to this lost piece are very clear about this. This means that the story that Apollodorus recorded isn’t a “novelty”, but rather the latest record of an older tradition going back to the fifth century BCE… THE SAME CENTURY THAT THE GORGONEION STARTED LOSING THEIR GROTESQUE, and that the face of Medusa started becoming more human in art.

[EDIT: I also forgot to add that this evolution of Medusa is also proved by strange literary elements, such as Pindar's mention in a poem of his (around 490 BCE) of "fair-cheeked Medusa". A description which seems strange given how Medusa used to be depicted as the epitome of ugliness... But that makes sense if the "cursed beauty" version of the myth had been going around at the time!]

And thus it is all connected and explained. Ovid did invent the rape yes – but he did not invent the idea of Athena cursing Medusa. It pre-existed as the most “recent” and dominating legend in Ancient Greece, having overshadowed by Ovid’s time the oldest Hesiodic records of Medusa being born a monster. So what Ovid did wasn’t completely create a new story out of nowhere, but twist the Greek traditions of Athena cursing Medusa and Medusa having a relationship with Poseidon, so that the two legends would form one and same story. And this explains in retrospect why Ovid focuses so much on describing Medusa’s beautiful hair, and why Ovid’s Minerva would think turning her hair into snake would be a “punishment fit for the crime”: these are leftovers of the Greek tale where Medusa was punished for her boasting and her vanity.

CONCLUSION

Here is the simplified chronology of how Medusa’s evolution went.

A) Primitive Greek myths, Hesiodic tradition: Born a monster out of a family of sea-monsters and monstrous immortals. Is a grotesque, gargoylesque, eldritch abomination. Athena has only an indirect conflict with her, due to being Perseus’ “fairy godmother”. Has a lovely romance with Poseidon.

B) Slow evolution throughout Classical Greece and further: Medusa becomes a beautiful, human-looking girl that was cursed to have snake for hair and petrifying eyes, instead of being a Lovecraftian horror people could not gaze upon. Her conflict with Athena becomes direct, as it is Athena that cursed her due to being offended by her vain boasting. Her punishment is for her vanity and arrogant comparison to the goddess.

C) Ovid comes in: Medusa’s romance with Poseidon becomes a rape, and she is now punished for having been raped inside Athena’s temple.

[As a final note, I want to insist upon the fact that the story of Medusa being raped is not less "worthy" than any other version of the myth. Due to its enormous popularity, how it shaped the figure of Medusa throughout the centuries, and how it still survives today and echoes current-day problems, to try to deny the valid place of this story in the world of myths and legends would be foolish. HOWEVER it is important to place back things in their context, to recognize that it is not the ONLY tale of Medusa, that it was NOT part of Greek mythology, but rather of Roman legends - and let us all always remember this time Poseidon slept with a Lovecraftian horror because my guy is kinky.]

EDIT:

For illustration, I will place here visuals showing how the Ancient art evolved alongside Medusa's story.

Before the 5th century BCE: Medusa is a full-on monster

From the 5th century to the 2nd century BCE: A slow evolution as Medusa goes from a full-on monster to a human turned into a monster. As a result the two depictions of the grotesque and beautiful gorgoneion coexist.

Post 2nd century BCE: Medusa is now a human with snake hair, and just that

When my life journey took me to Italy, even the mere glimpse of an Israeli flag flying over a food stall in the city of Varese would provoke me. “This is our food!” I told my colleague. “Israelis can sell mujaddara, hummus, maqlubeh and falafel, but they cannot declare them their property!” As if stealing the land, water, and air were not enough?! This food is part of our identity and culture. For me as a Palestinian, each plate has a story that relates to my people, the state, and the fragrances of my homeland.

Israel uses food to claim ownership of the territory and encourage tourism, not only internally but also abroad, featuring it in advertisements and in articles published in international newspapers and world-famous magazines. Israeli chefs present huge events in which they appropriate Palestinian cuisine and our cultural foods, denying the origins of these foods and pretending that they are theirs. As Israelis proclaim ownership of plates whose origins lie in the Middle East, the Levant, or even Egypt, they deny the existence of the people who live on this land and whose dishes and recipes are much older than the state of Israel.

Someone as tenacious as I cannot let this go by unchallenged. Instead, I have decided to use food as a soft power tool to fight the occupation. Food has become my means to speak about Palestine.

Historically, cuisine has been a mirror of civilization, culture, heritage, and the economic status of a people. Likewise, Palestinian dishes reflect all these aspects and elements. Take musakhan, for example, a Palestinian farmer’s dish that traditionally has been cooked during the olive harvest season: tabun bread is drenched in olive oil, covered with onions that have been caramelized in olive oil, and topped with sumac. All these ingredients are the fruit of Palestinian land. As living standards rose, chicken was added, then toasted almonds and pine nuts were sprinkled on top. But despite these changes, the dish has kept its original flavors as its essence has been passed down from generation to generation, preserving the authenticity of the dish.

Our occupiers can take possession of our food in the material sense, as they have done and continue to do with our land. But they cannot transmit its history, traditions, and associated sentiments because we Palestinians consider our food to be a thread that brings us together and connects us to our homeland – especially those of us who live in the diaspora.

It is no coincidence that many Palestinian poets and writers talk about food when they express their longing for their homeland. The famous Palestinian poet Mahmoud Darwish, for example, wrote while in exile, “Dearly I yearn for my mother’s bread, my mother’s coffee.”

Food is part of Palestinian identity wherever we go. It reflects our culture, heritage, and personality.

– Fidaa Abuhamdiya, "The Soft Power of Palestinian Food." This Week in Palestine Issue 286, February 2022. Palestinian Cuisine: From Tradition to Modernity. p. 57.

Jewish artifacts found at an excavation site in Tayma, Saudi Arabia. Tayma was a Jewish oasis during the pre-Islamic era. It was the hometown of Jewish poet Shmuel Ben Adiya, famous for his unconditional loyalty towards Prince Imru al Qais in the 6th century.

Tayma, along with Khaybar were the two most important oasis in the Hejaz region (modern Saudi Arabia) that used to have a strong jewish presence until the fall of Khaybar in 628 (4388 - 4389 in the hebrew calendar) when the first muslims conquered the fortress and expelled most of the jewish population.

Here’s my impression of what book Grantaire would sound like in the modern day, as he posts incoherent “media analysis/philosophy/traumadumping” video content on his YouTube channel:

"Aren't memes a form of modern dadaism? 'I can haz cheesburger" edits are relics of history, as is the work of Duchamp. Duchamp made that famous urinal. Perhaps memes are but the urinal of the human race. All of art is but humanity’s sewage, our waste. But can sewage be fertilizer? There was a waste treatment scandal in the early 1980s, when a sewage company did not properly clean the water, and people became sick. Many of our rivers are unclean because of corporations polluting them. Chicago has creeks that are still bubbling with the remnants of the old slaughterhouses. Carl Sandburg wrote a poem where he is achingly horny for the city of Chicago, and its hog-butchers: "Come and show me another city with lifted head singing so proud to be alive and coarse and strong and cunning." That poet’s love for his anthropomorphic city was never requited; he was disdained by his deity, which could not love him, being mostly smog and steel. But his poem is now a meme for its homoeroticism. Thus all art is coarse pollution, sewage, wastewater, memes!"

Lord Byron writing about book-burning, queer representation, and the value of poetry . . . in 1821:

“Let us hear no more of this trash about ‘licentiousness.’ Is not ‘Anacreon’ taught in our schools? translated, praised, and edited? Are not his Odes the amatory praises of a boy? Is not Sappho's Ode on a girl? Is not this sublime and (according to Longinus) fierce love for one of her own sex? And is not Phillips's translation of it in the mouths of all your women? And are the English schools or the English women the more corrupt for all this? When you have thrown the ancients into the fire it will be time to denounce the moderns. ‘Licentiousness!’ — there is more real mischief and sapping licentiousness in a single French prose novel, in a Moravian hymn, or a German comedy, than in all the actual poetry that ever was penned, or poured forth, since the rhapsodies of Orpheus. The sentimental anatomy of Rousseau and Madame de Staël are far more formidable than any quantity of verse. They are so, because they sap the principles, by reasoning upon the passions; whereas poetry is in itself passion, and does not systematise. It assails, but does not argue; it may be wrong, but it does not assume pretensions to Optimism.”

Context: this letter was written during the Bowles-Pope Controversy, a seven-year long public debate in the English literary scene primarily between the priest, poet, and critic William Lisle Bowles and the poet, peer, and politician Lord Byron. The debate began in 1807 when Bowles published an edition of the famous writer Alexander Pope’s work which included an essay he wrote criticizing the writer’s character, morals, and how he should be remembered. Today, we would say that Bowles tried to “cancel” Alexander Pope, who had affairs without marrying, and whose works had sexual themes. Lord Byron defended Pope, who was one of his all-time favorite writers. Pope had been dead since 1744, so he was not personally involved. This debate shows that while moral standards have changed throughout the centuries, the ways people have debated about morality have remained similar.

Source of the excerpt: — Moore’s Life of Byron in one volume, 1873, p. 708 - https://books.google.com/books?id=Q3zPkPC8ECEC&pg=PA708&lpg=PA708&dq=%22Are+not+his+Odes+the+amatory+praises

Sources on the Bowles-Pope Controversy: — Chandler, James. “The Pope Controversy: Romantic Poetics and the English Canon.” Critical Inquiry, vol. 10, no. 3, 1984, pp. 481–509. JSTOR, http://www.jstor.org/stable/1343304. — https://www.britannica.com/topic/Pope-Bowles-controversy — Bowles, Byron and the Pope-controversy by Jacob Johan van Rennes, Ardent Media, 1927.

Ancient Roman Poets on a Modern Date

Catullus (Gaius Valerius Catullus)

If you meet him before Lesbia, he will be charming, eloquent, and happy to go wherever you like, although his funds could be limited. Even so, he'll make sure you both enjoy yourselves. Theater or concert tickets in the plebian--nosebleed--section, for instance. If you meet him after Lesbia, there is a possibility he will spend the entire time trauma-dumping about his ex. If you also have one to complain about, this could be cathartic.

Virgil (Publius Vergilius Maro)

He takes you out to his beehive dressed in full bee-keeping gear to introduce you to his bees and then goes inside, where you sample different varieties of honey drizzled over fruit. He is sweet, but does talk about fields and bees a lot.

Ovid (Gaius Valerius Catullus)

Let's be honest. This might be more of a Tinder or Grindr hookup than a date. However, it's possible you met at a theater, race track, parade, or seaside resort. If you are aro/ace, run away. If you aren't and you are interested in seeing if he truly is proficient as a teacher of love, stick around. Don't expect him to be faithful, however. And although his manners are perfect, remember that it's an art and a game to him, so guard your heart.

Horace (Quintus Horatius Flaccus)

He'll take you out for a night of expensive dining and pay for it solely because the friend of a friend that owns the place owes him. He is charming company and can get you into any exclusive club or private experience you want to go to, but will expect reciprocated favors. Also, he turns on the charm, but absolutely expects to be complimented in return.

Sulpicia

She plays hard to get initially, not wanting to be too obvious with her affection. The first date will be YOUR choice. Pick well and she'll follow that with a candlelit dinner and eternal devotion. She does have expensive taste, however, and she would absolutely report you to her scary uncle if you break her heart.

Martial (Marcus Valerius Martialis)

He takes you on a picnic. Despite this being in the country, he'll opt for fine wine and gourmet food. He's easy to talk to, funny, and catty with his gossip. However, he'll also go on about his childhood in the country and how he went hunting and fishing and how he misses the simple country life. (All while sipping from an expensive goblet.)

Livy (Titus Livius)

He takes you to a museum and acts as your tour guide throughout the entire thing. Who knew that your date would double as a living and breathing audio tour? You're supposed to eat at the museum cafe, but you may not make it there before it closes... If you're a fan of history, you're in for a treat.

Iullus Antonius

Iullus is a huge romantic and just as charming as his famous father. He will show up with flowers and take you on a date in a small, undiscovered restaurant and to a lot of cute places that are off the beaten path. Whether you hit it off romantically or not, he's the kind of guy who could be your ride or die. (Spoiler alert, when he says he's your ride or die, he's extremely serious. 💀)

Albius Tibullus

When he falls, he falls hard. He takes you on a date in an orchard. This includes picking grapes and then tasting wines. If the date is before he was entranced with one of the lovers he wrote about, all is well. If not, he might get a little teary eyed about his past love(s). He is polite, sweet, attentive, and apologetic though.

Juvenal (Decimus Junius Juvenalis)

He takes you to an expensive restaurant and makes it clear he is only paying for HIS meal. The entire time he criticizes everyone else in the restaurant for being posers and judges them based upon appearance, status, and gender. His date is not a safe place for anyone who doesn't fit his definition of traditional values. Definitely talks about kids these days and the degradation of society.

Sitting Bull

Sitting Bull (Tatanka Iyotanka, l. c. 1837-1890) was a Hunkpapa Sioux holy man, warrior, leader, and symbol of traditional Sioux values and resistance to the United States' expansionist policies. He is among the best-known Native American chiefs of the 19th century and remains as famous today as he was when he led his people.

He is widely known for his part in the Battle of the Little Bighorn in June 1876 and his later celebrity as a performer in Buffalo Bill's Wild West Show, but, for the Sioux, Sitting Bull is celebrated as the embodiment of the four cardinal virtues of his people: courage, fortitude, generosity, and wisdom. He is also recognized for his refusal to abandon the traditions of his people and his efforts to preserve their culture. Although famous as a holy man, prophet, war chief, and hunter, Sitting Bull was also a poet and composer, as well-known among his people for his rapport with wild animals and herbal knowledge as for his leadership.

He was killed while resisting arrest at the Standing Rock Agency Reservation in South Dakota on 15 December 1890 and was buried at Fort Yates in North Dakota. His remains were exhumed by family members in the 1950s and interred at Mobridge, South Dakota, near where he was thought to have been born. Debate continues over whether these remains are those of Sitting Bull, and historians also offer differing views on his legacy. His reputation as a great leader of his people, however, is unchallenged as he continues to be recognized as a symbol of Native American pride, honor, and traditional values, as well as for his stand against injustice.

Youth & Name

Little is known of Sitting Bull's life before the age of 14. His date of birth, given as 1831, 1832, 1834, or 1837, is debated, as was his birthplace until fairly recently. He is now understood to have been born on the Yellowstone River (known to the Sioux as Elk River) in modern-day Montana and was named Jumping Badger (Hoka Psice). He quickly earned the nickname Slow (Hunkesni), owing, according to scholar Robert. M. Utley, to "his willful and deliberate ways" (6). His father was Chief Sitting Bull of the Hunkpapa Sioux, and his mother was Her-Holy-Door from a respectable Hunkpapa family. He had two sisters and a half-brother but would later adopt others as his brothers, and these are sometimes mistakenly referenced as biological siblings.

Chief Sitting Bull taught his son to ride, hunt, and shoot expertly before the boy was ten years old. Young Slow was an excellent shot with bow and arrow and became so closely associated with horses that his peers joked how he even walked as though he were on horseback. When he was 14, he joined a war party against the Crow and "counted coup" against a Crow warrior, knocking him from his horse where he was then killed by another of the party. For this act of courage – defeating an enemy without killing him – Chief Sitting Bull gave his name to his son and assumed the name Jumping Bull. "Sitting Bull" – Tatanka Iyotanka (literally "Buffalo Who Sits Down") – fit the youth's personality as, "according to fellow tribesmen, suggested an animal possessed of great endurance, his build much admired by the people, and when brought to bay, planted immovably on his haunches to fight on to the death" (Utley, 15).

Later acquaintances and writers would claim the name was given him due to his stubbornness or, according to Sioux writer and physician Charles A. Eastman, that he was given the name after forcing a buffalo calf to sit down. The name was actually given in accordance with the tradition whereby a father passed his own name to his son when the boy was recognized as attaining manhood.

Between the ages of 14 and 20, Sitting Bull led his own war parties, and his name became famous among his enemies as a formidable warrior. Utley describes him at around the age of 20:

A heavy, muscular frame, a big chest, and a large head, he impressed people as short and stocky, although he stood only two inches under six feet. His dark hair, often braided on one side with otter fur and allowed to hang loose on the other, reached his shoulders. A severe part over the center of the scalp glistened with a heavy streak of crimson paint. A low forehead surmounted piercing eyes, a flat nose, and thin lips. Although dexterous afoot and superbly agile mounted, he appeared to some as awkward and even clumsy. (19-20)

Around 1857, in a clash with an Assiniboine band, Sitting Bull spared a 13-year-old boy whom he later adopted as a younger brother. When Sitting Bull's father was killed in battle with the Crow in 1859, the boy took the name Jumping Bull and would remain by Sitting Bull's side for the rest of his life.

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DPS: Romeo and Juliet

Shakespeare and poetry are referenced at multiple moments throughout dps. HEAR ME OUT, Romeo and Juliet encapsulates teenage struggles and the dealing of pressure much like Dead Poets Society. Whilst I’m not saying dps is a modern day R&J, I do see a lot of similarities between Romeo and Juliet and Neil and Todd. In the play, Romeo is the first character to show his problems; he is in love with Rosaline but she left him. I may be pulling at straws here but that reminds me of a certain Anderson and his brother (albeit non-romantically).

Juliet is then shown to be dealing with her father. Juliet’s father has planned out her life without her input as well as arranging a marriage to someone she had no interest in. Whilst Neil was not forced into an arranged marriage, Mr Perry was a recurring negative figure in Neil’s life; forcing him to quit both the annual and the play, spending summer break at school studying Chemistry, forcing Neil into Harvard Medical School and later becoming a doctor.

Neil and Todd both reflect the same message as Romeo and Juliet; parental and societal pressure is a recurring theme in both shown to the extremities by these characters. Mr. Perry and the Dead Poets Society aren’t seen to have a positive connection (to be fair, it isn’t really shown) but in light of his reaction and blaming of the group and Keating for Neil’s suicide, it isn’t unjustified to say he wasn’t fond of them.

Neil and Todd were doomed to fail, with hyper-conservative parents and an environment to match, pressures from school and parents, it’s no wonder they didn’t progress very far. This also reflects in R&J as the two struggle with their own issues as well as the combined problem of a forbidden relationship. Both pairings are deemed as “star-crossed lovers” which means to defy fate to be together. And like in Romeo and Juliet, fate steps in to fix things, resulting in tragedy.

Whilst the film itself does not replicate Shakespeare’s play, it uses both Neil and Todd to represent the play’s main characters in a way that truly suited the theme. Romeo and Juliet is one of the most famous tragedies, ending in a double suicide. But in my unqualified opinion, there is no greater tragedy than being alive and watching your other half die.

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I saw a meme of someone saying “who are they (wrong answers only)” with Neil and Todd and someone commented Romeo and Juliet. I took that personally.

I know this whole post makes me look delusional but it’s fine 🤭, also this is a bad time to mention it but I really don’t like R&J…