They came with defeat’d flags, Broken spirits and tatter’d rags. Hats of red and hearts treaded in black– Cryin’ as though they had just been laid upon the rack.
What a difference a day makes, A summer’s assembly was cited as a riot, But home-grown ʇerrorism was unmasked on a wintry day .
T’was too PC to take a knee, n’ T’was too much to stand for water with le grande nation sioux; But lest we forget, in Liberty’s Garden, seeds of change are in always in abundance.
Plant seeds of #Hope. Plant seeds of #Compassion. Plant seeds of #Love. Plant seeds of #Inclusivity.
What a difference a night makes, The flames of intolerance have quietly subsided. Bathed in moonlight and star shine, Luna’s scent calms the tears of pepper’d stain lashes.
They left on deflat’d winds, Rudely awaken’d from a television dream; Shoes stain’d by a Benedictian tree (Inimicus Fraxinus Americana) sap, And faces worn by the stretch of fear for a day that didn’t come.
Within Jackie Kay’s collection of poetry The Adoption Papers she presents a text that utilizes three different fonts to represent the three dominant voices; each voice is represented by a font, each font assuming the voice of one of the three females (in addition to a few other social voices, including an adoption agent and a desk clerk). The predominant voices within the text are a “birth mother,” an “adoptive mother” and an “adopted daughter.” The voices are “distinguished” through variations in typography; for the daughter, Kay adopts a Palatino typeface; for the adoptive mother she issues a Gill typeface, and for the birth mother Kay distinguishes her by using a Bodoni typeface (Kay 8). The fonts that the poet uses separate the voices in a way that Chris Dobbish describes as “egalitarian” in nature, suggesting that while the fonts are visibly different, one font is not greater than the other fonts. (It is not my intention to enter into a discussion about the multifaceted and intersecting histories of fonts at this point in time). The visual similarities that exist between the adoptive mother’s typeface and the Birth mother’s typeface are, at some points within Kay’s text, indistinguishable from one another.
In “Open Up Your Eyes, Dr. Parthenia Grant, a Holistic Therapist, educator, and host of Divine Love Talk, aims to “spark discussions that will lead to taking actions.” The video features original music composed by Eric Taylor & Grammy nominated producer Simon Morel. Personal power, stewardship of natural resources, and issues of corruption are illustrated with humor, wit, and a critical lens.
With a summoning of the muse, John Milton begins to close his pastoral elegy “Lycidas.” The narrator calls for Alpheus’s return, assuring him that the “dread voice,” something which had been prominent within the previous section (including a rant about Saint Peters), had now subsided. Instead one finds that the return of artistic expression and beauty is once again normalized with the muse’s return, despite the somberness of Lycidas’s passing. In fact the occasion serves as an opportunity to gather the most gorgeous and eclectic floral arrangement possible. For what cause? To adorn the “Laureat Herse where Lycidas lies” of course. The act itself is almost ritualistic as the reader soon discovers the “speaker of the poem indulges in a fantasy that is given considerable scope before it is crushed” (Oxford 73). This is brought about by the realization that Lycidas’s body was possibly pulled under the ocean by the “whelming tide.” This epiphany is marked by the “tonal change” of that couplet, lines 157-158, which bring forth a profound realization and sad truth, there is an uncertainty of the location of Lycidas’s body (Draper 48). Ultimately the narrator is left with no other choice than to call upon the archangel “Michael” and the “Dolphins” to have pity and convoy the “hapless youth.”