A collection of poems by Juliana Ward

This is a book of poems.

KEEL is a poetic experiential observation of trauma, illness, disability, loss, and change.

A Forecast is a manuscript of poems that explores themes of longing, loss, uncertainty, time, place, and love. The poems also attempt to explore and adorn these themes through inventiveness and imagination. While inhabiting this imaginative landscape, the poems play with notions of perception, acting as objective witnesses to very subjective persons, places, and things. These poems are held together by their movement through stasis, fascination with weather, seasons, and the future, and the fragmented yet illuminated spaces they occupy, where the extraordinary seems ordinary and the ordinary seems extraordinary. What results is a series of explorations through a dreamlike world, led by a voice who wonders, hesitates, and hides, all the while trying to say something, to shape the world and tug you into it. / Master of Fine Arts

This autobiographical poetry collection is about identity, belonging, and brokenness, dealing with the aftermath of a dead mother, a deadbeat father, and a decaying home filled with years of trash and memory. In many ways, this collection is a buildungsroman. For me, what seem like ordinary questions become a journey into memories and experiences that were once repressed. As a child of a hoarder, one who fielded questions from family, friends, and the Department of Human Service for almost twenty years, I am just starting to confidently address the many silences that were and are present in my family: my mother’s quest to hide her breast cancer and her subsequent death as a result of her secrecy; my father’s four other children that I have never met; and my grandparents’ military history spanning three continents in the 1950s and 1960s. / Master of Fine Arts

A poetry collection in two parts. Slingshot Catapult, the first half of the manuscript, explores the lives of two professional wrestlers. While the spectacle of professional wrestling is the backdrop for this series of linked, narrative poems, the relationship between protagonists Tracy and Dodge and who they are as individuals, rather than the caricatures wrestlers often play, are the core concerns of this opening section. Knotcraft, the second half of the collection, offers a mix of lyric, narrative, and formal poetry. As in Slingshot Catapult, common threads running through and between these poems include family history, romantic relationships, religion, and vision. Readers are invited to draw parallels between themes explored in Knotcraft and Slingshot Catapult. / Master of Fine Arts

"full water" is a collection of poems examining a single consciousness, from a singular experience, that resonates to generational experiences. full water is a personal and literal landscaping: from the southern calm of Virginia to the innate heartbeat of south Bronx streets, the poems are grounded in a firm sense of place. The personal landscaping strongly connects with this literal landscaping, as this is a collection of someone's constantly leaving, an attempt at establishing identity through the varied parcels of perspective. In the same way, this collection investigates the urban family landscape, the love still possible, despite the conventional shortcomings, the fullness of self, regardless. Through the rhythmic composition of the language, emotion flashes and restrains itself. Within the turns of language, personal truths thrive, in what they don't outwardly say. The book learns its significance from the poems. In the chaos of this, the reader finds kernels of meaning just as the poet did in process. / Master of Fine Arts

This book of poetry represents my best poems written in the last 14 months. The themes that arise are not project themes but personal interests. Chronologically it charts much of my life, beginning before I’m born, and ending in an uncertain future. It focuses primarily on the last five years (trip to France, graduation from college and graduate school, and starting a family). It is not about coming of age, because the speaker doesn’t. Instead it plays with the idea of growing up, the impossibility of it and the inevitability of it. I want it to be a series of paper airplanes to terminals in the airport of everyday life. They are spaces between living that represent life. It can be read chronologically. It could be read backwards. It can be read with feet up or down. The poems like coffee. During takeoff and landing please put seat in upright position, and tray tables up. In the time between beginning and ending the world should change. The book creatively and thoughtfully conveys an emotional understanding that is my own, and that deserves to be shared because it insists on being written down, over and over again. / Master of Fine Arts

Five-character poetry is an important poems form in Chinese Literature, which have five-character-four-sentences, six-sentences, eight-sentences, ten-sentences,twelve-sentences or even longer. Although the regulated verse form got into matured in Tang Dynasty,but it was brewing in the Southern Qi Liang.Start from Southern Song Dynasty,five-character poetry was gradually appeared into a large number,especially of the five-character-eight-sentences poetry.However, among the academia only focus on researching poetry rhythm and the antithesis,did not put efford into research the structure of five-character poem.This thesis focuses on this phenomenon,based on the number of five-character poems and the poems structure,try to research the process of five-character poems evolve into regulated verse.

Double Helix approaches the conjunction of visual poetry and long poetry from two distinct but related viewpoints. The first is a scholarly examination of the techniques used to make a long poem visual or a visual poem long. The second is a production of an original long visual poem exhibiting these techniques. The first part, "The Look of the Long Poem," posits that there are five major techniques which are used in long visual poems: line breaks, imagetexts, white space, page division, and collage and montage. These techniques are grounded in the theoretical work of, among others, Katherine O'Brien O'Keeffe, W.J.T Mitchell, Marjorie Perloff, and Johanna Drucker. The techniques are examined in detail as they play out in the work of Anne Carson, David Daniels, Christine Wertheim, Johanna Drucker, Langston Hughes, Ed Dorn, Lisa Jarnot, and Tom Phillips. The second part consists of an original sixty-four-page long poem / poetic sequence titled "diluvium." "diluvium" utilizes all the techniques analyzed in the previous part, attempting furthermore to educate the reader in the process of negotiating its parts as it is read – that is, to act as a poetics as well as a poem.