En raison de circonstances historiques et sociales difficiles, la littérature haïtienne s'est enfermée pendant environ un siècle dans le patriotisme et le nationalisme. Rejet de l'indépendance par les nations occidentales, affaires judiciaires et diplomatiques louches, instabilités politiques et sociales ont marqué tout le XIXe siècle haïtien. A la fin du siècle, une nouvelle génération d'écrivains a opté pour la rénovation en proscrivant la matière nationale, notamment la veine nationaliste, et s'est tournée vers l'universalisme. Il s'en est suivi un remaniement de la pensée ou de la vision haïtienne dont les répercussions se feront ressentir même dans les relations internationales avec les nations autrefois vues de très mauvais oeil. Haïti cherche, et Etzer Vilaire notamment s'y attachera avec une inépuisable énergie, ses racines latines au rejet et parfois au refus même de ses racines africaines. / Haitian literature locked itself for almost a century in patriotism and nationalism for socio-historical reasons. The rejection of her independence by the West, questionable judicial and diplomatic transactions, social and political instabilities all characterized 19th century Haiti. At the end of the 19th century a new generation of writers opted for reinvention, advocating a shift from national affairs, most especially the nationalist trend. They turned towards universalism. Consequently, a total reshuffle of Haitian thinking and vision followed and the repercussions of this will be felt in areas of international relations with nations which at one point were not considered friends. Haiti in search of her roots, as Etzer Vilaire specifically clings on to the Latin roots while rejecting and at times denying its African roots.

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This is a novel about the way individuals can and do operate in a world controlled by larger power structures. It is interested in how people can effect change in this world, often in ways they do not plan. It explores the inability of the individual to control the world around them. The novel features a large cast of characters moving through a world that is dying. Earth’s climate is warming at a rate that will make it uninhabitable for humans. The specifics of this catastrophe are never explored. Rather, the novel concerns itself with people who are reacting to it, and how their reactions ultimately do more harm than good.

John Keats is a mythopoeic poet who created his own mythical substructure, often adapting traditional figures from mythology to give a special meaning to the entire canon of his major work. The early poems are hesitant, imitative, and groping, but the mature poems receive a large part of heir symbolic meaning from the substructure of Keats's myth of the poet on which they rest. In the works of John Keats, then, the reader finds a touchstone of experiences common to all humanity, shaped into Keats's central myth of the poet. He left the testament of a poet who could "see as a god sees, and take the depth/ Of things" recorded in his major poems and in some of the most sensitive letters ever written by a poet.

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Thesis (Ph. D.)--Ohio State University, 2006. / Full text release at OhioLINK's ETD Center delayed at author's request

Five Kingdoms. (Under the direction of Don Stap.) Five Kingdoms is a collection of 55 poems in three sections. The title refers to the five kingdoms of life, encompassing every living thing. Section I explores political themes and addresses subjects that reach across a broad expanse of time--from the oldest bones of a child and the oldest map of the world to the bombing of Fallujah in the current Iraq war. Connections between physical and metaphysical worlds are examined. The focus narrows from the world to the city in section II. The theme of shelter is important to these poems, as is the act of being a flâneur. The search for shelter, physical and spiritual, is explored. The third section of Five Kingdoms narrows further to the individual. Political themes recur, as do ekphrastic elements, in the examination of individual lives and the search for physical and metaphysical shelter. The title poem "Five Kingdoms," was written on the 60th anniversary of the atomic bombing of Hiroshima on August 6, 1945. This non-narrative poem is composed of a series of questions for the reader regarding personal and national security. It is a political poem that uses a language of fear and superstition to question what we are willing to sacrifice to be safe and what "safety" means. The poem ends with a call to action: "Before you break in two, categorize/the five kingdoms, count all the living things." The poems in this manuscript are a kind of counting that pays attention to the things of the world through praise and elegy. The poems in Five Kingdoms are indebted to my reading of many poets, in particular Michael Burkard, Carolyn Forché, Brenda Hillman, Tony Hoagland, Kenneth Koch, Philip Levine, Denise Levertov, Jane Mead, W.S. Merwin, Pablo Neruda, Frank O'Hara, Mary Oliver, Adrienne Rich, and Mark Strand.

As a teacher of American literature in high school, I have become conscious of the importance of teaching students of that age level the lore and poetry of their native state. Poems of nature or local color in their own country will hold their interest when material from more distant points seems dull and uninteresting. Through my teaching I have become interested in the poetry of the Southwest and have enjoyed reading the poetry and knowing the poets through personal interview or correspondence.