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Dedicated to hope. The force that leads the world from darkness to light.

The reason to keep on going.

The reason to live.

The whole point of being alive is to evolve into the complete person you were intended to be. -Oprah Winfrey

Table of Contents Page # ! !

1! 2!

A Psalm of Life by Henry Wadsworth Longfellow A Psalm of Life - Analysis

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3! 4!

Not in Vain by Emily Dickinson Not in Vain - Analysis

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5! 6!

A Musical Instrument by Elizabeth Barrett Browning A Musical Instrument - Analysis

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7! 8!

Later Life 17 by Christina Rossetti Later Life 17 - Analysis

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9! 10!

Nobility by Alice Cary Nobility - Analysis

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11! 12!

Locked by Julia C. Quote from Buddha

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13! 14!

FALLing by Julia C. Quote from Giuseppe di Lampedusa

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15! 16!

Wonderland by Julia C. Wonderland - Analysis

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17! 18!

Write Written Wrote by Julia C. Write Written Wrote - Analysis

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19! 20!

Before by Julia C. Before - Analysis

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21! 22!

My Name - A Vignette by Julia C. My Name - Continued

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23! 24!

Inquiring into My Identity My Identity - Continued

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25! 26!

Works Cited Works Cited - Continued

Poems by Various Poets


Longfellow has created a poem that can entertain. But more importantly, he has created a poem that can teach, influence, and leave a lasting impact. Very much like those he spoke of in the poem, footprints are left, and they have the power to guide our own. That was just one of many examples of figurative language that Longfellow took advantage of to provide deeper understanding to his poem. Personification and symbolism could be seen almost hand in hand, as he used inanimate objects/concrete ideas to showcase qualities of the abstract ideas that he shared with us. Similarly, many of his concepts were brought to life by similes and metaphors that allowed the reader to visualize and relate to his message. In the fourth stanza, Longfellow explores the idea of our hearts being muffled drums, leading lives to their end. Further on in the poem, Longfellow expands upon this concept and guides the reader in thinking about what a meaningful life consists of. All in all, a theme of seizing the day is shared. Even more specifically, and even more powerfully, I think Longfellow intends to share the theme of seizing YOUR day. Line after line brought new evidence to this concept, and it was all tied together with the rhyming (ABAB, CDCD, etc.), which allowed thoughts to flow together. For me, it was like floating down a river, with a sure direction, but many perspectives and discoveries.


Not in Vain by Emily Dickinson

If I can stop one heart from breaking, I shall not live in vain: If I can ease one life the aching, Or cool one pain, Or help one fainting robin Unto his nest again, I shall not live in vain.


According to the dictionary, “in vain” means “without success or a result”. Dickinson takes this idea, the hollow prospect of living

such a life, and symbolizes it with concrete concepts. The line “Or cool one pain” (line four) allows the reader to both visually and

physically relate, as it is a simple concept with a clear message.

Simplicity in this line provides a more comprehendible view of the overall theme. Next, Dickinson paints us the picture of helping a fainting robin get back to his nest. At least in my opinion, this

image resonates very well with the theme, as it highlights the

action of giving assistance to those in need, since the fainting

robin comes across as quite a fragile creature. To end the poem,

Dickinson reinstates the idea of living in vain, and now we are able to bring the prior lines together and know what she must achieve to avoid this life in vain.

Along with the message itself, there are other elements that carry this poem. Rhyme is present, and provides a flow that allows the

reader to develop the thought, therefore leaving a lasting impact. In terms of line length, the poem is written in short lines, and I

believe this gives a sense of movement and action, rather than

rambling thought. That action reflects the intent of the poem, and reinforces it in an almost invisible way. Overall, Dickinson shares with us a poem provoking thought and action. Since the theme

seems to be helping others to help yourself (to “not live in vain”), action is exactly the right spirit to be enforcing.


A Musical Instrument by Elizabeth Barrett Browning What was he doing, the great god Pan, Down in the reeds by the river? Spreading ruin and scattering ban, Splashing and paddling with hoofs of a goat, And breaking the golden lilies afloat With the dragon-fly on the river.

'This is the way,' laughed the great god Pan (Laughed while he sat by the river), 'The only way, since gods began To make sweet music, they could succeed.' Then, dropping his mouth to a hole in the reed, He blew in power by the river.

He tore out a reed, the great god Pan, From the deep cool bed of the river: The limpid water turbidly ran, And the broken lilies a-dying lay, And the dragon-fly had fled away, Ere he brought it out of the river.

Sweet, sweet, sweet, O Pan! Piercing sweet by the river! Blinding sweet, O great god Pan! The sun on the hill forgot to die, And the lilies revived, and the dragon-fly Came back to dream on the river.

High on the shore sat the great god Pan While turbidly flowed the river; And hacked and hewed as a great god can, With his hard bleak steel at the patient reed, Till there was not a sign of the leaf indeed To prove it fresh from the river.

Yet half a beast is the great god Pan, To laugh as he sits by the river, Making a poet out of a man: The true gods sigh for the cost and pain,— For the reed which grows nevermore again As a reed with the reeds in the river.

He cut it short, did the great god Pan, (How tall it stood in the river!) Then drew the pith, like the heart of a man, Steadily from the outside ring, And notched the poor dry empty thing In holes, as he sat by the river.


Even before examining what is contained within the poem, the reader experiences the tone. Through rhyme and rich verbs, a sense of energy and movement pulls the reader along, creating an explorative, energetic tone. In a broad sense, one could say there is symbolism, as the event that is described in the poem is a reflection of the views of Pan, laid out in concrete examples. A figure of Greek mythology, Pan personifies nature, the wild, and rusticity (including rustic music). Throughout the poem, we hear of nature (reeds, dragonflies, rivers, golden lilies, etc.), wild (in one sense, fleeing creatures. In another sense, intensity and life), and rustic music (the bringing of beauty, the return of the creatures, the sun stopping in awe, all through music).

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Another aspect of this beauty is highlighted by the repetition that starts off the sixth stanza (Sweet, sweet, sweet), which allows the reader to view the word “sweet� from many different perspectives. Therefore, the word resonates deeper and is able to connect with all that the reader has already read. Overall, that is what I loved about this poem: the idea of the vitality of beauty (nature, music) is repeated and explored from all angles, resonating with unlimited depth.


L ater Life 17 by Christina Rossetti

Something this foggy day, a something which Is neither of this fog nor of today, Has set me dreaming of the winds that play Past certain cliffs, along one certain beach, And turn the topmost edge of waves to spray: Ah pleasant pebbly strand so far away, So out of reach while quite within my reach, As out of reach as India or Cathay! I am sick of where I am and where I am not. I am sick of foresight and of memory, I am sick of all I have and all I see, I am sick of self, and there is nothing new; Oh weary impatient patience of my lot! – Thus with myself: how fares it, Friends, with you?


I am sick of poems where the mind comes across clear. I am sick of normality, universal understanding, and relation. I am sick of words that paint a consistent picture. And Rossetti defies this all. To introduce the reader to the message of her poem, Rossetti starts off with symbolism, which she then builds upon. A foggy day, as well as similar climatic aspects, are used to convey the abstract idea of an unclear, undecided mind. One that is seeking more but unsure where to find it. Which, I believe, could quite possibly be the theme she was going for. The idea of seeking more is strengthened in the section of the poem where Rossetti uses parallelism of the phrase “I am sick of…”. These grave cries support the idea of seeking purpose, more than mere survival. To truly live, not just possess a life. Throughout the poem, these complex ideas are embedded into the reader’s memory by Rossetti’s use of a perplexed, scatter-brained, sometimes unclear tone. To further enforce this, her language gives these ideas meaning with concrete words and phrases, as well as a couple cases of personification, such as “winds that play”, which brings life to the concrete aspects of this poem, mirroring the hunger for life in the deeper message.


Nobility by Alice Cary

True worth is in being, not seeming, In doing, each day that goes by, Some little good-not in dreaming Of great things to do by and by. For whatever men say in their blindness, And spite of the fancies of youth, There’s nothing so kingly as kindness, And nothing so royal as truth.

We cannot make bargains for blisses, Nor catch them like fishes in nets; And sometimes the things our life misses Helps more than the thing which it gets. For good lieth not in pursuing, Nor gaining of great nor of small, But just in the doing, and doing As we would be done by, is all.

We get back our mete as we measureWe cannot do wrong and feel right, Nor can we give pain and gain pleasure, For justice avenges each slight. The air for the wing of the sparrow, The bush for the robin and wren, But always the path that is narrow And straight, for the children of men.

Through envy, through malice, through hating, Against the world, early and late, No jot of our courage abatingOur part is to work and to wait. And slight is the sting of his trouble Whose winnings are less than his worth; For he who is honest is noble, Whatever his fortunes or birth.

‘Tis not in the pages of story The heart of its ills to beguile, Though he who makes courtship to glory Gives all that he hath for her smile. For when from her heights he has worn her, Alas! it is only to prove That nothing’s so sacred as honor, And nothing so loyal as love!


To start, I absolutely adore the movement in this piece of poetry. Cary pulled rhyme out of her toolbox, and used it to keep the reader’s thoughts building alongside the words she put on the paper. A similar aspect of the poem is how Cary used two similar phrasings at the end of the first and third stanzas. By repeating these similar qualities the same way, she lets the tone be sustained, therefore further highlighting the message she is aiming to convey. In the end, I believe Cary tried to share with us a theme around the lines of “inner wealth is richer than outer wealth”. Although there are probably other meanings, this one hits home for me, and the language Cary used supported this. With words like “kingly”, we are given a deeper view into this grand life that is nobility. However, as we know because of her figurative language, nobility doesn’t mean money and power. The fourth stanza sums this up quite clearly by giving concrete examples. First Cary tells us that you can’t bargain for bliss, and then that you can’t catch it with a net. By the end of the poem, her phrases piece together and it all makes sense, yet is open for interpretation and application. Poetic perfection.


Poems by Julia C.


In the art form of concrete poems, the shape and visual presentation lays the foundation for the piece. Therefore, the keyhole design of my poem should be considered the foundation. That statement is accurate because the image symbolizes the message I was writing about. Although the keyhole is the most obvious aspect that makes this a concrete poem, the exterior shaping of the poem is very blob-ish and free-formed, and I see it as reflecting the idea of a cloud/a clouded mind. ! For the observant readers, I have hidden a second “poem” inside my poem. Along the right edge of the keyhole are bolded words/word segments, and when read in sequence, they provide a vital addition to the poem. That is, they answer the statement that ends the main poem. The phrase gives hope and an optimistic outlook. ! Another literary element that I used in forming this piece was parallelism. For most of the lines that form the keyhole, I used the sentence starter “Must you/we”. By doing so, I asked the reader questions, and allowed them to examine the theme in their own way, through multiple pairs of eyes. The theme of finding one’s true self and finding strength in that self, ties together the writing and the visual aspects in hopes of creating one powerful message.


The mind is everything; what you think, you become. ~Buddha .


FALLing Like   leaves,   like   hopes,   fall; Given   a   slate,   black   and   blank Yet   weary   of   change

The form of poetry known as the haiku originated in Japan a looooong time ago. Today, we often perceive it as simply a form with the syllable count 5/7/5. Yes, my haiku follows this structure, and therefore has that short, fleeting voice. But rather than fleeting, my message is enforced by the elements that truly make a haiku a haiku. In the first line, the word “leaves� is the kigo, a.k.a. the “season word�. This gives the setting for the piece, and in the case of my poem, allows for a deeper meaning if you apply the season to the message. As well, a kireji is present (a “cutting word�). Located at the end of the first line, this word paired with punctuation (;) separates the two ideas in the poem. Because of this, the reader can pause, and the two thoughts are separated very much like when you go from one sentence to a new one. Beyond the fundamental elements of the haiku art form, I used figurative language. “Like leaves, like hopes, fall� provides similes to start off the poem. Although the thing being compared is not stated, that is okay, because it is an abstract idea, and through these comparisons the reader is able to interpret what it might be to them. A discrete element I snuck into my poem was in the second line, where I describe the slate. When connected with the kigo and the fact that the poem is set in fall, it is hoped that an observant reader would catch that this is speaking about school. And change. And falling.


If we want things to stay as they are, things will have to change. ~   Giuseppe   di   Lampedusa


Wonderland In fairytales and fantasies There’s little girls falling down rabbit holes Landing in lands of wonder and weird I’ve seen this land, I’ve been there, I am there But I never needed the fall down the rabbit hole

In the prospect of the world, it seems I drank that bottle The one that makes me small, worthless, nothing Nothing in size is merely everything in emotion, My tears feel meaningless, yet they whisk me away From droplets, to rivers, to a sea with no shores It’s a crisis of me Who, why, am I thy? Road one, route two, path three, turn left Every crossroad seems to lead to the tea party Not a festival nor a celebration But a muddled, mad meeting Where nothing is quite what they say Rose after rose I paint from white to red Making up for the doings of others Erasing the slips of life Yet even still, I’m accused of theft Of tarts from the Queen of Heart’s Yet never did I ever For I wouldn’t in forever.


By the end of this poem, it is hopefully quite obvious that the piece was meant to carry a conceit reflecting Alice in Wonderland. Exploring different elements of the plot, I reflect upon my life and how it relates or doesn’t relate. Repeatedly, I use metaphors that compare my life to the adventures of Alice, and since that is carried throughout the entire piece, a conceit is formed! This sets the tone of the poem, letting the reader reflect upon that of Alice in Wonderland, and apply it to this piece. Because of these scatter-brained, lost, searching tones and messages, I really didn’t intend for there to be a concrete theme. In a way, the theme is to be up for interpretation. Just as I related my life to Alice in Wonderland, I challenge the reader to do the same, or at least compare there’s to mine and mine to hers. Though less obvious than these bigger concepts, I also snuck alliteration into the poem “muddled, mad meeting” (line 16). In this alliteration’s context, I intended for it to further enhance that “muddled, mad” tone by creating a tongue-twister of words to go along with the twisted thoughts and ideas. Of course, there was also allusion, which is what formed the basis to the poem. Both the 1951 Disney movie and the novel by Lewis Carol inspired the crazy ideas, comparisons, and language that drove this poem. We’re all a little crazy, aren’t we?


Write Written Wrote Write one word, write two words, three words, write four; My thoughts trail off aimlessly, on and on Behind what I say hides so, so much more With no one to share, my hopes; dreams; feel gone Flightless are the hopes that I once held dear Wandering dreams, that used to be my wings Shadowed by their clouds, hidden by the fear Yet if you dive deeper, something still sings The last string has long ago been broken But my hand stretches far and holds on tight My mind is lost, now just a mere token The world’s the arcade, and life is the fight Words can be seen, yet thoughts can not be heard Like it or not, holding back is absurd


Word after word, this poem plays around with thoughts, dreams, hopes, and how these things are shared. Through personification (flightless/winged hopes, stanza 2; hopes trailing off aimlessly, stanza 1), these ideas are viewed from different perspectives to be formed into some sort of mismatched sculpture. A picture that changes from each angle, and can be interpreted line by line, person by person, voice by voice. The intention of this poem is to explore these thoughts, not necessarily state their meanings, in hopes of letting the reader find their own meaning. Furthermore, both symbolism and metaphors are used in the third stanza, giving these feelings and concepts concrete shapes and a more tangible existence. First, the wavering life is metaphorically seen as a broken string. Following that, symbolism gives the view that the world is an arcade, and life is the battle we each must fight. What is the theme? The tone? More importantly: what is the purpose? I hoped for this poem to share the struggles of letting thoughts free and opening up to life and what it has to offer. Hope. Maybe.



Free Curious Motivated Quirky Imaginative

How I used to be. Spirited Witty Intense Honest Whimsical

Who I used to be. Blonde Skinny Alive Young Strong

What I used to be. Ready Innocent Eager Present Safe

Where I used to be. Why I used to live. Now. Empty. lost


“Before” is definitely not a traditional poem. Rather than the usual flowing piece of figurative language, this poem was intended to highlight the word it ends with: lost. An event, an emotion, a thing, a lifestyle. Different to everyone, but the same general feeling deep down. Parallelism brings it all together, as the poem is in sections that each go along with a line ending with “I used to be”. Hopefully, the reader is able to gain further insight into the meaning of “Before” through this. The main portion of the poem is followed by the line “Why I used to live”. As a variation on the “____ I used to be” line, this element was meant to hit the reader with a new light. To some, it might have focusing powers, to pinpoint where this idea of “lost” is coming from. To others, the idea of “lost” might be broadened, or maybe intensified. Lost. In the tone, the word choice, and everything within this poem, “lost” is the intention, and each line serves as another handhold for the reader to further immerse themselves into this fathomless idea.


My Name A Vignette by Julia C.

Potatoes are similar to my name in many ways. At first taste, the simplicity is

satisfying, and even after that, potatoes continue to be perfectly fine. But it ends there. Fine. Nothing more. No glory, no delicacy, no adventure, no discovery. Julia is like a

filler word, a label with no depth, a scholarly word on a flat, paper map, as lackluster as a wave would be if an underwater world did not flourish below. No; Julia does not have depth. Julia does not mean creative. Julia does not mean quirky, imaginative, bold,

determined, or adventurous. Julia does not mean moonlight, glory, rebirth, exploration,

or discovery. Julia means youthful. Youthful is superficial. I am not superficial. Julia is a chance cut short. An opportunity with limits. A world with borders. Or is it the borders to my world? The limits to the opportunity? The blade that whittles the chances?

When walking down the sidewalk, I do not journey on the right side. Nor do I

walk on the left. I straddle the radiance of the yellow line down the middle, tight-roping this usually ignored streak of paint. Opportunities are doors, and I like to open them.

Choices are diverging paths, and I like the hidden ones. Eccentricity and creativity both must be sparked in the same way: through not only actions but attitude too. When you describe something with a metaphoric action, is that what creates the attitude? When

my words tell you that I like to open doors, am I my attitude with you? For I know that in reality, I do not twist cold doorknobs at an abnormally high frequency. Maybe what

I’m trying to share with you is that I’m a thinker. “Julia” doesn’t make your mind think, or think about thinking about being a thinker. On almost anyone, Julia would be a sufficient name. On me, it falls short.


Elvira and Elvina both mean foreign and true. But I do not like those names.

One can be eccentric, one can be real, one can be radiant, but there are an infinite number of different ways to do so and be so. Elvira and Elvina are not my way.

Foreign is also captured in meaning by the name Eleanor, in addition to compassion, sun ray, and shining light. Carve this a bit into another name and you get Ella, which

shares those meanings. Maybe Ella doesn’t fit me, but maybe that’s just because my name isn’t Ella. And Ella shares something with Julia. There is no song, no tune, no

melodic notes attached to those mediocre letters. Just a word. A label. Luella also partly means foreign, and the flow of that word on the tip of my tongue is like a dance, but

the dance just isn’t my dance. And then I wonder... Is it better to be stuck in a dance, or is the brighter path truly the one where you must create your own dance?

        Names are words. Words are letters. Names are letters that have been pinned to

a clothesline and hung up, right on top of our faces. Mine says Julia. Yours might say Lauren, Abigail, Ivy, or Stephen. I want to come along and be wind, blowing those

letters around, showing them that I am the one with power. I can control who I am. I want to be Julia. Not the name, the person. Me. Julia. 5 letters, odd in number, but together much too even.


Inquiring into my


For  most  people,  ,inding  ,ive  poems  that  re,lect  them  isn't  too  hard  of  a  task.  The  thing  is,   I  defy  the  stereotypical  "most  people".  Most  poems  in  this  world  are  for  "most  people",  and  I   really  just  don't  fall  under  that  label.  Writing  ,ive  poems  that  re,lect  myself?  Somewhat  easier,   yet  at  the  same  time,  how  can  words  ever  fully  represent  a  living  thing?  They  might  match  up   here  and  there,  but  in  reality,  sentences  and  languages  are  empty  compared  to  what  lies  within   us.  As  re,lected  in  the  poem  “Write  Written  Wrote”  (pg.  17,  J.C.),  I  constantly  ,ight  the  battle  of   opening  myself  up  to  the  world  and  sharing  what  I  am  “Words  can  be  seen,  yet  thoughts  can   not  be  heard.  Like  it  or  not,  holding  back  is  absurd”  (line  13  &  14,  J.C.).  Being  lost  doesn’t  end   there.  In  “Locked”  (pg.  11,  J.C.),  the  internal  struggle  is  highlighted  metaphorically  through   lines  including  “Inside  my  mind,  it’s  like  a  cloud,  blurry,  lost;”  (line  3,  J.C.)  and  “I  feel  like  I’ve   lost  my  key.”  (line  16,  J.C.).  Another  aspect  of  this  hopeless  uncertainty  is  shared  in   “Before”  (pg.  19,  J.C.),  where  the  transitional  line  “Why  I  used  to  live”  (line  25,  J.C.)  reveals  how   change  and  time  play  a  role  in  it  all. One  thing  that  makes  me  different  from  “most  people”,  is  that  I  refuse  to  let  this  “lost”   stuff  destroy  me.  Inside,  I  may  be  destroyed  and  I  may  feel  empty,  but  what  makes  me  keep   going  is  the  world.  Day  after  day,  I  am  driven  by  the  thought  that,  maybe,  I  can  help  the  world   to  avoid  what  I  face,  have  faced,  and  will  face.  Alice  Cary  sums  my  perspective  up  nicely  in  the   poem  “Nobility”  (pg.  9,  A.C.)  by  stating,  “We  can  not  do  wrong  and  feel  right”  (line  10,  A.C.),   which  essentially  means  to  feel  right   we  must  do  right.  The  “do”-­‐ing  is   something  I  always  strive  for.  Cary   also  sums  up  this  part  of  my  morals,   too,  with  “True  worth  is  in  being,  not   seeming”  (line  1,  A.C.).  To  me,  true   worth  comes  from  taking  a  stand   and  deciding  to  be  someone,  or  as  “A   Psalm  of  Life”  (pg.  1,  H.W.L.)  puts  it,  I   want  to  leave  “Footprints  on  the   sand  of  time”  (line  28,  H.W.L.)  and   “Be  not  like  dumb,  driven  cattle!  Be  a   hero  in  the  strife!”  (line  19-­‐20,   H.W.L.).  I  want  to  be  someone.  More   speci,ically,  I  want  to  be  me.


Want,  want,  want.  In   reality,  I’m  de,initely  not  a   “want-­‐y”  person.  Desire  and   passion  are  better  terms  if  you   must  put  words  under  my   name.  I  desire  to  seize  the  day   and  make  the  most  out  of  life,   and  to  make  today  better  than   yesterday,  and  tomorrow   better  than  today:  “to  act,  that   each  tomorrow,  ,ind  us  farther   than  today”  (line  11-­‐12,   H.W.L.).  Along  with  that  comes   the  passion  of  enriching  this   world,  and  to  me,  that  means   beauty.  Not  the  super,icial   product  of  make-­‐up  and  plastic.   I’m  talking  about  when  “The   sun  on  the  hill  forgot  to  die”  (line  34,  E.B.B.),  captivated  by  the  magic  of  both  music  and   nature.  How  “Art  is  long,  and  Time  is  ,leeting”  (line  13,  H.W.L.),  and  how  those  little   moments  create  those  big  feelings.    In  the  poem  “A  Musical  Instrument”  (pg.  5,  E.B.B.),   the  god  Pan  is  described  with  the  phrase  “Making  a  poet  out  of  a  man”  (line  39,  E.B.B.),   and  I  have  the  dream  to  bring  that  same  enlightenment  to  life.  Dreams  are  powerful   things,  but  in  a  mind  like  the  one  I  own,  they  are  still  not  free  from  limits  and  loss.  Like   Christina  Rossetti  says  in  her  poem  “Later  Life  17”  (pg.  7),  the  ability  to  ful,ill  life  can  be   “So  out  of  reach  while  quite  within  my  reach”  (line  7,  C.R.).  This  brings  me  back  to  the   struggle  of  being  lost.  But  I  don’t  want  to  be  all  about  struggles.  I  think  there’s  a  key,  but   the  key  to  that  key  is  locked  with  a  key. Novels  could  be  3000  pages  if  the  author  so  desired,  but  most  readers  don’t  like   that.  And  so  like  an  author,  I  must  conform  to  the  preferences  of  society  and  limit  what   lies  on  this  page,  but  hopefully  not  limit  what  lays  within.  Not  just  what  lays  within  me,   but  maybe,  if  you’ve  been  inspired,  what  lays  within  you,  too. “Born  to  be  me;  that  is  the  key”  (Locked,  J.C.)


Works Cited POEMS: Browning, Elizabeth Barrett. "A Musical Instrument." N.p., n.d. Web. 5 Sept. 2013. <http://> Cary, Alice. “Nobility.” 101 Famous Poems. Ed. Roy J. Cook. New York: The McGraw-Hill Companies, 1997. Pg. 111-112. Print. Dickinson, Emily. “Not in Vain.” 101 Famous Poems. Ed. Roy J. Cook. New York: The McGraw-Hill Companies, 1997. Pg. 30. Print. Longfellow, Henry Wadsworth. “A Psalm of Life.” 101 Famous Poems. Ed. Roy J. Cook. New York: The McGraw-Hill Companies, 1997. Pg. 123. Print. Rossetti, Christina. "Later Life 17." All the Days of My Life. Ed. Philip Davis. Great Britain: The Orion Publishing Group Ltd, 1999. Pg. 284. Print.

IMAGES: “Alice in Wonderland (1951).” Screen-capture. Disney Screencaps. Web. 18 Sept. 2013. <http://> “Alice in Wonderland (1951).” Screen-capture. Disney Screencaps. Web. 7 Oct. 2013. <> Beecroft, Andy. “A Last Fling.” Photograph. Geograph. 11 Nov. 2009. Web. 16 Sept. 2013. <http://> BugMan50. “Bride with Flowergirls.” Photograph. Flickr. 27 May 2006. Web. 10 Sept. 2013. <http://> Fleming, Michele. “wilted daisy.” Photograph. Life Renewal with Dr. Michele. 26 Aug. 2013. Web. 20 Oct. 2013. <> Godard, Andre. Godard, Yedda. “Field notebooks of Andre and Yedda Godard.” Photograph. An Exploration of Note-taking in Harvard University Collections. Radcliffe Institute for Advanced Study: Harvard University. 1932. Web. 8 Oct. 2013. <> Hoffer, Kelly. “Reena.” Photograph. Photoree. Web. 10 Sept. 2013. < 2706/4184835907_2345e9ae86_o.jpg> junebug. “Pond with Reeds.” Photograph. Panoramio. 14 July 2007. Web. 14 Sept. 2013. <http://>


Lee, Jina. “Possible wild daisy flower.” Photograph. Wikimedia Commons. May 2007. Web. 20 Oct. 2013. <> LilipilySpirit. “Autumn Brown Liquid Amber Leaf.” Photograph. Deviantart. Web. 16 Sept. 2013. <http://> megnut. “Ollie and his great-grandparents.” Photograph. Flickr. 14 Oct. 2008. Web. 10 Sept. 2013. <http://> “The Muffled Screams of Consumer Creativity.” Photograph. Innovation Point of View. 26 July 2011. Web. 19 Oct. 2013. <> “Neuschwanstein Castle LOC print.” Photograph. Wikimedia Commons. Web. 18 Sept. 2013. <http://> “Neuschwanstein Castle LOC print rotated.” Photograph. Wikipedia. Web. 15 Sept. 2013. <http://> nottsexminer. “Bullfinch Nest.” Photograph. Flickr. 12 May 2012. Web. 12 Sept. 2013. <http://> tomylees. “Two graves Charles and Martha 145.” Photograph. Flickr. 16 May 2009. Web. 10 Sept. 2013. <> Tuck, Craig. “Beach and cliff face at Weybourne Hope, Norfolk.” Photograph. Wikimedia Commons. 11 Nov. 2008. Web. 14 Sept. 2013. <> uonottingham. “Teh Kwong Yew / Graduation.” Photograph. Flickr. 6 Feb. 2010. Web. 10 Sept. 2013. <> USAG-Humphreys. “USAG-Humphreys volunteers support Cheongdam Middle School.” Photograph. Flickr. 7 Jan. 2007. Web. 10 Sept. 2013.< 4366178349/sizes/l/in/photostream/> Ward, Eric. “Family Portrait.” Photograph. Wikimedia Commons. 11 Oct. 2007. Web. 10 Sept. 2013. <> Williams, Michael Aaron. "Untitled.” Coffee Painting. Michael Aaron Williams. n.p. 2012. Web. 19 Oct. 2013. <>

QUOTES: Buddha, Gautama. “Gautama Buddha > Quotes.” Goodreads. Web. 7 Oct. 2013. <https://> Tomasi di Lampedusa, Giuseppe. “Giuseppe Tomasi di Lampedusa > Quotes.” Goodreads. Web. 7 Oct. 2013. <>


EYE: an anthology by Julia C.