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Start Over Date range 2018 Subjects Poetry
University of Richmond

DisConnect, 2018

46 Items Box
DisConnect, an appropriated Connect Four set, juxtaposes in its playing pieces language from the United States legal code with the words of detained children and parents.
1 result

DisConnect, 2018 46 Items Box

Eisner, Amy
DisConnect, an appropriated Connect Four set, juxtaposes in its playing pieces language from the United States legal code with the words of detained children and parents.
James Madison University

Furious Flower Poetry Center Records, 1970/2024

17.6 cubic feet 43 boxes, 1 rolled storage container
The Furious Flower Poetry Center Records, consisting of 17.6 cubic feet (43 boxes, 1 rolled storage container), document the departmental activities of the Furious Flower Poetry Center.
1 result

Furious Flower Poetry Center Records, 1970/2024 17.6 cubic feet 43 boxes, 1 rolled storage container

James Madison University. Furious Flower Poetry Center
The Furious Flower Poetry Center Records, consisting of 17.6 cubic feet (43 boxes, 1 rolled storage container), document the departmental activities of the Furious Flower Poetry Center.
University of Richmond

Under the knife, 2018

1 Volumes
Part memoir, part treatise, part collage and experiment, Krista Franklin's Under the Knife is an excavation; a dig at the sites of the construction and demolition of the poet/artist's selves. Franklin plays fast and loose with fact at the crossroads of the history of her maternal line and her own in a ruptured conversation about inheritance and the generational traumas that blossom in the body. Under the Knife hiccups, cross-fades and stops midsentence as Franklin cuts through the illusion of memory, the pathologies of history, and the stories we tell ourselves about ourselves.
1 result

Under the knife, 2018 1 Volumes

Franklin, Krista
Part memoir, part treatise, part collage and experiment, Krista Franklin's Under the Knife is an excavation; a dig at the sites of the construction and demolition of the poet/artist's selves. Franklin plays fast and loose with fact at the crossroads of the history of her maternal line and her own in a ruptured conversation about inheritance and the generational traumas that blossom in the body. Under the Knife hiccups, cross-fades and stops midsentence as Franklin cuts through the illusion of memory, the pathologies of history, and the stories we tell ourselves about ourselves.

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