In an era during which expression has become an increasingly limited resource, Poetry Now has tasked itself with reinstating this basic human right through poetic rumination. By infusing elements of contemporary poetry into general U.S. political discussion, Poetry Now has transcended itself as an outlet for all students, regardless of social, racial, and economic background. Offering an insight into modern injustices, the course’s diverse selection of poetry collections also introduced original, yet innovative writing styles that inspired students to evade their comfort zones.

Students were inspired by an array of poetry collections, the first of which was Lauren Haldeman’s Instead of Dying. Students were challenged to mimic her mirror poems, a writing style new to most. The second collection was Simone John’s Testify, which discussed the Black Lives Matter movement, shuffling through several horrific instances of police brutality and murder. By reading such raw material, students were able to explore a breed of poetry that encompassed a darker, more uncomfortable subject matter.    

To quote Sonia Sanchez, notably recognized for her work in the Black Arts Movement, “All poets, all writers are political. They either maintain the status quo, or they say, ‘Something’s wrong, let’s change it for the better.’” In Sem;-Colon, these brilliant young writers delve into the “wrong” dauntlessly, uncovering the layers of oppression ingrained in the American story. However, as oppression in our beloved country seems to exponentially skyrocket, it provides an increasingly imperative incentive to reflect on not only what we love, but more importantly what we love to think about. Accordingly, Sem;-Colon balances the political voice with the ruminatory voice, juxtaposing both the human need for activism and reflection.   

While some poems evoke the discomfort necessary for social consciousness, others, such as Pablo Saucedo’s “Elder”, provide relief through memoir-style poems, allowing the reader to regress to a simpler time when the world’s cruelty was virtually mythical. However, Megan Merriman’s “From the Point of View of Aiyana Stanley Jones’ Grandmother”, for example, relentlessly shatters the desire for nostalgic reflection, instead reiterating the dire need for change and political action through eloquently infused incantation.

Alas, students of Poetry Now have crafted Sem;-Colon, a captivating collection that quite brilliantly lacks a single, uniform message. From self-love to racial oppression, Sem;-Colon quite fearlessly leaps into the unknown, using several writing elements gained through Poetry Now to not only showcase strong poems, but ultimately a growth in their writing ability.

 

 

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Sally Elbaz. Rene Ismail