An inaccessible truth does not negate the existence of truth. My relationship to writing is an ontological investigation of the lack (derived from Lacan). My writing process typifies the investigative process of finding patterns in seemingly disparate . . .

Between scrambling to piece together the all-star, standards-savvy curriculum, grading piles of papers, and attending more meetings than one can count, it's no wonder that teachers rarely have to time to pause and reflect on...well, anything! The purp . . .

In this Dystopic Factory-Dickensian setting, Naifi, the protagonist, is at the bottom rung of the social order. Naifi is an orphan and therefore property of the state; within this world, the Factories are workhouses where children are forced to contri . . .

This project consists of experimentation in form, legibility, hybridity, and challenges the notion by which poetry is to be understood. Ranging from poems with unreadable text to images of artwork being substituted in place of language, the work in th . . .

As a poet, the one thing that I find the most redemptive is the power of confession that language affords me, even though within that power lies a struggle of bittersweet magnitude. My poetic confessions speak to the torrential downpour of an unpleasa . . .

The Heart of the Hawk is a novel about a young American Indian named Tom Red Hawk who returns from the Viet Nam war to attend college in Vermont at Bartlett University. Red Hawk is a complex person, and aspires to be a writer. He begins a novel about . . .

This paper argues that genre awareness can be taught more effectively by challenging the boundaries of genre by genre blending. This approach exists to supplement and augment the current ways in which genre is taught in a first year composition class . . .

Public education and the university have stricter, more basic rules and forms of self-expression when it comes to literature and language, usually neglecting creative empowering ways of communication and representation. For my culminating project, I w . . .

In Family Justice, I take the reader on a rollercoaster of exploration which seeks the answer to which instinct is more dominant when combined with the societal gender expectations of being a "woman": nature or nurture. Even growing up and becoming a . . .

Throughout his lifetime, Dickens was fascinated by the nature of evil. I believe there is a distinct pattern of development in his portrayal of evil. In order to show this, I treat four novels spanning over twenty years: Oliver Twist (1838), David Cop . . .