Instructions 1900s art style.pptx
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This is a story created with photos from DALL-E from 1900s art style of illustration sketches with poem lines from "Instructions" by Neil Gaiman
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The narrator is walking home on a cold night through their neighborhood. They pass by a group of drunk white people and feel nervous, remembering past incidents of racism and violence. When they see a police officer, they feel anxious, knowing that as a black person they are at higher risk of police brutality. At the store, an employee stares at them in a way that makes them uncomfortable. The narrator experiences intrusive thoughts and memories of racism on their journey, feeling burdened by their race and otherness. They try to relax with food and media when they get home but continue replaying difficult experiences of racism in their mind.
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The narrator is walking home on a cold night through their neighborhood. They pass by a group of drunk white people and feel nervous, remembering past incidents of racism and violence. When they see a police officer, they feel anxious, knowing that as a black person they are at higher risk of police brutality. At the store, an employee stares at them in a way that makes them uncomfortable. The narrator experiences intrusive thoughts and memories of racism on their journey, feeling burdened by their race and otherness. They try to relax with food and media when they get home but continue replaying difficult experiences of racism in their mind.
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This summary provides the key details from the document in 3 sentences:
The poem describes a journey through different circles of hell, with references to figures like Dante and Poe. It mentions demons cheering and treating all souls the same as they are lashed with fire and have their sins peeled away. The poem was written by Hesam Hozori at 2:30 am on September 4, 2016.
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This document contains a collection of riddles with varying levels of difficulty. Some riddles have obvious answers like "salt" for "You eat something you neither plant nor plow. It is the son of water, but if water touches it, it dies." While other riddles have more obscure or ambiguous answers open to interpretation. The riddles cover a wide range of topics and themes and are intended to puzzle the reader and stimulate critical thinking through their creative use of language and metaphor.
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The document contains excerpts from various poems by different poets. It discusses poetic concepts like the speaker, audience, occasion, setting in time and place, central purpose, theme, and tone. For each excerpt, it poses discussion questions related to these concepts. The overall purpose is to analyze and understand these poetic elements through examining the provided poem passages.
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The passage describes a hot summer road trip with friends in an old Ford Falcon station wagon. The heat is oppressive, with uncovered skin burning instantly. The narrator and their friends are driving with open windows down a long, hot highway towards the coast in an effort to escape the heat. The old car creaks and turns slowly like a ship on the road.
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BY CRISOSTO APACHE
For Edgar
The submarine’s inside was dim.
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in my youth, I hitched a ride to San Diego, across
chirping desert and distant night, I gazed upon a slow-moving
dark, encasing a convex cerulean cavity
each night, I stood beneath the sky for hours mesmerized
at the perplex reformatory, twinkling lights of broken
glass fragments spreading against a glistening sunset
a faceless man behind a lost reflection of glass
at a drive-up window informs me,
too bad, you know nothing of your own past
how far will I walk against the night?
conforming to a captivity I had never realized
some years later, under the kitchen table, they all huddle,
as the rampage continues toward the back of the house,
a clash of debris from the other room recoils
and broken sounds escape the barricade of doors
I remember I returned in 1970,
all they remember is me sitting at the edge of my bed,
with the war still in my hands
Anasazi
BY TACEY M. ATSITTY
How can we die when we're already
prone to leaving the table mid-meal
like Ancient Ones gone to breathe
elsewhere. Salt sits still, but pepper's gone
rolled off in a rush. We've practiced dying
for a long time: when we skip dance or town,
when we chew. We've rounded out
like dining room walls in a canyon, eaten
through by wind—Sorry we rushed off;
the food wasn't ours. Sorry the grease sits
white on our plates, and the jam that didn't set—
use it as syrup to cover every theory of us.
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BY ESTHER BELIN
I.
The empty of stomach
manifests silence
a stillness
that levels
coffee in a cup
and in a respectful manner
allows steam to penetrate
the surface.
Reversal of action
has created my sandstone canyon
rooted cedar and sage at my feet.
This movement is where
a tranquility stems.
II.
When my child creates
bubbles through a soapy wand,
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that bursts the perfect form.
A halcyon absorbed
nesting within
the existence of the form
that no longer exists.
The formless form
is where my mind floats.
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It is easy to give form
especially with English words
a promotion of mechanical ligaments
binding spirit with assembly-fabricated molds.
Just as my hair poses an appendage of my brain
my tongue poses an appendage of my heart.
I cannot classify this thought as a typewritten symbol.
An ideogram of essence
cultivates my stillness to action.
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darkening the skin of everyone who has a full tank.
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dancing in the back room lit with cigarettes
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I want you to know
one thing.
You know how this is:
if I look
at the crystal moon, at the red branch
of the slow autumn at my window,
if I touch
near the fire
the impalpable ash
or the wrinkled body of the log,
everything carries me to you,
as if everything that exists,
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toward those isles of yours that wait for me.
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I shall stop loving you little by little.
If suddenly
you forget me
do not look for me,
for I shall already have forgotten you.
If you think it long and mad,
the wind of banners
that passes through my life,
and you decide
to leave me at the shore
of the heart where I have roots,
remember
that on that day,
at that hour,
I shall lift my arms
and my roots will set off
to seek another land.
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if each day,
each hour,
you feel that you are destined for me
with implacable sweetness,
if each day a flower
climbs up to your lips to seek me,
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in me nothing is extinguished or forgotten,
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Turning and turning in the widening gyre
The falcon cannot hear the falconer;
Things fall apart; the centre cannot hold;
Mere anarchy is loosed upon the world,
The blood-dimmed tide is loosed, and everywhere
The ceremony of innocence is drowned;
The best lack all conviction, while the worst
Are full of passionate intensity.
Surely some revelation is at hand;
Surely the Second Coming is at hand.
The Second Coming! Hardly are those words out
When a vast image out of Spiritus Mundi
Troubles my sight: a waste of desert sand;
A shape with lion body and the head of a man,
A gaze blank and pitiless as the sun,
Is moving its slow thighs, while all about it
Wind shadows of the indignant desert birds.
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Were vexed to nightmare by a rocking cradle,
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A SIMPLE Child,
That lightly draws its breath,
And feels its life in every limb,
What should it know of death?
I met a little cottage Girl:
5
She was eight years old, she said;
Her hair was thick with many a curl
That clustered round her head.
She had a rustic, woodland air,
And she was wildly clad:
10
Her eyes were fair, and very fair;
—Her beauty made me glad.
‘Sisters and brothers, little Maid,
How many may you be?’
‘How many? Seven in all,’ she said,
15
And wondering looked at me.
‘And where are they? I pray you tell.’
She answered, ‘Seven are we;
And two of us at Conway dwell,
And two are gone to sea.
20
‘Two of us in the church-yard lie,
My sister and my brother;
And, in the church-yard cottage, I
Dwell near them wi.
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The Cure's "Beautiful Song" describes kissing and addiction with references to greed, duplicity, and leaving behind "babies and everything." Bob Dylan's "Hard Rain's Gonna Fall" uses ominous imagery of war and suffering to portray an uncertain future, with the singer trying to warn others. The Doors' "The End" somberly acknowledges the end of a relationship and elaborate plans, with no more safety or surprises to come.
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This document summarizes and analyzes several poems by William Stafford. It discusses the poems "Traveling Through the Dark", "Assurance", and "Waking up at 3 a.m.", analyzing their themes of man's relationship with nature and feelings of loneliness. The document suggests Stafford used phrases in his poems expressing fear or suffering, and that the overall message is about the interdependence of man and nature, and how they can help or harm each other but are ultimately inseparable.
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The document provides examples of personification from poems and stories. Personification is described as giving human qualities to non-human objects or concepts. Some examples summarized include a poem about a hungry construction site that personifies buildings and machinery, a story that personifies fire as laughing and scaring a character, and examples from prompts that ask the reader to imagine faces or limbs on objects and nature elements and describe their actions.
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This summary provides information about three poets in 3 sentences:
Jack Prelutsky discovered his career as a writer accidentally at age 24 when he decided to write poems to accompany drawings he had made. Ogden Nash was a commercially successful poet of the 20th century known for his light verse and humor poems. Shel Silverstein began writing at age 12 as a way to occupy himself since he was unathletic and girls weren't interested in him.
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This document summarizes the key events and dialogue from Act 1 of Shakespeare's As You Like It. It introduces the main characters Orlando and Oliver, and establishes their strained relationship. Orlando demands his inheritance from Oliver or freedom. Rosalind is banished from court by her uncle, Duke Frederick, and decides to flee into the forest with her cousin Celia, disguising herself as a man named Ganymede. In the forest, Orlando's love poems to Rosalind are discovered, and it is revealed he has followed her there. The act concludes with Rosalind and Celia hiding and observing Orlando's interaction with Jaques in the forest.
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The document is about a woman named Larissa who receives a call from her boss Larry asking her to search for a mysterious dinosaur called the Dangersaur in the Lost Forest. She initially refuses the dangerous mission but later accepts when Larry fires her. She travels to Alaska with her dog Millie and ventures into the Lost Forest. However, she gets lost in the forest and must decide whether to keep searching or stay put and call for help.
CarrizoBY CRISOSTO APACHEFor EdgarThe submarine’s inside was
Carrizo
BY CRISOSTO APACHE
For Edgar
The submarine’s inside was dim.
— Ryūnosuke Akutagawa, tr. by Will Petersen
in my youth, I hitched a ride to San Diego, across
chirping desert and distant night, I gazed upon a slow-moving
dark, encasing a convex cerulean cavity
each night, I stood beneath the sky for hours mesmerized
at the perplex reformatory, twinkling lights of broken
glass fragments spreading against a glistening sunset
a faceless man behind a lost reflection of glass
at a drive-up window informs me,
too bad, you know nothing of your own past
how far will I walk against the night?
conforming to a captivity I had never realized
some years later, under the kitchen table, they all huddle,
as the rampage continues toward the back of the house,
a clash of debris from the other room recoils
and broken sounds escape the barricade of doors
I remember I returned in 1970,
all they remember is me sitting at the edge of my bed,
with the war still in my hands
Anasazi
BY TACEY M. ATSITTY
How can we die when we're already
prone to leaving the table mid-meal
like Ancient Ones gone to breathe
elsewhere. Salt sits still, but pepper's gone
rolled off in a rush. We've practiced dying
for a long time: when we skip dance or town,
when we chew. We've rounded out
like dining room walls in a canyon, eaten
through by wind—Sorry we rushed off;
the food wasn't ours. Sorry the grease sits
white on our plates, and the jam that didn't set—
use it as syrup to cover every theory of us.
When Roots Are Exposed
BY ESTHER BELIN
I.
The empty of stomach
manifests silence
a stillness
that levels
coffee in a cup
and in a respectful manner
allows steam to penetrate
the surface.
Reversal of action
has created my sandstone canyon
rooted cedar and sage at my feet.
This movement is where
a tranquility stems.
II.
When my child creates
bubbles through a soapy wand,
I occupy the action of fate
that bursts the perfect form.
A halcyon absorbed
nesting within
the existence of the form
that no longer exists.
The formless form
is where my mind floats.
III.
It is easy to give form
especially with English words
a promotion of mechanical ligaments
binding spirit with assembly-fabricated molds.
Just as my hair poses an appendage of my brain
my tongue poses an appendage of my heart.
I cannot classify this thought as a typewritten symbol.
An ideogram of essence
cultivates my stillness to action.
ANWR
BY SHERWIN BITSUI
When we are out of gas,
a headache haloes the roof,
darkening the skin of everyone who has a full tank.
I was told that the nectar of shoelaces,
if squeezed hard enough,
turns to water and trickles from the caribou’s snout.
A glacier nibbled from its center
spiders a story of the Southern Cross,
twin brothers
dancing in the back room lit with cigarettes
break through the drum’s soft skin—
There bone faces atlas
a grieving century ...
Choose your own_adventure
You are a peasant who overhears your lord talking about hidden treasure on the island. You set off to find the treasure and encounter various obstacles and choices along the way, including a creaky tower that collapses, paths through a jungle and swamp, keys in a treehouse that provide visions, and crystals in a hidden valley. However, your adventures often end badly, such as being bitten by an alligator or attacked by a shark, forcing you to start over.
Sounds of Letter Z
This document provides information about the /z/ and /zh/ sounds in English. It discusses how the /z/ sound is voiced and its counterpart /s/ sound is unvoiced. Examples of words containing /z/ are given. Rules for when an 's' is pronounced as a /z/ at the end of words are explained. The /zh/ sound is also described as voiced and examples like 'treasure' are given. Sentence examples using words with /z/ and /zh/ are provided for practice. The document encourages identifying words with /z/ sounds in a passage and making a tongue twister with pictures using /z/ sounds.
Gabriela mistral selected poems
This document is the introduction to a collection of poems by Gabriela Mistral translated into English by Ursula K. Le Guin. It acknowledges the permission granted by the Franciscan Order in Chile to publish Mistral's works and dedicates the collection to the children of Jindal Vidya Mandir Schools. It includes a foreword by Sangita Jindal praising Mistral's work and the collaboration between the Chilean embassy and Vakils publications to produce this collection. It lists the selected poems included and credits the students of Jindal Vidya Mandir Schools for illustrating the poems.
Poems For Language Day.docx
The document contains four short poems related to the theme of English Language Day. The first poem by Edgar Guest titled "See It Through" encourages facing troubles squarely and persevering despite challenges. The second poem "The Star" by Jane Taylor is a well-known poem that wonders at the beauty of stars in the night sky. The third poem "Dreams" by Langston Hughes speaks of the importance of holding onto dreams for hope and meaning in life. The final poem "'Hope' is the thing with feathers" by Emily Dickinson describes hope as a small bird that sings and keeps people warm through all storms.
A Collection Of Poems
This collection of poems explores themes of hope, love, nature, and healing. The first poem asks the birds, trees, waves and leaves to lend their qualities of flight, roots, change and hope. Another poem is about finding healing and dawn in a lover's arms after feeling pierced by the stars and one's own lies. A third poem is about reluctantly forgiving a lover and finding the green fields where one's tears fall.
Smoky Gold
This is the text of Leopold's essay "Smoky Gold" paired with beautiful images. This presentation can be used as a backdrop to help illustrate public readings of the essay.
Magazine ies la Quintana
This document contains a collection of legends from the town of Langreo in northern Spain. It begins with summaries of common Asturian legends like the xana (fairy), el cuelebre (dragon), and el trasgu (gnome). It then discusses legends specifically from the coal mines, including dangers faced by miners and the important role of the security brigade. Several sections profile personal heroes from the town, including the feminist politician Clara Campoamor and the Asturian cartoon character Pinin. The document serves to preserve and share the folklore and history of the region.
In the house of ourselves
This document is a creative writing piece told from two perspectives, referred to as "You" and "Me". It describes a surreal journey through a mysterious, endless house with many stories and rooms. "You" leads "Me" on this exploration, where they encounter strange characters and situations. Their relationship develops as they bond through intimate moments and care for each other during unsettling experiences. The house seems to reflect their psychological states and connection to one another.
If You Forget Me,” Pablo NerudaI want you to knowone thing..docx
“If You Forget Me,” Pablo Neruda
I want you to know
one thing.
You know how this is:
if I look
at the crystal moon, at the red branch
of the slow autumn at my window,
if I touch
near the fire
the impalpable ash
or the wrinkled body of the log,
everything carries me to you,
as if everything that exists,
aromas, light, metals,
were little boats
that sail
toward those isles of yours that wait for me.
Well, now,
if little by little you stop loving me
I shall stop loving you little by little.
If suddenly
you forget me
do not look for me,
for I shall already have forgotten you.
If you think it long and mad,
the wind of banners
that passes through my life,
and you decide
to leave me at the shore
of the heart where I have roots,
remember
that on that day,
at that hour,
I shall lift my arms
and my roots will set off
to seek another land.
But
if each day,
each hour,
you feel that you are destined for me
with implacable sweetness,
if each day a flower
climbs up to your lips to seek me,
ah my love, ah my own,
in me all that fire is repeated,
in me nothing is extinguished or forgotten,
my love feeds on your love, beloved,
and as long as you live it will be in your arms
without leaving mine.
“The Second Coming,” William Butler Yeats
Turning and turning in the widening gyre
The falcon cannot hear the falconer;
Things fall apart; the centre cannot hold;
Mere anarchy is loosed upon the world,
The blood-dimmed tide is loosed, and everywhere
The ceremony of innocence is drowned;
The best lack all conviction, while the worst
Are full of passionate intensity.
Surely some revelation is at hand;
Surely the Second Coming is at hand.
The Second Coming! Hardly are those words out
When a vast image out of Spiritus Mundi
Troubles my sight: a waste of desert sand;
A shape with lion body and the head of a man,
A gaze blank and pitiless as the sun,
Is moving its slow thighs, while all about it
Wind shadows of the indignant desert birds.
The darkness drops again but now I know
That twenty centuries of stony sleep
Were vexed to nightmare by a rocking cradle,
And what rough beast, its hour come round at last,
Slouches towards Bethlehem to be born?
We Are Seven
William Wordsworth (1770–1850)
A SIMPLE Child,
That lightly draws its breath,
And feels its life in every limb,
What should it know of death?
I met a little cottage Girl:
5
She was eight years old, she said;
Her hair was thick with many a curl
That clustered round her head.
She had a rustic, woodland air,
And she was wildly clad:
10
Her eyes were fair, and very fair;
—Her beauty made me glad.
‘Sisters and brothers, little Maid,
How many may you be?’
‘How many? Seven in all,’ she said,
15
And wondering looked at me.
‘And where are they? I pray you tell.’
She answered, ‘Seven are we;
And two of us at Conway dwell,
And two are gone to sea.
20
‘Two of us in the church-yard lie,
My sister and my brother;
And, in the church-yard cottage, I
Dwell near them wi.
Demistifying Poetry
The document contains excerpts from various poems spanning different time periods and authors. The poems cover a range of topics from love and nature to reflections on life and death. While the speakers and settings vary across the poems, the overall purpose is to provide a collection of short poems for the reader's contemplation.
Smoky Gold
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Instructions 1900s art style.pptx
- 1. Instructions Neil Gaiman Illustrated by DALL-E Illustration sketch-1900s art style
- 2. Touch the wooden gate in the wall you never saw before. Say "please" before you open the latch, go through, walk down the path A red metal imp hangs from the green-painted front door, as a knocker, do not touch it; it will bite your fingers. Walk through the house. Take nothing. Eat nothing. However, if any creature tells you that it hungers, feed it. If it tells you that it is dirty, clean it. If it cries to you that it hurts, if you can, ease its pain.
- 3. From the back garden you will be able to see the wild wood. The deep well you walk past leads to Winter's realm; there is another land at the bottom of it. If you turn around here, you can walk back, safely; you will lose no face. I will think no less of you.
- 4. Once through the garden you will be in the wood. The trees are old. Eyes peer from the under-growth. Beneath a twisted oak sits an old woman. She may ask for something; give it to her.
- 5. She will point the way to the castle. Inside it are three princesses. Do not trust the youngest. Walk on. In the clearing beyond the castle the twelve months sit about a fire, warming their feet, exchanging tales. They may do favors for you, if you are polite.
- 6. You may pick strawberries in December's frost. Trust the wolves, but do not tell them where you are going. The river can be crossed by the ferry. The ferry- man will take you. (The answer to his question is this:
- 7. If he hands the oar to his passenger, he will be free to leave the boat. Only tell him this from a safe distance.) If an eagle gives you a feather, keep it safe.
- 8. Remember: that giants sleep too soundly; that witches are often betrayed by their appetites;
- 9. dragons have one soft spot, somewhere, always; hearts can be well-hidden, and you betray them with your tongue.
- 10. Do not be jealous of your sister. Know that diamonds and roses are as uncomfortable when they tumble from one's lips as toads and frogs: colder, too, and sharper, and they cut.
- 11. Remember your name. Do not lose hope — what you seek will be found. Trust ghosts. Trust those that you have helped to help you in their turn. Trust dreams. Trust your heart, and trust your story. When you come back, return the way you came. Favors will be returned, debts will be repaid. Do not forget your manners. Do not look back. Ride the wise eagle (you shall not fall).
- 12. Ride the silver fish (you will not drown). Ride the grey wolf (hold tightly to his fur).
- 13. There is a worm at the heart of the tower; that is why it will not stand. When you reach the little house, the place your journey started, you will recognize it, although it will seem much smaller than you remember.
- 14. Walk up the path, and through the garden gate you never saw before but once. And then go home. Or make a home. And rest.