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                <text>Louise Dinwiddie</text>
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                <text>This essay by then-editor-in-chief Louise Dinwiddie, analyzes the 1929 poem "The Chinese Nightingale" by white American writer Vachel Lindsay. The poem mentions many facets of Chinese culture and, as Dinwiddie recognizes, asserts that culture is timeless and valuable even as Chinese people immigrate to other lands. Dinwiddie calls Lindsay's portrayal "whimsical" and contrasts it with his "terrified" poem "The Congo." She also claims that the poem has "the slant angle of vision peculiar to the Eastern eye" and hints to a perceived mystery surrounding Asian cultures.</text>
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                <text>Dinwiddie, Louise."The Song of the 'Chinese Nightingale.'" &lt;em&gt;The Messenger&lt;/em&gt; LVIII, no. 3 (1932): 25-32. University Archives, RG 24 Student Publications. Virginia Baptist Historical Society, Richmond, Virginia.Virginia Baptist Historical Society, The Messenger 1920</text>
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                <text>Poem "A Korean American Dream"</text>
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                <text>The author of this poem claims that she is "an Asian who wants to be white" and begins the poem with the choice, "I want to be more American." When asked what's stopping her, though, she responds, "That's not who I am." The root of her desire to be "more American" and "white" is her shame toward being marginalized as Asian. She states that identity is "fluid, messy, and stained with trauma and pain." She finally decides that her American dream is to build her own.</text>
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                <text>Lee, Sharon. "A Korean American Dream." &lt;em&gt;The Messenger&lt;em&gt; (2018): 42-43. Available online via the UR Scholarship Repository.&lt;/em&gt;&lt;/em&gt;</text>
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                <text>Damian Hondares</text>
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                <text>This "Old Piedmont Negro dialect" poem was written by a white male student masquerading as a black storyteller. Its title refers to the fictional central character, Nias, an enslaved black man who is characterized as an unintelligent, unhygenic, yet hard-working giant. The writer uses racial slurs to describe him as well. Nias notably attracts many black women wherever he goes, who fight over being able to sleep with him due to his size. He later performs manual labor for the Confederate Army, ultimately dying to save a white man's life. </text>
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                <text>Kirk, Paul W., Jr. "Ananias (A ballad in Old Piedmont Negro dialect)." &lt;em&gt;The Messenger&lt;/em&gt; LXXXIV, no. 1 (Fall 1957): 24-28. University Archives, RG 24 Student Publications. Virginia Baptist Historical Society, Richmond, Virginia.</text>
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                <text>The Messenger, University of Richmond</text>
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                <text>This sketch (a brief, abstract descriptive poem) begins with the "fear of a black" that is then related to the prevention of typhoid, which "results in the American Army." The three words of "Negro / Mister / Coffee" follow the words "They mystify." The poem was written by a white student.</text>
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                <text>Hockensmith, Josh. "Sketch 2:5." &lt;em&gt;The Messenger&lt;/em&gt; (Fall 1994): 20. Available online via the &lt;a href="https://scholarship.richmond.edu/cgi/viewcontent.cgi?article=1144&amp;amp;context=messenger" target="_blank"&gt;UR Scholarship Repository.&lt;/a&gt;</text>
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                <text>Gibson, Harold. "Now You Know: Messenger Voices Thoughts." &lt;em&gt;The Richmond Collegian&lt;/em&gt; XLII, no. 2 (September 23, 1955): 2. &lt;a href="https://collegian.richmond.edu/?a=d&amp;amp;d=COL19550923.2.13&amp;amp;e=-------en-20--1--txt-txIN-------" target="_blank"&gt;https://collegian.richmond.edu/?a=d&amp;amp;d=COL19550923.2.13&amp;amp;e=-------en-20--1--txt-txIN-------&lt;/a&gt;</text>
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                <text>The narrator of this poem expresses his identity as part of a "colossal being" of black people, preferring the collective 'we' to the singular 'I.' He explores slavery as "the torture that was endured for years and still / Silently exists today" through imagery of whippings, shackles, shootings, and burning crosses. He addresses the reader as the one who oppresses him and his people and writes, "All of us need to look into each other's eyes and realize that we / Are all human beings."</text>
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                <text>Finney, Dominic L. "'Who Am I?'" &lt;em&gt;The Messenger&lt;/em&gt; (1996): 33-35. Available online via the &lt;a href="https://scholarship.richmond.edu/cgi/viewcontent.cgi?article=1174&amp;amp;context=messenger" target="_blank"&gt; UR Scholarship Respository.&lt;/a&gt;</text>
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                <text>A short poem written by Alice Richardson that describes the decoration adorning a Chinese vase, specifically the serpent dragon. Richardson notes that serpents play a positive role in Chinese culture history that is betrayed on the Chinese vase, as it is shown to be monstrous, ugly, and gaudy. Similarly to the poem "The Song of the 'Chinese Nightingale'", this poem sheds light on Chinese culture in a respectable way, highlighting its important images and artistic techniques showing that the author, a Westhampton College woman, has an interest in Chinese culture. &#13;
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                <text>Caroline Weber</text>
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                <text>This poem reinforces ideas of hopelessness and permanence, repeating many lines and ultimately lamenting, "but you are trapped, hung in one spot / dangling over water, lost / to one world, lost in the other[.]" "Bugger" is a homophobic slang term. The poem is paired with a photo of an unnamed, professional-looking black man at a desk.</text>
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                <text>Carroll, John. "for the hairy buggar's future victim." &lt;em&gt;The Messenger&lt;/em&gt; XCVI, no. 1 (Winter 1970): 30-31. University Archives, RG 24 Student Publications. Virginia Baptist Historical Society, Richmond, Virginia.</text>
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                <text>These five poems are titled "Adaptations From the Chinese." It's unclear if these poems have any significant meanings behind them, but the tone of each of these poems appears to be negative. In "The Flowerless Garden" there is only a shadow and no flowers to gaze upon in a torn garden. In "An Elegy for a High Lady," the author explains that flowers will not be placed on a grave site. In "The Bed Curtains" and "Alba: The Lute," each refers to being cold and walking around the wet dew outside. Bruce Morrissette, who is credited with these adaptations, was asked in this issue if he was a student of the Chinese language and he responded negatively, and "hinted dubiously at the assistance of a laundry man in reducing the original Chinese into crude English."</text>
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              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>1914-1932</text>
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              <name>Description</name>
              <description>An account of the resource</description>
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                  <text>Includes all documents collected by students in Digital Memory &amp; the Archive (Fall 2015).</text>
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        <name>Dublin Core</name>
        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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              <elementText elementTextId="726">
                <text>Bruce Morrissette</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>1929</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>The poem "John Brown's Body" was written by Stephen Vincent Benet in 1928 and is described in a book review by a Richmond College student. John Brown was an abolitionist who eventually was hanged for his assistance in freeing slaves and especially for his involvement in the Harper's Ferry raid in 1859. The poem was awarded the Pulitzer Prize in 1929, which is a possible reason that the student decided to review the poem. It was later performed as one performance staged dramatic reading and recorded and entered into the "Library of Congress's National Recording Registry for the recording's 'cultural, artistic and/or historical significance to American society and the nation’s audio legacy'" in 2015. The student conducting the review described the poem as having "brought back the days of the Civil War in a style which is reminiscent of the old South itself. Every line breathes romanticism, heroism, courage, and chivalry. His portrait of Lee particularly is a fine work..." indicating the celebratory memories of those who supported the confederacy of the Antebellum South during the Civil War. For many Southerners, there was a feeling of romantic nostalgia of the easy and elegant times of the plantation era, something which many Confederates hoped to return to one day. </text>
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            <name>Source</name>
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                <text>Virginia Baptist Historical Society</text>
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                <text>Richmond, VA</text>
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            <name>Subject</name>
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                <text>Southern States--Propaganda</text>
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                <text>Brown, John, 1800-1859</text>
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                <text>Poetry</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>John Brown's Body: Stephen Vincent Benet. Doubleday, Doran &amp; Co., 1928.  [Review]</text>
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                <text>The Messenger Vol. 55, No. 3 February , 1929</text>
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                <text>Page 19 (1 of 2)</text>
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            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
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              <elementText elementTextId="2271">
                <text>Caroline Weber</text>
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