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                <text>Booth, L.S.</text>
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                <text>The title of this poem uses a derogatory racial slur to describe its main character. The narrator of this poem relays the time he saw a black man in heaven. This black man is dressed in "crimson satin things" with "golden teeth" and with "jeweled fingers;" he is dressed in riches, yet also in a stereotypically tribal manner. This man is grinning as "a grave white man" performs labor "at his feet."</text>
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                <text>Booth, L.S. "A Nigger in Heaven." &lt;em&gt;The Messenger&lt;/em&gt; LVI, no. 6 (May 1930): 11. 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>Heaven</text>
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                <text>Gabby Kiser</text>
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                <text>Matt Mullen</text>
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                <text>The Messenger, University of Richmond</text>
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                <text>Cassidy Lowther</text>
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                <text>Gabby Kiser</text>
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          <element elementId="39">
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                <text>Nemerov, Howard</text>
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                <text>1964</text>
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                <text>The narrator of this poem claims that, if he were black, he wouldn't mind being turned away from a white cemetery. The poem finishes by arguing that "it's white of them to give what tantamounts to [an integrated world], and makes us all, for what that's worth, separate but equal where it counts." It alludes to the separations of Heaven and Hell after death despite mortal bodies being segregated by race.</text>
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                <text>Nemerov, Howard. "A Negro Cemetery Next To A White One." &lt;em&gt;The Messenger&lt;/em&gt; (Summer 1964): 22. University Archives, RG 24 Student Publications. Virginia Baptist Historical Society, Richmond, Virginia.</text>
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                <text>2018</text>
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                <text>This poem, narrated by "the slave's dream and hope," attacks the idea of "good hair" as a superior, more acceptable alternative to natural black hair. It asserts that good hair should have been left on the plantations, and compares it to the song "Dixie."</text>
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                <text>Moyler, Hunter. "A Letter to Good Hair." &lt;em&gt;The Messenger&lt;em&gt;(2018): 28-29. Available online via the &lt;a href="https://scholarship.richmond.edu/cgi/viewcontent.cgi?article=2147&amp;amp;context=messenger" target="_blank"&gt;UR Scholarship Repository.&lt;/a&gt;&lt;/em&gt;&lt;/em&gt;</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>Racial awareness</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>Poem "'Who Am I?'"</text>
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                <text>Finney, Dominic L.</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>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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                <text>Virginia Baptist Historical Society</text>
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                <text>John Brown's Body: Stephen Vincent Benet. Doubleday, Doran &amp; Co., 1928.  [Review]</text>
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                <text>Caroline Weber</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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                <text>Page 4 </text>
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                <text>Matt Mullen</text>
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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>The Messenger, University of Richmond</text>
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                <text>Gibson, Harold</text>
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                <text>The Collegian, University of Richmond</text>
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                <text>This article defines the "literary quality" mentioned in student handbooks given to freshman (called "Rats" by the author). Gibson claims that literary realism is sometimes "vulgar" and "obscene" just to be shocking, which makes it "pornographic trash." He asserts that the &lt;em&gt;Messenger's&lt;/em&gt; quality lies in the fact that they do not accept such trashy works, as well as in that many literary formats are used. While Gibson claims it is not a "high brow" magazine, he ultimately says it is good because students create it and urges involvement.</text>
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                <text>Poetry</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>Joy Lim</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Article "Art Review: Beat of a New Trend"</text>
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                <text>Rackley, Ed</text>
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                <text>King, Jeff</text>
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            <name>Publisher</name>
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                <text>The Collegian, University of Richmond</text>
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            <name>Date</name>
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                <text>1988-02-18</text>
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            <name>Type</name>
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                <text>Text</text>
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                <text>newspapers</text>
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                <text>Richmond (Va.)</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>This article provides a description of an art show called “Intimate Images” at 1708 E. Main St. Gallery that includes art by artists Judy McLeod, Jude Schlotzhauer, and Amy Archinal. Each artist has a distinct style and focuses on issues such as, “women’s liberation from traditional stereotypes,”, “anxiety and bliss of the human drama,”, and the “energy of life.” Another exhibit at 1717 E. Franklin Street displays art by artist Lester Blackiston. His poems are, “inverted paintings,” that are associated with the Beat Generation of the 1950s and early 1960s. These exhibits were on display until February 27th.</text>
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            <name>Subject</name>
            <description>The topic of the resource</description>
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                <text>Museum exhibits</text>
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                <text>Poetry</text>
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                <text>Richmond (Va.)</text>
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                <text>English</text>
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            <name>Identifier</name>
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                <text>Collegian74.17.11-19880218.PNG</text>
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                <text>Rackley, Ed, Jeff King. "Art Review: Beat of a New Trend." &lt;em&gt;The University of Richmond Collegian&lt;/em&gt; 74, no. 17, (February 18, 1988): 11. &lt;a href="https://collegian.richmond.edu/?a=d&amp;amp;d=COL19880218.2.30&amp;amp;srpos=11&amp;amp;e=-------en-20--1--txt-txIN-" target="_blank"&gt;https://collegian.richmond.edu/?a=d&amp;amp;d=COL19880218.2.30&amp;amp;srpos=11&amp;amp;e=-------en-20--1--txt-txIN-&lt;/a&gt;</text>
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