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Ruffolo, Jon

The Prairie Light Review
Volume 41 | Number 1 Article 54
Fall 12-1-2018
The End of the World in Northern Michigan
Jon Ruffolo
College of DuPage
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Ruffolo, Jon (2018) "The End of the World in Northern Michigan," The Prairie Light Review: Vol. 41 : No. 1 , Article 54.
Available at: https://dc.cod.edu/plr/vol41/iss1/54
The End of the World in Northern Michigan
Jon Ruffolo
Fall 2018 Journal .indd   23 1/3/19   4:36 PM
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Ruffolo: The End of the World in Northern Michigan
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English

The End of the World in Northern Michigan

ESSAI
Volume 16 Article 5
Spring 2018
Epigraph
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Recommended Citation
(2018) "Epigraph," ESSAI: Vol. 16 , Article 5.
Available at: https://dc.cod.edu/essai/vol16/iss1/5
IV 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
“In this work, when it shall be found that 
much is omitted, 
let it not be forgotten that 
much likewise is performed.” 
 
Samuel Johnson, the Preface to his Dictionary 
 
 
 
 
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Epigraph

ESSAI
Volume 16 Article 6
Spring 2018
Foreword
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Recommended Citation
(2018) "Foreword," ESSAI: Vol. 16 , Article 6.
Available at: https://dc.cod.edu/essai/vol16/iss1/6
V 
Foreword 
 
Created in 2002 by a cross-disciplinary faculty, ESSAI, The College of DuPage Anthology of Academic 
Writing Across the Curriculum is an annual academic journal that represents a unique but inclusive 
discourse community of student writers; it fosters student success through writing across the curriculum 
and in all levels of learning at College of DuPage. It rests on our belief that writing empowers and 
prepares our students for meaningful careers and advanced academic pursuits and that, to realize such 
goals, the entire college community is responsible for incorporating writing into their courses as a vital 
part of the academic experience at our college. 
 
Like all the past volumes, this Volume XVI continues to harvest our belief in fertile cooperation with our 
cross-disciplinary faculty who implement writing to learn and promote discipline in their teaching. Some of 
the published essays, therefore, have resulted because our students made use of journals, logs, 
microthemes, and other informal writing assignments encouraged in the classroom. In this way, students 
wrote frequently and improved their writing skills enabling them to comprehend better and to retain 
information longer. Others – expository work such as reports, article reviews, criticisms, research papers 
– attest to students’ successful participation in academic discourse according to the conventions of 
language use and style expected in specific disciplines. 
 
That we practice the philosophy of student success through good writing will become even more apparent 
in the journal’s name. It harkens back and pays homage to Michel de Montaigne whose seminal style of 
writing “essais” connoted one of trials and attempts. Thus ESSAI chronicles our students’ intellectual trials 
wherein they dialogically encounter diverse culturescapes, critically weigh various issues at hand and 
then engage in analytical exercises, while each evolving from a personal to a public writing self. The 
resulting published work is their expanded cultural and epistemological self endowed with talent, 
sophistication, and fresh scholarship, all expressed with clarity, eloquence, and grace. 
 
We continue our editorial tradition in making the best selections for publication. The most exemplary of 
the year’s submissions are those that: 
 
 Are completed according to assignments’ purposes 
 Have mechanics, grammar, and other technical points in place 
 Are imaginative, creative, logical, and risk-taking with respect to assignments’ purposes 
 Exhibit clarity of writing with respect to purposes 
 Follow the disciplinary format 
 Include relevant literature reviews where required 
 Demonstrate analytical abilities 
 Generate interest 
 
Join with us in honoring the exceptional talents of our student authors and our student artist whose 
graphic design adorns our cover. And watch for Volume XVII of ESSAI which will be published in 2020. 
We appreciate your readership. Through your interest and support, our anthology will keep growing. 
 
The ESSAI Editorial Board: 
 
Brian Blevins, Graphic Design 
Franz Burnier, English 
Richard Jarman, Chemistry 
Kris Kowal, English 
Sarah Magin, English 
Sam Mitrani, History 
Lynda Randa, Biology 
Ben Whisenhunt, History 
 
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Foreword

Cegielski, Emily

ESSAI
Volume 16 Article 10
Spring 2018
The Obituary of a Folklore: The Relation of John
Newman Edwards and Jesse James
Emily Cegielski
College of DuPage
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Cegielski, Emily (2018) "The Obituary of a Folklore: The Relation of John Newman Edwards and Jesse James," ESSAI: Vol. 16 , Article
10.
Available at: https://dc.cod.edu/essai/vol16/iss1/10
7 
The Obituary of a Folklore: The Relation of John Newman Edwards and Jesse James 
 
by Emily Cegielski 
 
(English 1102) 
 
 
 
n April 3, 1882, Jesse James, the famous American outlaw, was murdered. Jesse James was a 
classic Robin Hood figure. Swashbuckling robber supposedly stealing from the rich and 
giving to the poor, he was a notable part of American folklore during the 19th century. 
James’ obituary was written by John Newman Edwards was an editor for the Kansas City Times 
during 1872-1882, who also wrote other articles for the historical bandit. Edwards writes in the 
obituary in 1882, “No one among all the hired cowards... dared face this wonderful outlaw… until he 
had disarmed himself and turned his back to his assassins, the first and only time in a career which 
has passed from the realms of an almost fabulous romance into that of history” (1882). He continues 
on to explain how marvelous James was despite his murderous actions: 
 
We called him outlaw, and he was, but Fate made him so. When the war (American 
Civil War) came he was just turned of fifteen. The border was all aflame with steel, 
and fire, and ambuscade, and slaughter. He flung himself into a band which had a 
black flag for a banner and devils for riders. 
 
Newman claims it was because of James’ strenuous childhood that he was forced into the lifestyle of 
a criminal, but he was not a bad man. The obituary then focuses on the “flawed-ness” of the State, by 
using Jesse James as an example of a victim of prejudice. Towards the end, Edwards rants about how 
James was murdered unjustly due to the political state of Missouri: 
 
Those who conspired to murder him (Jesse James)... have succeeded, but such a cry 
of horror and indignation at the infernal deed is even now thundering over the land… 
Others again among the murderers are sanctimonious devils who plead the honor of 
the State, the value of law and order, the splendid courage required to shoot an 
unarmed man in the back of the head; and these will be stripped to their skin of all 
their pretensions, and made to shiver and freeze, splotched as they are and spotted 
and piebald with blood, in the pitiless storm of public contempt and condemnation… 
 
Newman says that the death of Jesse James couldn’t be overlooked because it was a crime itself. The 
State of Missouri supposedly went out of its way to end James, pulling from every resource possible, 
even if it meant illegal activity: 
 
But here the law itself becomes a murderer. It leagues with murderers. It hires 
murderers. It aids and abets murderers. It borrows money to pay and reward 
murderers. It promises immunity and protection to murderers. It is itself a murderer--
the most abject, the most infamous, and the most cowardly ever known to history. 
 
Newman explains that Missouri is a progressive and functioning state, but due to the State's response 
of putting a reward on James for whoever killed the outlaw, Newman believed Missouri was willing 
to sell out. In Newman's eyes this meant the State was willing to bend the law in order to terminate 
Jesse James: 
O
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Missouri, with a watchful and vigilant marshal in every one of her principal towns 
and cities. Missouri, with every screw and cog and crank and lever and wheel of her 
administrative machinery in perfect working order. Missouri, with all her order, 
progress and development, had yet to surrender all these in the face of a single man--a 
hunted, lied-upon, proscribed and outlawed man… that the majesty of the law might 
be vindicated… Why, the whole State reeks to-day with a double orgy-that of lust 
and that of murder… Tear the two bears from the flag of Missouri. Put thereon, in 
place of them, as more appropriate, a thief blowing out the brains of an unarmed 
victim, and a brazen harlot, naked to the waist and splashed to the brows in blood. 
 
John Newman Edwards exclaimed his opinion very clearly in the obituary of Jesse James. Obituaries 
normally reflect on the person's life and accomplishments. The person who has passed is 
complimented for their values and morals. Jesse James's obituary did praise him; however, it was 
also a platform for Newman to express his feelings on Missouri and exaggerate the life of Jesse 
James. John Newman Edwards claimed that “fate” made Jesse James a criminal, and that the State 
gave up its good name because of Jesse James’ death, and Newman also dramatized the obituary for 
his political agenda. Jesse James is still a mystery to this day. Many of those who claim to know 
about Jesse James only know the folklore of Jesse James. Clarity needs to be brought on who Jesse 
James really is. 
 For the obituary to be fully understood, the history of Jesse Janes needs to be explored. Jesse 
James was born in Kearney, Missouri, on September 5, 1847. As far as James's early life, not much 
can be legitimized as fact. Different sources present his father, Reverend Robert James, as leaving 
the James family to join the California Gold Rush (History.com Staff), or even the James family 
getting attacked by Union soldiers (Biography.com Editors). Jesse James is the closest thing to a 
living folklore. Both sources do agree on the fact that Jesse James and his brother, Frank, in their 
young teenage years, joined the Confederate army during the Civil War. History.com states, “As 
Confederate sympathizers, both Jesse and Frank joined William Quantrill’s vicious Missouri 
guerrilla force…” ( History.com Staff ). The Civil War was a malicious war that affected all 
Americans. Jesse James was majorly exposed to the brutality of the war and potentially participated 
in the violence as a guerilla soldier. The war came to a long awaited end with the Union claiming 
victory. The Confederate States had to bend to the new legislation, which meant cultural revision. 
Jesse and Frank, hard from the war, did not want to succumb to the new era of freedom for all men. 
Instead of accepting defeat and living a simple diligent life, the two brothers rebelled. Jesse James 
and Frank James banded together and started a group of ex-Confederate soldiers to pursue the work 
of delinquents. Time Magazine mentions, “After the war, reeling from the South's defeat, they (Jesse 
and Frank’s gang) roamed from Iowa to Alabama and Texas, robbing banks, holding up trains, and 
looting stagecoaches, shops, and unlucky passers-by” (Time Staff). Years went by and the two 
brothers continued their escapades. Jesse James ended up marrying his first cousin, Zerelda. James 
was considered a “family man” with two children, even though he was a criminal (Biography.com 
Staff ). Eventually Governor Crittenden of Missouri was tired of James’ shenanigans. The Governor 
offered a generous reward for whoever captured Jesse James. On April 3, 1882, Bob Ford, a man 
who had briefly worked with the James brothers, put a bullet through Jesse James’ head and ended 
the life of notorious bandit. 
 Newman, in the obituary, says that Jesse James was bound to a life of crime because he was 
so young when he entered the war. On the contrary, a writer for the website, Civil War Saga, 
addresses that during the Civil War it wasn’t unusual for boys to serve. The ages of boy soldiers 
ranged from twelve to seventeen. Their duties mostly consisted of being drummer boys (musicians), 
giving medical assistance, and delivering messages back and forth for their armies. Casualties still 
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took place in this specific age group because they engaged on the battlefield despite their age 
(Brooks). Jesse James was an anomaly in these circumstances. Indeed he was exposed to violent 
guerilla warfare, but such exposure is not a legitimate excuse for the crimes James committed. 
Typically, the boy soldiers who survived the war went back to their families or continued to serve in 
the military. After the war was over James could have returned to a simple life of a farmer or 
whatnot. Instead he actively chose to kill, steal, and destroy. These are not the qualities of a good 
man. 
 The war had come to an end and the South had to begin to reform and integrate a new 
ideology. Despite Missouri being advancing in technology and social reform, the state could not 
handle the nuisance Jesse James. The Governor of Missouri, Thomas Crittenden, was sick and tired 
of the James brothers and put a reward of five thousand dollars for whoever could catch the 
troublesome duo. Hanes, writer from History.com, says, “Even for a murder, a $5,000 reward was 
large by 1881 standards, equivalent to over $113,000 in today’s dollars”. Crittenden’s goal was to get 
the brothers in jail, because they had become a liability issue: 
 
Over the preceding 12 years, the James gang had pulled off an average of one heist 
about every six months. At the time of the (reward) poster’s issuance, Frank and 
Jesse were charged with two train robberies, one bank robbery and a murder in the 
last two years alone. Nevertheless, the pair remained at large. Crittendon wanted the 
brothers brought to justice, and the large reward provided great incentive to lawmen 
and citizens alike to deliver the James brothers to jail. (Hanes) 
 
Crittendon couldn’t afford to lose anymore money or lives to Jesse James. Newman in the obituary 
claimed that Missouri illegally went about getting rid of Jesse James. In reality Crittendon never 
warranted the murder of Jesse James. The governor merely wanted James in jail so that he could be 
managed and dealt with. A large reward was offered for Jesse James and how he was to be “caught” 
was not quite clarified. Despite that, for Newman to accuse Missouri for being unlawful based on a 
murder of a criminal is a large accusation. There is not enough evidence for Newman to say the good 
name of Missouri was lost because Jesse James was murdered. 
 The other key component to this mysterious folklore is the obituary writer himself. The 
claims he makes are very opinionated. Comprehending what Newman is trying to get across in the 
obituary is a little difficult without first knowing who John Newman Edwards is. According to 
Historic Missourians.com, Newman was born in Virginia but lived in Missouri for most of his life. 
The Civil War began and Newman declared himself as a Confederate. He served as a soldier in the 
war. Part of his duty was to write informative war reports. Newman, having a flair for the dramatic, 
presented the Confederates as gallant heroes even though no one was a hero in this war. Years later 
after the war, Newman co-founded the Kansas City Times . This is the time period when he wrote the 
flashy articles and obituary about Jesse James. John Newman Edwards passed away a couple years 
after Jesse James in 1889 (Trout). 
 John Newman Edwards has a history of writing questionable and biased articles from the 
beginning of his writing career. He began writing about violent soldiers and applauding them for 
their “good deeds” to make the Confederates appear as the superheros. After his time as a soldier he 
had to find a way to encourage Confederate ideology. Confederates had taken a huge dive because 
the Union won the war. Newman was unwilling to change his thinking and was going to find a way 
to spread his beliefs. The perfect forum for sharing his opinion was to discreetly integrate biased 
information into the news. During the eighteen hundreds the best means of information was 
newspapers. Everyone read the news, so Newman co-founded and wrote for the Kansas City Times . 
If Newman had directly written articles filled with prejudice, there would not have been a positive 
response. Instead he picked his cover story to inspire Confederate morale. That cover story was Jesse 
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10 
James. Based on the history of Jesse James, he was not a significant man. What made him significant 
was the fantastical articles written about him. Without the articles written by Newman, Jesse James 
would not be the legend that he is today. Newman’s goal was to “re-instill pride in the Confederates” 
(Trout). The figure of Jesse James represented fighting against the state for tight implications of law 
and ethics. Newman hoped creating this figure would encourage more Confederates to rejoin being 
involved in politics. John Newman Edwards created the folklore of Jesse James. 
 Overall the obituary of Jesse James is highly biased and opinionated. Newman claimed that it 
was “fate's” fault Jesse James was a criminal, when he was actually a malignant man who did not 
want to work for a living. The obituary also explained that Jesse James was murdered under illegal 
actions and incentives. The governor did in fact offer a reward for Jesse James, but he did not 
directly claim a death sentence on Jesse James’ life. Newman also had a political agenda in the 
obituary to rekindle the pride of the Confederates by creating an iconic Robin Hood figure for the 
Confederates to sympathize with. The obituary was faulty; however, despite logistical facts, John 
Newman Edwards succeeded in creating one of the most famous American folktales based on the life 
of Jesse James. 
 
 
  
 
Works Cited 
 
Biography.com Editors. “Jesse James Biography.com.” Biography.com. 27 April 2017. Web. 15 
October 2017. 
Brooks, Rebecca Beatrice. “Child Soldiers in the Civil War.” Civil War Saga. 16 December 2011. 
Web. 9 November 2017. 
Edwards, John Newman. “The Killing of Jesse James.” April 1882. Newspaper. 15 October 2017. 
Hanes, Elizabeth. “Jesse James Wanted Poster Goes Up for Auction.” History.com. 20 June 2012. 
Web. 9 November 2017. 
History.com Staff. “Outlaw Jesse James is born in Missouri.” History.com. 2009. Web. 15 October 
2017. 
Time Staff. “Top 10 Crime Duo, Frank and Jesse James.” Time. Web. 9 November 2017. 
Trout, Carlynn. “John Newman Edwards.” Historic Missourians. Web. 10 October 2017. 
 
 
 
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The Obituary of a Folklore: The Relation of John Newman Edwards and Jesse James

Tris, Ryan

ESSAI
Volume 16 Article 28
Spring 2018
Homeric Similes -- Emotional Bonding Through
Poetic Devices
Ryan Tris
College of DuPage
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Recommended Citation
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Available at: https://dc.cod.edu/essai/vol16/iss1/28
78 
Homeric Similes – Emotional Bonding Through Poetic Devices 
 
by Ryan Tris 
 
(English 1159) 
 
 
 
n Robert Fagles’s translation of Homer’s The Iliad, there is extensive use of similes. Homer takes 
these literary devices so far that the term Homeric simile (aka epic simile) was coined to describe 
what is often a multi-lined, detailed description of a character, action or setting. Homer’s similes 
infuse the story with poetic descriptions that make the story palatable and real. Homer chooses to use 
figurative writing to enhance a story which most of the audience already knew. These similes allow 
Homer to describe his version of the classic tale while painting vivid imagery in the audience’s head. 
Homer often invokes these epic similes when describing a character’s emotional state, or when 
describing a battlefield experience. I believe Homer does this to allow a lay person to connect with 
the often-abstract situations occurring throughout story. By doing this Homer not only makes the 
story more vivid but he also allows the audience, no matter their level of knowledge or experience, to 
understand and become emotionally involved in the story. 
 Unsurprisingly, anger is often the basis of a Homeric simile, for Homer had chosen to focus 
his story of the Trojan war around Achilles and his rage. Homer often finds it necessary to convey 
the overwhelming level of rage through a visual representation an emotional state. An epic simile is 
used to provide, in undeniable terms, the huge impact rage has throughout story. In book five Ares is 
wounded by Diomedes. Ares is furious, and anger seethes through his veins. Homer puts Ares’s 
anger into a visual metaphor his audience can see: “But now, / wild as a black cyclone twisting out of 
a cloudbank, / building up from the day’s heat, blasts and towers / so brazen Ares looked to Tydeus’ 
son Diomedes” (5.997-1002). The imagery of Ares’s fury is palpable, for you can feel his glare as he 
sweeps up into a vortex of anger and rage. Homer continues to use this kind of vivid imagery 
throughout the text; whether it be rage, pain, glory or loss, Homer wants you to feel the emotion just 
as if you were experiencing it yourself. 
 Another excellent example occurs when upon Hera’s command, Hephaestus attacks the river: 
“He screamed in flames, his clear currents bubbling up / like a cauldron whipped by a crackling fire 
as it melts down / the lard of a fat swine, splattering up around the rim- / dry logs blazing under it, 
lasing it to the boil-“(21.410-414). The intensity of the river’s suffering is emblazoned with the 
literary imagery that any audience member of Homer’s time could relate to. Cooking on an open fire; 
the level of heat, the intensity of the boil, these are all visual things the audience members would 
have firsthand knowledge of.  This level of imagery allows the audience to feel the strength of 
Hephaestus and become empathetic to the river’s pain. Even today the imagery provided here is 
relatively timeless as modern readers will most likely have experience with fire and cooking over an 
open flame. 
 As with today’s readers it is possible that not every audience member would have direct 
experience with combat and the brutality of war. In order to solidify the situations described in The 
Iliad, Homer again turns to his multi-lined similes and uses language that really hits home. To 
illustrate the massive scale of the Archean army, and the degree of command Agamemnon has over 
his forces, Homer describes the response from the troops in the following passage: “So he 
commanded / and the armies gave a deep resounding roar like waves / crashing against a cliff when 
the South Wind whips it, / bearing down, some craggy headland jutting out to sea / the waves will 
never leave it in peace, trashed by gales / that hit from every quarter, breakers left and right” (2.468-
474).  The visualization of waves repeatedly crashing, and whipped up by gale force winds is so 
I
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79 
powerful you can almost hear the deafening roar of the water. The response from the troops is 
undeniable. This simile demonstrates the power of Agamemnon’s speech, as he commands the troops 
to his will. The troops responding with a resounding acknowledgment of his command. This is often 
an expected response between a military commander and his troops, as the commander orders, and 
the troops respond “Oorah.” Although commonplace knowledge nowadays because of tv and film, a 
person not privy to the workings of a military unit make not be able to visualize the utterly 
overwhelming response without such a metaphor. 
 As with many of his similes, Homer uses situations in which a layperson can relate to 
experiences on the battlefield. When Patroclus is fighting Sarpedon in book sixteen, Patroclus lands a 
“mortal hit” killing Sarpedon. Homer again invokes an epic simile to describe the brutality of 
Patroclus’ blow: “He struck him right where the midriff packs the pounding heart / and down 
Sarpedon fell as an oak or white poplar falls / or towering pine that shipwrights up on a mountain / 
hew down with whetted axes for sturdy ship timber” (16.569-573).  Ancient Greek culture would 
have a familiarity with axes in terms of industry, like the shipwrights who cut timber for ships. This 
is an excellent example of bringing a battlefield situation into a world of which most of the audience 
could personally understand. The force needed to fell a tree is tangible, as you can almost feel the 
weight of the ax in your hands. The muscle memory of such a powerful blow. This indeed captures 
the seriousness of battle, as it solidifies the mortality of war. 
 Homer stays true to the concept of providing the audience with a tangible representation of 
the story by invoking common situations that the Greeks would be intimately familiar with. In the 
dialog between Paris and Hector, after Paris’s cowardly retreat, Homer again uses the description of 
an ax swung by a shipwright to describe Hector's heart, as viewed by Paris: “The heart inside you is 
always tempered hard, / like an ax that goes through wood when a shipwright / cuts out ship timbers 
with every ounce of skill / and the blade’s weight drives the man’s stroke” (3.72-75).  Again; the 
very feel, the weight of the blade, the force from a massive blow is felt by every audience member. 
The more relatable the simile describes a situation, the more likely an audience member will be 
captivated by the performance. Rather than telling the audience how Paris feels at that moment, 
Homer allows us a window into Paris’s emotional view of Hector's heart. 
 Consistently throughout The Iliad, we are presented with poetic similes that invoke tangible 
feelings. Just as the best stories today pull you in, capture your imagination, pull on your heartstrings, 
make you feel joy or sorrow, Homer’s expert use of metaphorical language allows his audience to 
become emotionally involved in the story, and allows the audience to fully understand the brutality 
of war. These small vignettes may sometimes feel burdensome to today’s readers, but were an 
important part of storytelling in Homer’s time. Without the use of today’s technology (CGI, 
animation, etc.), it would have been imperative to provide the audience with a mental image of 
scenes and characters. Homer does this brilliantly with his epic similes, bringing abstract situations 
down to reality, in order for his audience to fully connect to the story being told. 
 
 
  
 
Works Cited 
 
Homer. The Iliad. Translated by Robert Fagles. New York: Penguin, 1990. 
 
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Homeric Similes -- Emotional Bonding Through Poetic Devices

Roundeau, Ann

Dr. Ann Rondeau reads selected writings of Frederick Douglass

Walker, Anthony

Anthony Walker reads  We Must Free Ourselves  by John Lewis

Dixon-Kolar, Robert

Robert Dixon-Kolar reads  Elegy for the Native Guards  by Natasha Trethewey

The Prairie Light Review
Volume 40 | Number 2 Article 4
Spring 5-1-2018
Submissions
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Spring 20183
ABOUT: The Prairie Light Review is the College of Dupage art and literary 
jounral. We are a student-run, biannual publication that seeks to honor and 
showcase the creative talents of our diverse community. All of the material in this 
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Submissions

McNichols, Matt

The Prairie Light Review
Volume 40 | Number 2 Article 22
Spring 5-1-2018
Keep You In The Dark
Matt McNichols
College of DuPage
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Available at: https://dc.cod.edu/plr/vol40/iss2/22
Prairie Light Review 24
Keep You in the Dark
Surreal secrets shadowed from sight
Never to be revealed
Restricted from his right to know
Until the proper prophesied time
If that crucial moment indeed ever arrives
 
From severe mental pangs
Both expected and unexpected
Through the expanding expanse of a mind
Less ordinary than most
The tortured young man found pieces, fragments
Of that forbidden to be privy to
The segments of mythic truth discovered
Quickly deemed psychotic, unreal
By the Western psychiatric community
And loved ones, trusted family
Desperate to secure the surreptitious contents
Of ancient-based material
That could, at a certain level
Change our very world
In hopes for the better
 
Yet for the time being
The one meant for things
Much greater than himself
Forced to deny that
Which he felt, knew so strongly to be true
Consequently consumed in clouds
Of confusion and quiet chaos
-Matt McNichols
1
McNichols: Keep You In The Dark
Published by DigitalCommons@COD, 2018


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The End of the World in Northern Michigan

Epigraph

Foreword

The Obituary of a Folklore: The Relation of John Newman Edwards and Jesse James

Homeric Similes -- Emotional Bonding Through Poetic Devices

Dr. Ann Rondeau reads selected writings of Frederick Douglass

Anthony Walker reads We Must Free Ourselves by John Lewis

Robert Dixon-Kolar reads Elegy for the Native Guards by Natasha Trethewey

Submissions

Keep You In The Dark

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