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<Title>UMBC Publishes Article on Keegan Cook Finberg and Defining Poetry</Title>
<Tagline>Finberg is "opening students&#8217; eyes to the poetic world"</Tagline>
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    <p><img src="https://my3.my.umbc.edu/inline_images/news/158402/62921" alt="Portrait of a light-skinned woman with shoulder-length black hair wearing a colorful dress with a book cover at the top left" style="max-width: 100%; height: auto;"></p>
    <p>UMBC recently published an <a href="https://umbc.edu/stories/poetry-keegan-cook-finberg-english/" rel="nofollow external" class="bo">Arts &amp; Culture interview</a> with Keegan Cook Finberg, covering her thoughts on poetry and society, poetry courses at UMBC, and her newest book <a href="https://cup.columbia.edu/book/poetry-in-general/9780231219228/" rel="nofollow external" class="bo"><em>Poetry in General: How a Literary Form Became Public </em></a>(Columbia University Press, 2025). </p>
    <p>Reflecting on her own teaching, Finberg says:</p>
    <p>"I want students to be okay with not understanding everything that they’re reading while exploring the aspects that they do understand—to explore why this author might want it to be difficult in the beginning, why there might be something important in that feeling of discomfort that they’re experiencing with the text. Can they notice moments of beauty in the text, even if they don’t yet understand what they mean? A lot of our conversations start with that sort of work. </p>
    <p>And once students realize that that is the goal—that they don’t need to be able to decode, they don’t have to be the person who knows it all in the room, there isn’t one right answer—it really unlocks a very different sort of space. I often watch that sort of journey with students. They realize that there’s something inherently important about this difficulty, important even to their understanding of themselves, their heritage, the way that language works in their households, even in their larger worlds."</p>
    <p><a href="https://umbc.edu/stories/poetry-keegan-cook-finberg-english/" rel="nofollow external" class="bo">Read more here</a>!</p>
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<Summary>UMBC recently published an Arts &amp; Culture interview with Keegan Cook Finberg, covering her thoughts on poetry and society, poetry courses at UMBC, and her newest book Poetry in General: How a...</Summary>
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<Tag>english</Tag>
<Tag>poetry</Tag>
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<NewsItem contentIssues="false" id="154031" important="false" status="posted" url="https://my3.my.umbc.edu/groups/cahss/posts/154031">
<Title>Poetry Workshop Tomorrow - Registation Closes at 4 pm today</Title>
<Tagline>Still a few spots left!</Tagline>
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    <h2>Pedagogy Study Hall: "The Spellcaster's Manual" Poetry Workshop with Ainsley Burrows and Laurielle Noel</h2>
    <p><strong>October 30, 2025 5PM–7:30PM<br>CADVC at UMBC, 1st floor Fine Arts Bldg.<br>Free parking, info below<br>CADVC</strong></p>
    <p>Join poet Ainsley Burrows and producer Laurielle Noel for a hands-on poetry workshop that blends craft and performance. Ainsley Burrows is an award-winning poet twice named "Best International Performer" by London's Farrago Poetry Café, a competitor at the International Poetry Slam Championship in Munich, and an alum of TV One's Verses &amp; Flow and BET's Lyric Café—bringing page, stage, and coaching expertise to the room. He has led performance workshops at The Juilliard School, coached the Nuyorican National Slam Team, and published multiple poetry collections, grounding his teaching in both craft and practice. Partnering with him, Laurielle Noel is a seasoned producer and arts organizer—the engine behind acclaimed cultural experiences like The Sweet Spot Burlesque, Statement 2024/2025 and Art Soiree—skilled in audience engagement, artist development, and live-program design. Together, they'll guide an adaptable session focused on elevating voice, presence, and purpose.</p>
    <p>This is a free event, but please <a href="https://forms.gle/uCdcChjYrYB2zvJEA" rel="nofollow external" class="bo"><strong>register at this LINK</strong></a>.</p>
    <p><a href="https://umbc.edu/life-on-campus/arts-and-culture/plan-your-visit/" rel="nofollow external" class="bo"><strong>LINK to Directions, Free Parking, &amp; Maps</strong></a></p>
    <p>This program is presented in connection with "Pedagogy Study Hall," a research project, exhibition, and publication by Tomashi Jackson and Nia K. Evans exploring the structures that sustain our cultural and educational systems.</p>
    <p>This program is sponsored by the Wagner Foundation, the Maryland State Arts Council, the Baltimore County Commission on the Arts and Sciences and the Citizens of Baltimore County, and the Arts+ initiative at UMBC.</p>
    <p>Our exhibitions and events are free and open to the public for full participation by all individuals regardless of race, color, religion, sex, national origin, or any other protected category under applicable federal law, state law, and the University's <a href="https://ecr.umbc.edu/discrimination-policy/" rel="nofollow external" class="bo">nondiscrimination policy</a>.</p>
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    <p>Please contact <a href="https://my3.my.umbc.edu/groups/cadvc/posts/145720/ff5/39920fd5e4457818effebe43374fd1ed/web/link?link=mailto%3Acadvc%40umbc.edu" rel="nofollow external" class="bo">cadvc@umbc.edu</a> or 410-455-3188 and specify the nature of your request as soon as possible if you need specific accommodations for this event or to experience our gallery exhibition or online programs.</p>
    <p>More info at <a href="https://cadvc.umbc.edu/" rel="nofollow external" class="bo">https://cadvc.umbc.edu/</a></p>
    <p><img src="https://my3.my.umbc.edu/system/shared/attachments/2ea71e9be902555908f617d00b5dea30/6902554d/group-documents/000/014/026/9c15bf277909dd3640b0c8a63572df91/Lot-8-UMBC-to-CADVC-Gallery.png?1761760585" alt="birdseye view of UMBC campus with routes to CADVC and the Fine Arts Bldg." style="max-width: 100%; height: auto;"></p>
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<Summary>Pedagogy Study Hall: "The Spellcaster's Manual" Poetry Workshop with Ainsley Burrows and Laurielle Noel  October 30, 2025 5PM–7:30PM CADVC at UMBC, 1st floor Fine Arts Bldg. Free parking, info...</Summary>
<Website>https://cadvc.umbc.edu/event_program/poetry-workshop-with-ainsley-burrows/</Website>
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<Sponsor>CADVC</Sponsor>
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<NewsItem contentIssues="true" id="55515" important="false" status="posted" url="https://my3.my.umbc.edu/groups/cahss/posts/55515">
<Title>Dr. Craig Saper's article featured on Coldfront Magazine</Title>
<Tagline>LLC Highlights</Tagline>
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<![CDATA[
    <div class="html-content">Dr. Saper's article <em>"A Story of Intermedia Performance, Publishing, and Pop Appeal" </em>appeared recently published on Coldfront Magazine. This is the introduction to the article:<br><br>In the 1960s, the American variant of Concrete poetry was influenced by manifestos and poems from Europeans and Brazilians as well as the vibrant international art scene in New York City, the anti-war and pro-civil rights protests throughout the States, and popular culture’s fascination with systems and technology. These cultural influences made the United State’s version of Concrete poetry unique and particularly popular. An exemplar of these tendencies appeared on the dust jacket of the definitive anthology, Concrete Poetry: A World View (1970). The editor-poet, Mary Ellen Solt (1920-2007), composed her poem, “Moonshot Sonnet,” from reformatted diagrammatic-codes initially used by NASA-engineers to plan and execute the moon landing. The engineers placed the diagrammatic-codes over photographs of the lunar surface, and Solt abstracted the diagrams without any photographic reference. Using the codes, she transformed the result into a sonnet, with the codes appearing in “exactly fourteen “lines” with five “accents,”” a Petrarchan or Italianate sonnet. Her poem is a distinctively American sonnet. It is not just an iconic concrete poem, but also a poetic emblem of a national identity.<br><br>The literary poetics reduce language to an eloquent semiotic code system and universal visual language. Although the poet-editor, Solt, describes her influences as arriving from the Brazilians and Europeans, the actual poem is also unmistakably alluding to geometric minimalism, Pop art, and ready-mades. The designers of Solt’s anthology, at Indiana University Press, insisted that the poem adorn the back cover of the dust jacket in part to highlight the editor’s contribution to the International Concrete poetry movement, but also as an entreaty to the American reader to appreciate the importance of a “world view” in the age of peaceful lunar exploration. The poem concretely suggests that, although the International Concrete poetry movement was launched from Brazil and Europe, it would reach its largest audience when it landed in the United States.<br><br>To continue reading, please visit Coldfront’s website<br>
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<Summary>Dr. Saper's article "A Story of Intermedia Performance, Publishing, and Pop Appeal" appeared recently published on Coldfront Magazine. This is the introduction to the article:  In the 1960s, the...</Summary>
<Website>http://coldfrontmag.com/concrete-poetry-in-america/</Website>
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