The Oicham Estate Part 2

By, Afua Serwah Osei-Bonsu

Part 2

A place of friendship

A place of children

A place of knowledge

A place of love

A place of plants and animals

A place for naturalists

A place where one weeps for their memory of

To build this memory

This Paradisian mentality

To impact this generation

To supply the world with leaders, ideas and movements

Emergence

To divine my body

A place of morals, a place of God

A place of celebration

A place of culinary

A place of music

A place of art

A place where talent develops and polishes

A spiritual “set”

The Oicham Estate Part 1

By, Afua Serwah Osei-Bonsu

She will establish the “Oicham Estate”

On some acreage, on a country road in the Rawsonville area of Michigan

“Osei-Bonsu International Christmas House and Menagerie” is Oicham’s acronym

It will include The Pugin Palace and the Floribunda Garden

Pugin Palace, a highly comfortable manufactured home and kind of printed palace of diverse patterned wallpapers and art, that was her original residence towards the left side, while building and developing her land

Pugin Palace, is now a place built on the side of her house with its original fenced pool that is later used for visits by esteemed and international guests

Pugin Palace is Oicham’s coach house

She will invite Presidents, Governors, Mayors, business people, scientists, engineers, musicians, actors, Soap Opera  Stars, fashion icons, Chefs, artists, designers, photographers, writers, thinkers, professors, good friends, childhood friends, colleagues, and classmates met overseas, conversationalists, horticulturalists, animal scientists, sophisticated housewives, her neighbors, international friends, family, and international exchange students to befriend her children

Two matching red and green shingled Christmas houses, the coach house and the main residence

In front, a Christmas tree farm, with coordinated miniature bonsai and blue rose’s,”Vielchenblau”

In front ornamentals with white pointed flowers, bird hotels, bird apartment complexes and bird baths,

Make this house a bird house!

The Oicham Estate menagerie includes:  A Llama, a black sheep, a miniature goat (Pygmalion), ducks in the barn, cardinals and blue jays in bird houses outside, and inside 2 dogs, geckos, turtles, fish, seahorse, platypus, newts, guinea pigs, miniature frogs in terrariums,  4 kinds of birds including love birds, parakeets, African Grey parrots and Cockatiel.  A wishing well with Japanese Coy Fish and gold fish.  Almost every room has an animal residing.

She will build in front a helicopter deck and parking lot in planning  for her local travels, plus her Christmas parties and variety of gatherings as well as parking for her art studio assistants

She will include a Mexican Fiesta room, a solarium, a potting room, a party lounge with dance floor, a coat room for parties and the multitude of fur coats that are worn in Michigan winters to elegant Christmas parties

At Oicham, her children grow up lost in literature

There are the interior and exterior gardens

The furthest, The Woodland Garden and fruit grove, that includes a small coffee plantation, and her fruit trees intended for a variety of pies and hand pies or turnovers, apple, pear and cherry, The Woodland Garden also includes eucalyptus, wild sage and mushrooms (Portobello, Shitake, button and magic).  It is a garden of contemplation, of dreams and is thought prosperous in that many of the trees bear fruit or a type of jewel or seed.

“The poet,” she said, “my life will be poetry.”

Her house a family of book worms

“You dream so hard, you conjure.” “Or you’re not dreaming, you’re designing”

Up to Snuff #127: Extracting Meaning, Creation of Knowledge, Consequent Value

Extracting Meaning, Creation of Knowledge, Consequent Value

By, Afua Serwah Osei-Bonsu

I am Afua Serwah Osei-Bonsu. A short version or nickname would be FaFa Bonsu.  A Ghanaian American who, resides in Ypsilanti, Michigan, USA. I am a Creative Writing English and Poetry major (CWE.POE).  I have been reading about ideological writing and Marx and recently reading Shakespeare, Edgar Allan Poe, Dorothy Parker, Sophocles-however I would like to get into some new areas.  I have been collecting spiritual literature.  I recently assembled a list of what is included in my spiritual library.  I will for this opportunity select Confucius from a Harvard Classic Reader.  I am aiming to get into some new areas and perhaps look at sacred or religious or sage writings.

What do I know about literary theory?  I am intrigued by the word theory alone.  I wonder what the word theory can imply.  Does it require proof like “justified true belief” or JTB or is it the un-established? Is it to perpetually establish?  If one says art theory versus literary theory, I suppose I want to be more- clear about what is suggested by that terminology.  I would love to write theory but feel still naïve.  If I were to write art theory, what is its approach, or have I already?  Is theory a scaffolding of ideas upon which or with its guidance one may arrive or question or analyze or create? If one may arrive, is it then theory? Theory may be some kind of wise guide. Theory may answer a kind of question, perhaps even how or why? A theory may result in a kind of questioning.  Or does it mean that there are established theories and one’s work becomes the analysis in response to the theories or the work that is derivative of the theories?  So, I guess there are two products, theories, and something else? Both can be written, the theory and the theories subsequent writing.  I enjoy both of those.  Or the art theory and the arts subsequent product and the products criticism.  Then there are three products. Perhaps you have the piece of literature as product one, then the theory laid upon it, then the resulting criticism and even the analysis of the variety of criticism. So, theory may have a trajectory, art and or literary.

What is my understanding of literary theory at this time?  It has to do with value, with the creation and manufacture of meaning itself.  There is at once the literature, whose secondary function may be its interpretation or its context and ultimately its meaning.  The extension of writing is the thought around it-its secondary, and that secondaries building blocks.  But then theory leads you not to take a sip, but a full drink.  Theory then becomes the octopus, the world view, the connecting points that make a defined way of thinking, a kind of enlightenment.   Theory helps you to extract meaning, look at purpose and reasoning or variations. (Klages)  Theory helps a writer to achieve a close reading.  Theory may guide one to look first at emergence, then at context, then conclude with results or relationships (Klages 5).  It can be like a scaffolding that becomes a boilerplate.  What can be impressive is when you extract meaning that becomes world view as in the example of “language, gender, and consciousness” (Klages 5).  Meanings extracted from literature can define movements or be existential.  Literature has left a trail, as if it were archeology or anthropological.  Literary theory then provides one a tool.

Literary Theory is perhaps the most significant factor in giving literature or the field of writing its value.  Extraction of meaning transforms writing into knowledge.  It transforms the entire field into knowledge.

I think you are correct in your estimation about the value behind “how does it mean, what does it produce and what effect does it have on us and the world? ”  It is as if it is one’s duty or task to ascertain the quality, value, meaning, the giving of a piece of literature.  The reasoning is interesting and the desire to learn from it, to grow from it and arrive at a knowledge juncture.  Perhaps certain techniques get you there, then get you there every time.  I suppose it is the scholar that wants to get there at all.

I am intrigued by when you wrote literary theory is whether it is or is not literature. Is that a prize, or bar or distinction, or quality?  Are you protesting that this fine Dystopian novel may for you have equal value? I have writings that I wonder how they will be classified, who is the classifier and what are the terms? What makes up the literary theory that classifies it?

Works Cited:

Klages, Mary. “Literary Theory: A Guide for the Perplexed” Edition 1.  Bloomsbury Publishing 2007-01-23, pp. 1-9

Fit, Lean & Beautiful #56: The Spiritual Library of Afua Serwah Osei-Bonsu, as a Book List

Fit, Lean & Beautiful #56:  The Spiritual Library of Afua Serwah Osei-Bonsu, as a Book List

(New, Rare and Out of Print)

Compiled By Afua Serwah Osei-Bonsu

  • Bible Portrayed (Picture, coffee table book)
  • Egyptian Myths and legends
  • Oludumare
  • Marquis de Sade Misfortunes of Virtue and Other Early Tales
  • Voltaire Philosophical Dictionary
  • The Last Lecture Randy Pausch
  • A Passage to India E.M. Forster
  • Balzac Epigrams on Men, Women & Love
  • Apes, Angels & Victorians William Irvine
  • Sex, Sin & Zen Brad Warner
  • Mohawk Russo
  • Psychic Energy Workbook
  • The Curse of Jezebel Frank G. Slaughter
  • A Little History of Science William Bynum
  • The Sutra of Forty-Two Chapters Divulged by the Buddha Venerable Cheng Kuen
  • Harvard Classics Sacred Writings (Christian, Buddhist, Hindu, Mohammedan)
  • Manifestos of Surrealism
  • Love Story Erich Segal
  • The Passions of the Mind The biographical Novel Sigmund Freud Irivng Stone
  • Living Buddha, Living Christ, Thich Nhat Hanh
  • King Solomons Ring Lovejoy
  • The New Union Prayer Book
  • Devotional Classics
  • Peeps at Many Lands Kelly
  • Selected Poems Robert Frost
  • Notes to my Children
  • A Natural History of the Senses Ackerman
  • Meditations on First Philosophy Rene Descartes
  • Middle Eastern Muslim Women Speak
  • Existentialism & Human Emotions jean Paul Sartre
  • I touch Earth, the Earth Touches Me Hugh Prather
  • How to See Yourself As You Really Are Hi Holiness Dali Lama
  • Mystic of Wilderness
  • The Masters of the Spiritual path
  • Foundations of the Path
  • The Path to Attainment
  • The Memory Book
  • The Forest People
  • The Grapes of Wrath John Steinbeck
  • Pilgrims in Paradise
  • Love & Will Rollo May
  • Ceremony Leslie Marmon Silke
  • East of the Sun Julia Gregson
  • Fundamentals of Yoga Rammurti Mishra M.D.
  • Spiritualist Healers in Mexico Kaja Finkler
  • How to Know God Deepak Chopra
  • Original Blessing Mathew Fox
  • Philosophy of Religion
  • Way of the Shaman
  • Carlos Castaneda
  • Green Witchcraft
  • Dictionary of Mind, Matter and Novels
  • Before our very eyes, Reading for Journey Through Israel Danny Siegel
  • The Philosophy of Stress Mary F. Asterita
  • Jewels of the Wise Holy Order of Mans
  • Sri Isopanisad A.C. Bhaktivedanta Swami Prabhupada
  • The Prophet, Khalil Gibran
  • The Kingdom of God is Within You
  • Prisoner of Zenda
  • Stretching, Bob Anderson
  • Siddhartha Herman Hesse
  • Manon Lescant Antoine Francis Prevost
  • Knowledge that leads to everlasting life
  • The Human Aura Nicholas M. Regush
  • Tao Te Ching The Book of the Meaning and Life Lao Tzu
  • Holy Bible King James Version
  • Sach Cua Thay
  • Personal Prayer journal
  • And the Flowers Showered, Discourses on Zen OSHO
  • Don’t Look Before You Leap, OSHO
  • Michael and The Angels, Tan
  • Perennial Wisdom, Elda Hartley
  • Peace is Every Step, Thich Nhat Hanh
  • Spiritual Unfoldment 1, White Eagle
  • The Book of Prayers, Edited by Leon and Elfreda McCauley
  • Around the Golden Ring of Russia
  • The Golden Builders, Tobias C. Burton
  • The Etheric Body of Man
  • Where there is light Paramahansa Yogananda
  • Rubaiyat of Omar Khayyam
  • Autobiography of Gandhi or The Story of My Experiments with Truth M.K. Gandhi
  • Daily Guideposts
  • Glory of Freedom, OSHO
  • Arabian Nights, Sir Richard Burton
  • The Detox Diet, Elson M. Haas, M.D.
  • Yoga 28 Day Exercise Plan, Richard Hittleman’s
  • Fundamentals of Yoga a Handbook of Theory, Practice and Application Rammurti S. Mishra, M.D.
  • Iyengar His Life & Work
  • Yoga For Women Nancy Phelan
  • The Mindful Practice of Falun Gong Dr. Margaret Trey
  • Light on Pranayama, The Yogic Art of Breathing Iyengar
  • The Essential Rumi
  • Mahabarata William Buck
  • Sayings Paramahansa Yogananda
  • Autobiography of a Yogi
  • Creative Visualization Shakti Gawain
  • Falun Gong Li Hong Zhi
  • God, Creation, Tools For Life Sylvia Browne
  • Tea Gardens, Ann Lovejoy
  • The Secret Power of Yoga Nischla Joy Devi
  • Algeria a Country Study
  • A Handbook of Medicinal Plants
  • I Tituba, Witch of Salem Maryse Conde
  • Gods, Heroes, Men and Ancient Greece
  • There Eyes Were Watching God, Zora Neale Hurston
  • Martin Luther King The Peaceful Warrior
  • Harvard Classics: Sacred Writings (Confucian, Hebrew, Christian)
  • Harvard Classics: The Odyssey Homer
  • Candide Voltaire
  • Aleister Crowley The Biography
  • Seeds, Mosaics, Chipped Decorating with Plant Materials Eleanor Rennssalaer
  • Sach Cua Thay Quyen 10 An Tong Khong Ban
  • The Trickster, A Study on American Indian Mythology Paul Radin
  • The New Penguin Atlas of Medieval History
  • Arts, Ideas & Civilization Jack A. Hobbs
  • Cassells Latin Dictionary Latin/English
  • Soules Dictionary of English Synonyms
  • Wings Hymnal
  • Service Book Hymnal
  • The Master Plan Coleman
  • Message Amma
  • Gandhi on Personal Leadership Anand Kumarasamy
  • Mohandas Gandhi
  • No Pocket in a Shroud Maxine E. Thompson
  • The Navaho Clyde Kluckman
  • Martin Luther King, Jr. Leadership
  • Veiled Sentiments
  • Four Masterworks of American Indian Literature
  • Freedom and Culture
  • Utopia, More
  • A Working Theory of Love Scott Hutchins
  • Psalm
  • Genesis
  • Mesopotamian Parallels
  • Enuma Elish
  • The Epic of Gilgamesh
  • The Patriarch and the Exodus
  • Egyptian Monotheism
  • Conquest, Chaos and Kingship
  • The Prophets
  • Amos
  • Hosea
  • The Book of Job
  • Isaiah
  • The Suffering Servant
  • Illiad
  • Greek Tragedy
  • Aeschylus
  • Sophocles
  • Euripides
  • Socrates
  • Plato
  • Aristotle
  • Virgils Aeneid
  • Petrarch
  • Boccaccio
  • Pico de Mirandola
  • Machiavelli
  • Castiglione
  • Montaigne
  • Shakespeare’s Hamlet
  • Moliere
  • Racine
  • Swift
  • Voltaire
  • Counterpoint to Rationalism
  • Rousseau
  • Goethe
  • Wordsworth
  • The New Testament
  • Augustine
  • The Song of Roland
  • The Thirteenth Century Synthesis
  • Dante
  • Chaucer
  • Erasmus
  • Luther
  • Calvin
  • The Counter Reformation: Loyola
  • Flaubert
  • Doystoyevsky
  • Tolstoy
  • Dickinson
  • Conrad
  • Kafka
  • Mann
  • Joyce
  • Eliot
  • Faulkner
  • Camus
  • Beckett and the Theatre of the Absurd
  • Wiesel
  • Solzhenitsyn
  • El Elephante Saramago
  • Websters Dictionary
  • Be Here Now Ram Das
  • Small is Beautiful
  • Alice Walker Poetry Book
  • The Secret Garden
  • New Work, New Culture
  • Bella dama sin piedad, Rosario Castellanos
  • El Leon, La Bruja Y El Ropero S. Lewis
  • La Casa de Los Espiritus Isabel Allende
  • El Gesticulador and otras obras de teatro Rodolfo Usigli
  • Pablo Neruda Antologia General
  • Octavio Paz
  • Bhagavadgita Home Study Course Swami Dayananda Saraswati
  • The Nymph and The Lamp
  • Profiles in Courage President John F. Kennedy
  • Les Fleurs du mal Baudelaire
  • Jacques Le Fataliste Diderot
  • Cervantes Don Quixote
  • Wild Irish Rose
  • World of the Maya, Victor W. Von Hagen
  • La Chute, Albert Camus
  • Le Payson de Paris Aragon
  • Huis clos suivi de Les mooches Sarte
  • A Lotus of Emptiness OSHO
  • Thayer’s Life of Beethoven
  • Edgar Allan Poe Proceeding the Harvard Celtic Colloquium 38-2018 Celeste Andrews
  • Muslims and US Politics Today Mohammad Hassan Khalid
  • Famine Relief in War Logged China Pierre Fuller
  • Imaginative Mapping Nobuko Toyosawa
  • Regional Literature and Transmission of Culture Margaret B. Wan
  • The Paradox of Being Paul Andersen
  • Feeling the Past in Seventeenth Century China Xiaoqiao Ling
  • The Epic of Ram Tulsidas
  • The Praise of Anradi Vol. 2 Bharatchandra Raj
  • Theory of Gardens Jean-Marie Morel
  • The End of Middle East History and Other Conjectures
  • Al-Muwatta, The Royal, Moroccan Edition Malik B. Asas
  • Orthodox Passions  Maram Epstein
  • The History of Kings of Britain David W. Burchmore
  • Old English Lives of Saints  Julliet Mullins
  • Allegories of the Odyssey John Tzetles
  • The Virtues and Vices of Speech Giovanni Giovaiano Pontano
  • Lives of Milanese Tyrants  Pier Candido Decembrio
  • The History of Akbar Abril Fazl
  • Pious Fashion Elizabeth Bucer
  • Finding  Time Heather Bushey
  • Vatican 1 John O’Malley
  • Observation & Experiment Paul R. Rosenbaum
  • Living History of Rome J.C. Yardley
  • Appian Roman History Brian McGing
  • Canonical Mires
  • The Splendors and Miseries Confessions Zolas Monly
  • Caliphate of Man  Andrew F. March
  • Taky’s Revolt Vincent Brown
  • Battling Bella Leandra Ruth Zarnow
  • Magic and the Dignity of Man Brian P. Copenhover
  • Unbound Heather Bonsley
  • Ingenius Peter Gluckman
  • The Missing Course David Goobler
  • Contradiction and Utopia  John Danaber
  • Neptune’s Laboratory Antony Adler
  • The Quran
  • Physics for Poets
  • Landscape Graphics
  • Akan Symbols, Adinkra
  • Linguistics
  • Fluxus
  • Tacit Knowledge
  • The Constitution
  • Flowers for Algernon
  • I never Promised You a Rose Garden
  • Shadow of the Sun, Kapuscinski
  • Amy Tan
  • Ha Jin
  • Complex Knowledge Studies in Organizational Epistemology Haridimos Tsoukas
  • The Cross of Redemption Uncollected Writings James Baldwin  (Force Vitale notes)
  • Things Fall Apart, Chinua Achebe
  • Waiting for Godot, Samuel Beckett
  • China in 10 Words, Yu Hua
  • Chevkov Plays-Uncle Vanya …
  • The Tale of Genji, Murasaki Shikibu
  • A Workbook for Arguments A Complete Course in Critical Thinking
  • Fallacies and Argument Appraisal
  • Logical Fallacies
  • Fallacies of Logic
  • A Rule Book for Arguments Anthony Weston
  • Mastering Logical Fallacies, The Definitive Guide to Flawless Rhetoric and Bulletproof Logic Michael Withey
  • Logic Concise Introduction to Logic Patrick Hurley
  • Informal Logical Fallacies a Brief Guide Jacob Van Vleet
  • Concise Guide to Critical Thinking Lewis Vaungh
  • Historians Fallacies Toward a Logic of Historical Thought David Hackett Fischer
  • Logically Fallacious 300 Logical Fallacies Bo Bennett
  • The Thinking Tool Box, 35 Lessons to Build Your Reasoning Skills
  • Amazing Dr. Ransoms Bestiary of Adorable Fallacies Douglas Wilson
  • Roland Barthes
  • Irish Folktales Keats
  • The Lord of the Rings J.R.R. Tolkein
  • The Diary of a Young Girl  Anne Frank
  • The Hobbit R.R. Tolkein
  • East of Eden John Steinbeck
  • Mere Christianity C.S. Lewis
  • The Wonderful Wizard of Oz
  • Uncle Tom’s Cabin
  • Pooh Bear
  • Article: “Scholarly Voice, Avoiding Bias”
  • Pinocchio
  • Values: (Poor Bear, Gandhi, The Wizard of Oz, Uncle Tom’s Cabin, Pinocchio, Dickins, OSHO)
  • Maugham Somerset
  • Santeria the Religion Gonzalez Wippler
  • Rituals, Spells of Santeria Migene Gonzalez-Wippler
  • Santeria Beginners Guide Riley Star
  • Santeria African magic in Latin America Migene Gonzalez Wippler
  • Lucumi The Ways of Santeria   Monique Joiner Siedlak
  • A Year In White Lynn Carr
  • Santeria Miguel A De La Torre
  • The Handbook of Yoruba Religious Concepts Baba Ifa Karade
  • Magical Power of the Saints Rev. Raz T. Malbrough
  • Tarot-The wisdom of the cards, Aleister Crowley Deck
  • Proverb various (mostly African and Chinese)

Does not include healing or culinary and very few exercise books.  Those are on separate lists.

Comparing Shakespeare and Dorothy Parker: Teacher Poets and the Essence of Literary Devices

Comparing Shakespeare and Dorothy Parker

Teacher Poets and the Essence of Literary Devices

By Afua Serwah Osei-Bonsu

In response to the sixteenth century “sonnet craze,” I will compare two poems with satirical love and hate themes, one by William Shakespeare “Sonnet 130” and the other from 1926, a 12 line poem written in verse by Dorothy Parker “One Perfect Rose.” What was distinct about these two poems was their desire to subvert, mask, code, or symbolize.  Simple poems were made radical by use of literary device or word choice.  Very often, writers employed classical styles like the Petrarchan 14-line sonnet but used radical methods to convey distaste that often erupts into satire.  I selected this text to have a close reading of not only Shakespeare, as a “Teacher Poet,” whose writing embodies the very essence of many literary devices, but to also look at classic sonnets juxtaposed with modern poetry.

The desire to embed meaning using literary devices endures. Shakespeare’s use of alliteration in Sonnet 130, employs repetition of consonant sounds to encode messages perhaps for a lover.  Where Shakespeare writes  “my mistresses’ eyes are nothing like the sun,” a lover may desire a dark or dormant eye, or perhaps there was stress in the eyes  and emphasis on if one were to be discovered.  (Shakespeare 838).  Where Dorothy Parker may regard her single rose as a “flow’r” or something one gives when desirous of other maneuvers (Parker 845).  As opposed to alliteration she uses omissions and symbolism/personification to convey her target meaning.  Where Shakespeare may be entertaining clandestine meetings and lover’s descriptions disguised as wives, Parker may be forward, satirical, and express dissatisfaction.

Parker personifies her single rose as “flow’r,” as “messenger,” as a “long love,” and ultimately as a “limousine” (Parker 845).  Shakespeare writes “if snow be white, why then her breasts are dun.”  Both sonnets mask meaning with their expression of love.  Shakespeare makes what he calls a “false compare,” and Parker uses dark symbolism, personification, and simile to describe the single rose and subsequent lover’s intention.   Both poets use satire, but where Shakespeare will appeal to consonants, vowels, reversals with alliteration, assonance and anastrophe, Parker will employ, symbolism, personification, and simile.

Shakespeare utilized the literary device “assonance” where words have similar vowels; As would those of the same gender have similar sexes.  In the second line, it may have been in code “coral and far,” perhaps suggesting a clandestine meeting place in a barn or distant place (Shakespeare 838).  Shakespeare, a master of English, style and writing as if by design, inserted innuendo, and perhaps coded messages within a variety of literary devices.  Shakespeare was said to have “written sonnets 127-154 to this mysterious dark lady.” (Owlcation)

Shakespeare used negated similes to illustrate the reversal of ideals in the 16th-century society by employing anastrophe in his line structure. (Owlcation) Although a variety of rhyme schemes were employed from Petrarchan Sonnet methods to alliterative verse, to assonance, what gave Shakespeare’s poetry its depth and richness were perhaps the layers of form and function.  The inverted language embodied an inverted idea which had inverted lines.  Shakespearean poems when dissected had perhaps several instances where for example he writes in reverse “in some perfumes, is there more delight.”  He inserts, in this case, intrigue and question, and perhaps the suggestion of an alternative or question as to whether a greater pleasure.

Use of a literary device in writing to teach may be a goal or result.  Poets may desire production of literature that is in service of education which is one distinct trait of both poems and their attention to literary device.  Clear use of  a literary device may result in the title of “teacher poet.”

Shakespearean Sonnet 130 challenges beauty, ideals, and love via literary devices such as alliteration, assonance, and anastrophe.  Sonnet 130 is typical of an English love sonnet emanating from true Petrarchan style. Petrarchan sonnets during the 16th century followed a 14-line formula, an 8  line “octave” followed by a 6 line “sestet” and couplet. The rhyme scheme for these poems was abab cdcd efef gg structure. (Petrarch Slide Share) Dorothy Parker’s “One Perfect Rose,” is a 12-line poem written in ABAB in three stanzas.  On closer inspection, society may find Shakespeare referential, full of innuendo, coded, as if written to wife and lover simultaneously-for the blind and the seer.  Parker may also have written for the blind and the seer. The 16th-century culture may have reflected on this use of a literary device or on what became a sonnet craze, where one’s identity or even “intimacy” may be still further conveyed in myriad and dynamic rhymed and unrhymed schemes. As if one may insert into life something in every consonant, vowel, syllable, line-in every literary corner-one may find a place to insert meaning, impacting one’s identity and consequently one’s language and culture.  As if to use “all,” every consonant, every vowel, every literary ability, not efficiency or economy, but down some other road of utility, structure, architecture.  When one may have believed meter limited content, a fallacy indeed.  Shakespeare is perhaps made for the close reading, the examination and analysis,  the scrutiny, the more-and-more to find, the Easter egg hunt.  As if the document had pockets, or corners or roads, as if the writer were builder and words were bricks.  All methods or rather literary devices were carefully coded, perhaps to man and to language.  Man’s language and literary devices may reflect on the man himself.

Works Cited

Abcarian, Richard, Marvin Klotz, and Samuel Cohen, eds. Literature: The Human Experience: Reading and Writing. New York: Bedford/St. Martin’s, 2016. Print.

https://www.grin.com/document/372431 An Analysis of Shakespeare’s Sonnet 130. The concept of love and beauty, Bergische Universität Wuppertal  (Anglistik und Amerikanistik) Introduction to Literary Studies,  2017

https://owlcation.com/humanities/Analysis-of-Sonnet-130-by-William-ShakespeareNorton Anthology, Norton, 2005

Parker, Dorothy. “One Perfect Rose,” Abcarian, Richard, Marvin Klotz, and Samuel Cohen, eds. Literature: The Human Experience: Reading and Writing. New York: Bedford/St. Martin’s, 2016. Print. p.845

Shakespeare, William. “Sonnet 130,” Abcarian, Richard, Marvin Klotz, and Samuel Cohen, eds. Literature: The Human Experience: Reading and Writing. New York: Bedford/St. Martin’s, 2016. Print. p.838

 

Creative Writing Produces Scholars Despite Debt to Income Ratios

Creative Writing Produces Scholars Despite Debt to Income Ratios

By, Afua Serwah Osei-Bonsu

Writing is described as a “North American growth industry” (Whetter 1).  In 1975, there may have been “75 programs in creative writing, today there are ~854.” Each program is said to be additionally a source of income and support for writers (Wilson 2).  Daryl Whetter describes creative writing programs as the “cash cow of the humanities”(Whetter 1).  Despite the problem of debt to income ratios when weighing out a creative writing degree, creative writing has value, because it realizes new thought, critical thinking and consequently, produces free thinkers and scholars.

My source one is from Human Brain Mapping:  Neural Correlates of Creative Writing, an MRI Study by Carolin Shah et al.  The source was first published in December of 2011.  The source attempts to look at creative writing from a scientific perspective where 28 research subjects attempt to write a creative story while having an MRI.  The researchers arrived at a “cognitive process theory of “writing involving planning, translating, and reviewing”(Shah 2).  The source looks at what could be considered latent creativity, what regions of the brain were impacted by what task and the principal investigation had to do with “creativity applying and story generation task” (Shah 3).  This source is arguing what are “creativity relevant neural functions” and perhaps what is creativity?  Then, further, what is creative writing from the perspective of a controlled qualitative study?  The findings indicate that creative writing activated motor associated areas, predominantly the right hand and “language processing and cognitive areas” (Shah 14).  In this study, creative writing was compared to copying.  Copying revealed areas “associated with memory retrieval, semantic integration, free association and spontaneous cognition. The study also analyzed various “creative thinking processes” (Shah 20).  The source presented a well done controlled qualitative study that appears to be a precise investigation.  I believe the source presented valuable research, methodically, with parallels and sound conclusions.  This is the first source in my paper-a first brick source- that will help me to build my argument beginning with a scientific or coded assessment of what is creativity before I can prove why it has value.

Creative writing is indicative of critical thinking.  This source is a recent newspaper article coming from The Guardian, “Write to Freedom,” by Caspar Walsh.  The source is dated April 22, 2009.  The source chronicles “Leeman,” a previously incarcerated youth who pursues “Write to Freedom” outside prison.  “Write to Freedom” they argue is essentially a rehabilitation program, likely involving critical thinking and to make a long-term investment against crime.  Ultimately, there is a parallel between writing and anti-crime. They seem to feel that writing will create the context for no crime. How will it create the context for no crime?  Aptitude, critical thinking, personal investment in the individual, introspection, viable diversion, seeking of alternative powers, knowing “what they can achieve and how they can change themselves” (Walsh 3). This source is likely an experiment by a non-profit supported by the British government.  The Guardian is a reputable source.  The purpose of this article may be to advance the nation, infusing a problem with alternatives, skills, and education.  The source is relevant to my argument in that it says something about the potency of a creative writing program and how it may have multilevel use and consequently alot of value to foster change within an individual and nation.  Write to Freedom is in its trial stages and writer Walsh wrote that with “all efforts, it’s not a quick fix to reduce crime, but rather a long-term investment to support rehabilitation” (Walsh, 2).

Source three is from Globe and Mail, published in Toronto, Canada, on March 17, 2018, titled “Turning the Page,” by Marsha Lederman.  This appears to be a newspaper article that includes career highlights and biographical information for Alix Ohlin, a newly appointed Chair for the University of British Columbia. Marsha Lederman goes even further to detail a creative writing career with her description of Alix Ohlin as detailed in a list format:

“educated internationally, respected and well-reviewed, a CV includes publication in the New Yorker and Best American Short Stories, has short stories, collections and novels, the bonus is a woman in a field or school dominated by 74% females, Magna Cum Laude Harvard, MFA from Michener Center for the Writers at the University of Texas, shortlisted Scotia Bank Award, Giller Prize and Rogers Writers Trust, Fiction Prize, Mordecai Writer in Residence, started as an associate professor, candidate for “chair,” wishes to fortify schools prestige (possibly with own image), celebrated novelist”(Lederman, 1).

She talks about the shortlist of writing or competitors for a chair position as coming from “Brown University or Purdue University” (Lederman 1). The school hopes she will be a popular thesis advisor (Lederman 1).   It seems this source is arguing about fitness for the role of Chair in a creative writing department.  The school uses Ohlin’s background to set the tone for the school and build on the school’s prestige.  The source is using evidence like publications, associate professorship, awards, or shortlisted, international education, even writing pedigree etc.  It’s clear that the school may be sending a public message with Ohlin’s appointment to Chair, which in some convoluted way also proves my thesis, what is the value of a creative writing degree.  When they hire her, publicize her, all that she is, is all that they are too.  Ohlin, in the end, raises “the bar” for their future staff.  I feel that the source does a wonderful job of showing off a successful career trajectory.  I think this source is very helpful in supporting my argument’s point 3, where the point showcases free thinkers and scholars.  In point three, I develop the paper to include the pieces of evidence that are all current, one from 2009, another from 2018.  This article supports my thesis in that it offers yet another way to think about creative writing in terms of value by showing range or career trajectory you can illustrate a point.  The source appears current, relevant, an authority, accurate and unbiased but with their own unique vision.

Creative writers ultimately become free thinkers and scholars.  One headline reads “Tracy K. Smith, director of the creative writing program at Princeton University was named a U.S. Poet Laureate Consultant in Poetry 2017-2018 by the Library of Congress” (Tracy K. Smith 1).  A creative writing or scholar’s career is exemplified by the example of  Jane Smiley.  Smiley’s career highlights can be listed as:  English faculty at Iowa State University, Pulitzer Prize-winning author, writer of an academic farce, professional creative writer, that will join or work with a California Poet Laureate (Vendituoli, 1).  This article supports my thesis in that it offers yet another way to think about creative writing in terms of value by showing range or career trajectory you can illustrate a point.

In “Nailing the importance of writing programs” published by the Chronicle of Higher education, Jennifer Howard is quoted about her article the “Professionalism of Poetry.” Of paramount importance to creative writers is their affiliation and station at one of the nations if not world’s most prestigious universities.  Howard cites “game changers” and lastly (an independent poet’s) “inability to understand (issues she was addressing) for lack of affiliation to a university.” Howard also lists movements and long-lasting literary groups such as:  “Romantics, Imagists, Modernists, Beats, Confessionals, or Language Poets.” This information comes from the Chronicle of Higher education, one the “nation’s largest newsrooms dedicated to colleges and universities.” (Nailing the Importance 2)  This article supports point three, in that it looks at career trajectory and relevancy, thus subsequently proving value.

Another article that supports the career trajectory of a scholar details how in “MFA-Land a prospective writer will first experience pressure to publish short stories in literary quarterlies, followed by a race to publish their thesis and finally the necessity to publish more stories all the while teaching a fresh crop of literary hopefuls” (Wilson 3).  The above details the trajectory of creative writing and how ultimately writers become free thinkers and scholars and very often teachers with posts at universities.

Debt to income ratios dominate choices made about university education and consequently, creative writing.  Governments generally, “reward technical and occupational skills,” with “highest paid salaries in the health professions and related programs” (Schneider 3).  For liberal arts, it is said, that “value emerges in the long run” and it takes “longer to launch careers” (Schneider, 4). In an article about “Does Education Pay?” by Mark Schneider, who debates what he describes as the “most important investment,” using research conducted by College Measures and funded by the Lumina Foundation (Schneider 1). The study looks at the labor market returns and debt to income ratios across five states where liberal arts scored in the high 30’s as one of the lowest incomes (Schneider 1).  An antidote to the predicament of debt to income ratios is detailed in Peter Monaghan’s article about a writing professor’s contribution to solicit a benefactor for the writing program at the University of Michigan (Monaghan 1).  The school admits 22 students a year as a result, into what is now a fully-funded program (Monaghan 1).  In response to high debt to income ratios, Nicholas Delbanco has provided a solution and model which many universities in the future may follow.  Where incomes are low, schools may solicit benefactors, and eliminate student debt.  Where students could exhaust $100, 000 in debt earning an MFA which may have a projected $38,000 salary in Creative Writing according to the College Measures study (Schneider 2).  The University of Michigan is pioneering solutions for fully funded degrees (Monaghan 1).  Students can look forward to the possibility of reducing and even eliminating debt with a little ingenuity.  Professor Delbanco calculated what would be the cost of debt elimination originally aiming for $5 million from the Zell Family Foundation for the English Department at the University of Michigan (Monaghan 1). Now the MFA at University of Michigan receives more than $60 million per year in contributions from the Zell Family Foundation (Monaghan 1).    Debt elimination can be calculated and is not insurmountable.

Where source one is  arguing what are “creativity relevant neural functions” and perhaps what is creativity?  Then, further, what is creative writing from the perspective of a controlled qualitative study?  Source two argued critical thinking as to what they seem to feel that writing will create: the context for no crime. Then ultimately, how will it create the context for no crime?  Aptitude, critical thinking, personal investment in the individual, introspection, viable diversion, seeking of alternative powers, knowing “what they can achieve and how they can change themselves” (Walsh 3). Point three contrasted scientific, and critical thinking points with examples of relevant career trajectories and looked at the their “range” which ultimately was suggestive of scholarship.  Despite high debt to income ratios, creative writing has value because it involves new thought, critical thinking and results in free thinkers and scholars.

Works Cited

“A Tale of Two Literary Cultures.” The Wilson Quarterly, vol. 35, no. 2, 2011, p. 79+. Gale In Context: Opposing Viewpoints, https://link-gale-com.ezproxy.snhu.edu/apps/doc/A255086168/OVIC?u=nhc_main&sid=OVIC&xid=1665d87e. Accessed 2 Aug. 2020.

“Author! Author!” Herizons, vol. 22, no. 3, Winter 2009, p. 13. Gale In Context: Opposing Viewpoints, https://link-gale-com.ezproxy.snhu.edu/apps/doc/A192588982/OVIC?u=nhc_main&sid=OVIC&xid=ef2b824b. Accessed 2 Aug. 2020.

Monaghan, Peter. “A Writing Professor’s Contribution: So Many Words, So Little Debt.” The Chronicle of Higher Education, vol. 61, no. 17, 9 Jan. 2015. Gale In Context: Opposing Viewpoints, https://link-gale-com.ezproxy.snhu.edu/apps/doc/A400006929/OVIC?u=nhc_main&sid=OVIC&xid=02c1e99b. Accessed 2 Aug. 2020.

“Nailing the Importance of Writing Programs.” The Chronicle of Higher Education, vol. 55, no. 42, 24 July 2009. Gale In Context: Opposing Viewpoints, https://link-gale-com.ezproxy.snhu.edu/apps/doc/A204147532/OVIC?u=nhc_main&sid=OVIC&xid=ddcc39e9. Accessed 2 Aug. 2020.

Schneider, Mark. “Does education pay? Yes and no. It depends on what, where, and how long one studies–but the outcomes do not align with conventional wisdom.” Issues in Science and Technology, vol. 30, no. 1, 2013, p. 33+. Gale In Context: Opposing Viewpoints, https://link-gale-com.ezproxy.snhu.edu/apps/doc/A350786748/OVIC?u=nhc_main&sid=OVIC&xid=3f60f144. Accessed 2 Aug. 2020.

Shah, Carolin, et al. “Neural Correlates of Creative Writing: An FMRI Study.” Human

Brain Mapping, vol. 34, no. 5, May 2013, pp. 1088–1101. EBSCOhost, doi:10.1002/hbm.21493.

Society: SocietyGuardian.co.uk: Free thinking.” Guardian [London, England], 22 Apr. 2009, p. 2. Gale OneFile: News, https://link-gale-com.ezproxy.snhu.edu/apps/doc/A198281616/STND?u=nhc_main&sid=STND&xid=37b777e4. Accessed 2 Aug. 2020.

“Tracy K. Smith, director of the creative-writing program at Princeton University, was named U.S. Poet Laureate Consultant in Poetry for 2017-18.” The Chronicle of Higher Education, vol. 64, no. 14, 1 Dec. 2017, p. A51. Gale In Context: Opposing Viewpoints, https://link-gale-com.ezproxy.snhu.edu/apps/doc/A518741205/OVIC?u=nhc_main&sid=OVIC&xid=30330e93. Accessed 2 Aug. 2020.

“TURNING THE PAGE; As controversy and questions continue to hang over UBC’s revered creative-writing program, the challenge the faculty now faces is how to move forward and fortify the school’s prestige. The solution starts with a new chair: celebrated novelist Alix Ohlin.” Globe & Mail [Toronto, Canada], 17 Mar. 2018, p. R5. Gale In Context: Opposing Viewpoints, https://link-gale-com.ezproxy.snhu.edu/apps/doc/A531286964/OVIC?u=nhc_main&sid=OVIC&xid=572ac5c9. Accessed 2 Aug. 2020.

Vendituoli, Monica. “Jane Smiley, Author of the Academic Novel ‘Moo,’ Returns to Teaching.” The Chronicle of Higher Education, vol. 60, no. 39, 20 June 2014. Gale In Context: Opposing Viewpoints, https://link-gale-com.ezproxy.snhu.edu/apps/doc/A372960186/OVIC?u=nhc_main&sid=OVIC&xid=4cd87183. Accessed 2 Aug. 2020.

Walsh, Caspar.  “ Write to freedom-young-offenders.” The Guardian, https://www.theguardian.com/society/joepublic/2009/apr/21/write-to-freedom-young-offendersTop of Form

Whetter, Darryl. “Class conflict: creative writing programs are cash cows, but some can actually be valuable.” This Magazine, vol. 43, no. 1, July-Aug. 2009, p. 41. Gale In Context: Opposing Viewpoints, https://link-gale-com.ezproxy.snhu.edu/apps/doc/A203658807/OVIC?u=nhc_main&sid=OVIC&xid=dbb2ab0c. Accessed 2 Aug. 2020.

Book Review: Antigone by Sophocles

Book Review:  Antigone by Sophocles

By, Afua Serwah Osei-Bonsu

The film version is highly effective in illustrating the story, “Antigone.” The Sophocles play is a charged-up drama, with a desperate and heroic feeling. The scene opens with this vision of an empty throne and two sisters passionately detailing their plans.  “Antigone,” featured as the title of the tragedy, is a round character and protagonist who confronts conformity and rebellion.  The story takes place before the Palace of Creon, King of Thebes.

Literary elements in the written version of Antigone, play out differently than in the film version.  The characters become more dimensional with breathlessness, passion, and greater physicality in the film version.  There may exist extraordinarily little physical description of the characters in the written version.  The Chorus sang out in verse which was particularly dynamic in the film version with alot of dramatic movement cascading up and down stairs with soloists.  However, the overlapped wording  or unison of the Chorus as well as characters were easier to discern in the written version.  There was also little or no movement in the written version.  The written version of the Chorus was highly poetic where one might find literary devices or rhyme and look for incidence in the writing.  The film version presented a dramatic take with rich characterization.

The Play commences with Antigone’s lamentation to her sister over their dueling brothers feud, consequent, “double death,” and later issue, the nature of their burial (Sophocles 418).  Those who defy the ruling class face stoning to death (Sophocles 418).  Despite, the current direction, Antigone defies the ruling class and vows to her sister, Ismene, in the opening scene, to bury her brother Polyneices who is to be devoured in a field by carrion birds (Sophocles 418).  Antigone illustrates a dominate idea of which she decides not to conform and initiates her subsequent rebellion.

Works Cited

Sophocles. “Antigone,” Abcarian, Richard, Marvin Klotz, and Samuel Cohen, eds. Literature: The Human Experience: Reading and Writing. New York: Bedford/St. Martin’s, 2016. Print. pp.417-447

Book Review: Sonnet 130-The Sonnets of William Shakespeare

Book Review:  Sonnet 130-The Sonnets of William Shakespeare

By, Afua Serwah Osei-Bonsu

I took this opportunity to learn something about 16th-century writers, Shakespeare’s associated writers and clear examples of literary devices for which he may be well known.   I was taken by gender subtleties and the use of  the buried “tenor” to illustrate a male subject or “target domain.” (www.grin.com 1)  In Shakespeare’s “Sonnet 130” one word (tenor) is pivotal in a prior sonnet’s text and provides the texts “evidence” which shifts the focus for the reader.  I appreciate this kind of “driver,” and “target domain” that creates for the reader a  societal shift or movement towards the period’s radicalism. The whole poem may be anchored in this way, by one word, with which he reveals the text. Coincidentally, Shakespeare may be well known for the use of the target domain.  I was enchanted by the use of literary devices to layer his meaning both in ”form and function” as if in design.  Form and function are illustrated by the dynamic way in which each line is laid in a reverse pattern juxtaposed with the content also written to the contrary.  Shakespeare was privy to a 16th-century “sonnet craze” and chose to contrast as well as identify with many poets of this period.  Some associated writers of the period were:  Petrarch, Edmund Spenser, Thomas Watson, Michael Drayton, Barnabe Barnes, Richard Linches and Sir Philip Sidney. About Shakespeare’s poem, it is written, “to play off the tradition of Petrarchan love poetry.” (Abecarian, 839).  Shakespeare presented in response to classical comparisons of beauty, ideals and love of the period, a radical contrast in Sonnet 130.  Shakespeare’s Sonnet 130 parodies and satirizes beauty, ideals, and love in terms of reversals with the use of alliteration, assonance, and anastrophe.

Shakespeare’s Sonnet 130 uses alliteration where consonants are used close together.  (owlcation) In the first line of verse in Sonnet 130, Shakespeare uses alliteration to insert deeper meaning and even “coded” or hidden meaning often or for special effect.  The first line codes my mistress’s eyes, where one hears “stress mistress and eyes” as if in code.  There were earlier poets in the fourteenth century such as William Langland and Piers Plowman and even still earlier (Hildebrand) such was titled “Alliterative Verse,” and employed a diversity of rhyme scheme or in this case unrhymed scheme utilizing perhaps code or just repetition and consonants.

Shakespeare utilized the literary device “assonance” where words have similar vowels.  In the second line, it may have been in code “coral and far,” perhaps suggesting a clandestine meeting place in a barn or distant place.  Shakespeare, a master of English, style and writing as if by design, inserted innuendo, and perhaps coded messages within a variety of literary devices.  Shakespeare was said to have “written sonnets 127-154 to this mysterious dark lady.” (owlcation)

Shakespeare used negated similes to illustrate the reversal of ideals in the 16th-century society by employing anastrophe in his line structure. (owlcation) Although a variety of rhyme schemes were employed from Petrarchan Sonnet methods to alliterative verse, to assonance, what gave Shakespeare’s poetry its depth and richness were perhaps the layers of form and function.  The inverted language embodied an inverted idea which had inverted lines.  Shakespearean poems when dissected had perhaps several instances where for example he writes in reverse “in some perfumes, is there more delight.”  He inserts, in this case, intrigue and question, and perhaps the suggestion of an alternative or question whether a greater pleasure.

Shakespearean Sonnet 130 challenges beauty, ideals, and love via literary devices such as alliteration, assonance, and anastrophe.  Sonnet 130 is typical of an English love sonnet emanating from true Petrarchan style. Petrarchan sonnets during the 16th century followed a 14-line formula, an 8  line “octave” followed by a 6 line “sestet” and couplet. The rhyme may have had a “Valentine” 14-line love structure depending on which came first. The rhyme scheme for these poems was abab cdcd efef gg structure. (Petrarch Slide Share) On closer inspection, society may find Shakespeare referential, full of innuendo, coded, as if written to wife and lover simultaneously-for the blind and the seer.  The 16th-century culture may have reflected on this use of a literary device or on what became a sonnet craze, where one’s identity or even “intimacy” may be still further conveyed in myriad and dynamic rhymed and unrhymed schemes. As if one may insert into life something in every consonant, vowel, syllable, line-in every literary corner-one may find a place to insert meaning, impacting one’s identity and consequently one’s language and culture.  As if to use “all,” every consonant, every vowel, every literary ability, not efficiency or economy, but down some other road of utility, structure, architecture.  When one may have believed meter limited content, a fallacy indeed.  Shakespeare is perhaps made for the close reading, the examination and analysis,  the scrutiny, the more-and-more to find, the Easter egg hunt.  As if the document had pockets, or corners or roads, as if the writer were builder and words were bricks.  All methods or rather literary devices were carefully coded, perhaps to man and to language.  Man’s language and literary devices may reflect on the man himself.

Works Cited:

Shakespeare, William. “Sonnet 130,” Abcarian, Richard, Marvin Klotz, and Samuel Cohen, eds. Literature: The Human Experience: Reading and Writing. New York: Bedford/St. Martin’s, 2016. Print. p.838

Abcarian, Richard, Marvin Klotz, and Samuel Cohen, eds. Literature: The Human Experience: Reading and Writing. New York: Bedford/St. Martin’s, 2016. Print.

https://www.grin.com/document/372431 An Analysis of Shakespeare’s Sonnet 130. The concept of love and beauty, Bergische Universität Wuppertal  (Anglistik und Amerikanistik) Introduction to Literary Studies,  2017

https://owlcation.com/humanities/Analysis-of-Sonnet-130-by-William-ShakespeareNorton Anthology, Norton, 2005

https://en.wikipedia.org/wiki/Sonnet_130

https://en.wikipedia.org/wiki/Sir_Gawain_and_the_Green_Knight

https://en.wikipedia.org/wiki/Piers_Plowman

https://en.wikipedia.org/wiki/Pearl_(poem)

https://en.wikipedia.org/wiki/Hildebrandslied

image2.slideserve.com/5332711/petrarchan-sonnet…

Up to Snuff #126 Book List Alliterative Verse (Poetry)

Up to Snuff #126 Book list Alliterative Verse (Poetry)

By, Afua Serwah Osei-Bonsu

 

William Langland-Allegorical Narrative Poem

Piers Plowman

Hildenbrand

Chaucer-Canterbury Tales

Sir Gawain and The Green Knight

Beowulf

Pearl

Alliterative Morte Arthure

St. Erkenwald

The Raven Edgar Allan Poe

Seafarers

The Rime of Ancient Mariner  Samuel Taylor

The Age of Anxiety W.H. Auden

The Three Dead Kings

Mum and the Sothsegger

Death be not proud

Songs for the Philologists

Sonnet 5

Sir Galahad

“Long Marriage” Excerpt from Sago Palm

Long Marriage

By, Afua Serwah Osei-Bonsu

 

He planned the conversation

That one needs to have at the start of their marriage

To have a long marriage

He planned to hold it together

To keep it fresh

To even rehearse intimacy

To maintain respect and nonviolence

He made a deal with his wife

He asked himself and his partner, “Are we a forever marriage?”

If you do not say it, “Are we a forever marriage?”  Perhaps it is not.

Some cultures have real steady men that mate for life

Some are circulators, vacillate, some grow tired, some do not, some marry more than one

Some have tested ways for maintaining relationships

For taking care of their match, preserving them, educating and teaching them, beautifying them, grooming them, making them happy, pleasing them, romancing them

Some develop ways for coasting holiday to holiday

Some want social matches, even socialites, prepared for culinary and a lifestyle of entertaining

Some want many, many friends, some want a homemaker and a home

Some want a premium wife or a sophisticated housewife

Some want a match with good taste and good tastes home

Some want a head of household

Some want a mother, some want a father

Some want a parent that is a teacher for their children

Some will build a children’s schoolhouse

Some will garden

Some will fill the house with flowers

Some will collect recipes and fill binders and plan

Some spend summer here and winters there

Some plan family trusts, philanthropy, community building and children’s trust funds

 

Excerpt from upcoming poetry book “Sago Palm” by Afua Serwah Osei-Bonsu