Read Ebook {PDF EPUB} Red Rover Red Rover by George Ella Lyon Red Rover Red Rover by George Ella Lyon. In response to the fear- and hate-mongering alive in our country today, I have joined Julie Landsman?a writer, teacher, and activist based in Minneapolis?to create the I Am From Project. Through our website (iamfromproject.com) and Facebook page, we?re collecting art from around the country prompted by that theme. You can listen to our interview on the National Writing Project radio here: https://www.nwp.org/cs/public/print/resource/4673. We want to gather the diversity of our voices, and we plan to archive the results online and to present them, in some form, in D.C. We?d love to have your voice among them! The Kentucky Arts Council has wrapped up my Where I'm From?project with a total of 731 poems from eighty-three counties. My thanks to everyone at the Council, especially Tamara Coffey, who put all those poems online. You can visit this website to find the map where you can click on any county and read offerings from poets of all ages. Where I'm From. I am from clothespins, from Clorox and carbon-tetrachloride. I am from the dirt under the back porch. (Black, glistening, it tasted like beets.) I am from the forsythia bush the Dutch elm whose long-gone limbs I remember as if they were my own. I'm from fudge and eyeglasses, from Imogene and Alafair. I'm from the know-it-alls and the pass-it-ons, from Perk up! and Pipe down! I'm from He restoreth my soul with a cottonball lamb and ten verses I can say myself. I'm from Artemus and Billie's Branch, fried corn and strong coffee. From the finger my grandfather lost to the auger, the eye my father shut to keep his sight. Under my bed was a dress box spilling old pictures, a sift of lost faces to drift beneath my dreams. I am from those moments-- snapped before I budded -- leaf-fall from the family tree. Click here to see an inventive video featuring George Ella's reading of "Where I'm From" on The United States of Poetry episode "The Land and the People." “Where I'm From” grew out of my response to a poem from Stories I Ain't Told Nobody Yet (Orchard Books, 1989; Theater Communications Group, 1991) by my friend, Tennessee writer Jo Carson. All of the People Pieces, as Jo calls them, are based on things folks actually said, and number 22 begins, “I want to know when you get to be from a place. ” Jo's speaker, one of those people “that doesn't have roots like trees, ” tells us “I am from Interstate 40” and “I am from the work my father did. ” In the summer of 1993, I decided to see what would happen if I made my own where-I'm-from lists, which I did, in a black and white speckled composition book. I edited them into a poem — not my usual way of working — but even when that was done I kept on making the lists. The process was too rich and too much fun to give up after only one poem. Realizing this, I decided to try it as an exercise with other writers, and it immediately took off. The list form is simple and familiar, and the question of where you are from reaches deep. Since then, the poem as a writing prompt has traveled in amazing ways. People have used it at their family reunions, teachers have used it with kids all over the United States, in Ecuador and China; they have taken it to girls in juvenile detention, to men in prison for life, and to refugees in a camp in the Sudan. Its life beyond my notebook is a testimony to the power of poetry, of roots, and of teachers. My thanks to all of you who have taken it to heart and handed it on. It's a thrill to read the poems you send me, to have a window into that many young souls. I hope you won't stop there, though. Besides being a poem in its own right, “Where I'm From” can be a map for a lot of other writing journeys. Here are some things I've thought of: Where to Go with "Where I'm From" While you can revise (edit, extend, rearrange) your “Where I'm From” list into a poem, you can also see it as a corridor of doors opening onto further knowledge and other kinds of writing. The key is to let yourself explore these rooms. Don't rush to decide what kind of writing you're going to do or to revise or finish a piece. Let your goal be the writing itself. Learn to let it lead you. This will help you lead students, both in their own writing and in their response as readers. Look for these elements in your WIF poem and see where else they might take you: a place could open into a piece of descriptive writing or a scene from memory. your parents' work could open into a memory of going with them, helping, being in the way. Could be a remembered dialogue between your parents about work. Could be a poem made from a litany of tools they used. an important event could open into freewriting all the memories of that experience, then writing it as a scene, with description and dialogue. It's also possible to let the description become setting and directions and let the dialogue turn into a play. food could open into a scene at the table, a character sketch of the person who prepared the food, a litany of different experiences with it, a process essay of how to make it. music could take you to a scene where the music is playing; could provide you the chance to interleave the words of the song and words you might have said (or a narrative of what you were thinking and feeling at the time the song was first important to you (“Where I'm Singing From”). something someone said to you could open into a scene or a poem which captures that moment; could be what you wanted to say back but never did. a significant object could open into a sensory exploration of the object-what it felt, sounded, smelled, looked, and tasted like; then where it came from, what happened to it, a memory of your connection with it. Is there a secret or a longing connected with this object? A message? If you could go back to yourself when this object was important to you, what would you ask, tell, or give yourself? Remember, you are the expert on you. No one else sees the world as you do; no one else has your material to draw on. You don't have to know where to begin. Just start. Let it flow. Trust the work to find its own form. Where Others Have Gone with "Where I'm From" Watch a visual poem based on "Where I'm From" by George Ella Lyon, created by Julia Daniel for Tamalpais High School's Academy of Integrated Humanities and New Media (AIM), fall 2010: A Young Artist's Own "Where I'm From" in Words and Image: In Winter of 2008, Sage Hennequin Kuhens was enrolled in University of South Carolina Upstate's "Write Here, Write Now: Sharing Slices of Life Through the Magic of Digital Storytelling," a series of writing and publishing workshops sponsored by the Spartanburg Community Writing Center. At eight years old, Sage was the youngest among her group of about 50 or so students, and was determined to be as independent as she could be. Her delightful instructor, Tasha Thomas, encouraged her independence. I'm from big blue herons to small river otters, I'm from big Metasequioas to tall stalks of bamboo, I'm from cousins that were unknown to the closest of friends, I'm from my mom and dad to my lab-beagle dog, albino rats, and Madagascar hissing cockroaches, I'm from roaring water falls to silent flowing streams, I'm from terrifying Zombie walks and Scarowinds to a gentle princess-loving godsister and godbrother I'm from pepperoni pizza to microwaved meatballs, I'm from my inspiration station drawing and writing to a homemade book, I'm from my old dog Chani to red-shouldered hawks, I'm from Jack the magic clown to my weird parents, I'm from a tiny baby to an educated sister showing baby MinMin what school's like, I'm from bold looking deer to relaxing foxes, I'm from making a fire in the county to ridin' in a cotton combine, I'm from a fan of Alexa Vega and Miley Cyrus to a spy lovin' tween (me), I'm from playing with cockroaches with a friend to Joe and I together, I'm from my heritages to Mom's mystery heritages, I have an opinion that none can change. life is great! -Sage Hennequin Kuhens 1-29-08. The Hale Pono Boys and Girls Club of Hawaii posted ?Where I?m From? by Dixie Castillo on their blog. Read it here. Here?s a poem based on ?Where I?m From? written by an eighth grade student as part of a study of The Killer Angels . The lesson plan is here. Red Rover Red Rover by George Ella Lyon. These titles are no longer in print, but available through your library or favorite second-hand bookseller. Picture Books. A B Cedar , illustrated by Tom Parker, Orchard Books 0-531-07080-8 (paperback), Grades PreS-1. “It could be said that this is an alphabet book built around trees or a tree book built around the alphabet. Easily the basis for a nature lesson, this will intrigue children usually considered too old for alphabet books. A pleasing exposition.” - Booklist. “Sprigs and seeds held up by realistic hands are shown alongside silhouettes of trees in this extraordinary guidebook.” - Riverbank Review. NSTA-CBC OUTSTANDING SCIENCE TRADE BOOKS FOR CHILDREN. Ada's Pal , illustrated by Marguerite Casparian, Orchard Books 0-531-09528-2 (hardcover), Grades PreS-2. “A moving tale about dogs' true best friends: other dogs. Young children will relish meeting Ada at storytime and independent readers will cherish her as well.” - School Library Journal. Basket , Illustrated by Mary Szilagyi, Orchard Books 0-531-05886-7 (hardcover), Grades PreS-2. “Warmly appealing, the book has a quiet charm that makes it an effective choice for celebrating intergenerational relationships.” - The Horn Book. WINNER OF THE KENTUCKY BLUEGRASS AWARD. Book , illustrated by Peter Catalanotto, Orchard Books 0-789-42560-2 (hardcover), Grades PreS-4. “This oversize picture book, really an illustrated free verse poem, pays tribute to books and reading. The full page paintings embrace both the words and the spirit of the text and bibliophiles will find themselves in complete agreement with the author's exalted view of books and reading. ” - Judy Katsh, Children's Literature Reviews. BOOKLINKS BEST BOOKS OF THE YEAR 1999. Cecil's Story , illustrated by Peter Catalanotto, Orchard Books 0-531-07063-8 (paperback), Grades K-2. “The trauma of separation is sensitively explored in a Civil War setting in this evocative picture book. Well worth serious consideration.” - starred review, School Library Journal. Come a Tide , illustrated by Stephen Gammell , Orchard Books 0-531-07036-0 (paperback), Grades PreSch-1. “Four families on a hillside cope with the flood. The story is lyrically told with sly humor, and expanded to hilarity by Gammell's rollicking, wet, full- of-action, full-color cartoons. Children and adults will love this big-hearted book.” - starred review, School Library Journal. ABA/CBC CHILDREN'S BOOKS MEAN BUSINESS AMERICAN BOOKSELLER KIDS' PICK OF THE LIST BOOKLIST EDITORS' CHOICE THE HORN BOOK/FANFARE LIST SCHOOL LIBRARY JOURNAL BEST BOOKS OF THE YEAR A READING RAINBOW FEATURE. A Day at Damp Camp , Illustrated by Peter Catalanotto, Orchard Books 0-531-09504-5 (hardcover), Grades 1-3. “Megan and Sarah begin their camp experience as loners and end it as supportive friends. Extraordinary work is what we have come to expect from these collaborators, and the promise is once again delivered.” - School Library Journal. Dreamplace , Illustrated by Peter Catalanotto, Orchard Books 0-531-05466-7 (hardcover); 0-531-07101-4 (paperback), Grades PreS-2. “Children are treated to a vision of the past, this time among the ruins of an Anasazi village. This book is both art and literature of a quality that is rarely seen and should be cherished.” - starred review, School Library Journal. “The best yet from a uniquely gifted team.” - Kirkus. “An atmospheric, shimmering glance backwards. ” - Publishers Weekly. AN AMERICAN BOOKSELLER KIDS' PICK OF THE LISTS. Father Time and the Day Boxes , Illustrated by Robert Andrew Parker, Bradbury Press 0-02-761370-4, Grades PreS-3. “This first book for children by a Kentucky poet is hauntingly illustrated in delicate watercolor washes with pen-and-ink drawings. Kindly Father Time (Nature's grandson) tosses down one of his 365 packets containing a day.” - New York Times Book Review. “A dreamy, whimsical look at the meaning of time. Lovely to look at and something to think about with children.” - Booklist. CCBC CHOICES. Five Live Bongos , Illustrated by Jacqueline Rogers, Scholastic 0-590-46654-2, Grades PresS-3. “In a nonconforming, musical text reflecting various percussive moods, Lyon depicts the creative means [a] painter's children adopt in pursuit of their 'Found Sound Band.' A lively invitation to readers, artists, inventors, and musicians to come join the anarchic fun.” - Kirkus. CHILDREN'S BOOKS OF THE YEAR, BANK STREET COLLEGE. Reprinted in Crayola Kids magazine, December '95-January '96 issue. Mama is a Miner Illustrated by Peter Catalanotto, Orchard Books 978-0531068533 (hardcover), Grades PreS-3 Click here for a lesson plan using the book; it was written by teacher Brenda Muse and is posted on the Ferrum College AppLit site. “Visually, the book is breathtaking, intertwining elements from the mine and home, child and parent, family chores and work for money. Mama brings light-into the mine and into the home-and Catalanotto's full-page, luminous watercolor illustrations vibrate with this energy. Muted shapes, soft edges, creative perspectives, and blending of scenes all come together to enhance the story of a youngster's complicated thoughts and emotions. This book packs a lot into its 32 pages and is far more than a simple "I'm so proud of my Mama" career-exploration story.” - School Library Journal. One Lucky Girl , Illustrated by Irene Trivas, DK Publishing Inc. 0-789-42613-7 (hardcover), Grades PreS-2. “A well-crafted picture book based, apparently, on a true story that in both text and illustration pitches drama and tension at exactly the right level for the audience. Lyon's telling has the spareness, denseness, and vividness of poetry. but never strains for effect. ” - The Horn Book. WINNER OF THE KENTUCKY BLUEGRASS AWARD. The Outside Inn , Illustrated by Vera Rosenberry, Orchard Books 0-531-07086-7 (paperback), Grades PreS-1. “Kids cooking up a pretend meal are the springboard for Lyon to introduce another idea. An imaginative work that will fit nicely with primary environmental curriculums.” - Booklist. AMERICAN BOOKSELLER KIDS' PICK OF THE LISTS. A Regular Rolling Noah , Illustrated by Stephen Gammell, Bradbury Press 0-02-761330-5 (hardcover), 0-689-71449-1 (paperback), Grades PreS-3. “[T]ext that sings and shimmering paintings that fairly burst with color. This poetic work is a feast for the eyes and ears.” - Publishers Weekly. A Sign , Illustrated by Chris K. Soentpiet, Orchard Books 0-531-30073-0 (hardcover), Grades K-4. “Lyon's lyrical autobiographical poem and Soentpiet's glowing paintings unfold quietly, articulating with deft simplicity the complex relationship between an artist's childhood dreams and adult achievements. ” - Publishers Weekly. NCTE/NOTABLE TRADE BOOKS IN THE LANGUAGE ARTS. Together , Illustrated by Vera Rosenberry, Orchard Books 0-531-07047-6 (paperback), Grades PreS-1. “The essence of youthful exuberance is captured perfectly in this celebration of friendship. ” - School Library Journal. A Traveling Cat , Illustrated by Paul Brett Johnson, Orchard Books 0-531-30102-8 (hardcover), Grades PreS-2. “Some cats are born to travel and such a one is Boulevard, who appears at a drive-in one evening, stays with the young narrator and her family for a year and then leaves as the spring floods arrive. It's rare to find such a distinctly drawn animal character. but Boulevard is through and through a cat among cats.” - Kirkus Reviews. Novels for Young Readers. Gina.Jamie.Father.Bear , Atheneum 0-689-84370-4 (hardcover), Grades 6 & Up. “In this finely drawn tale, Lyon weaves parallel story lines into a novel of uncommon beauty that incorporates the mysterious bonds between parents and children, love and legend. Her subtle theme — that children remain open to the inexplicable wonders of life that adults have given up — may well inspire readers to explore the mysteries in their own lives. Lyon's poet-roots inform her vivid imagery and metaphoric prose. A lyrical, memorable tale.” - Publishers Weekly, starred review. The Stranger I Left Behind (originally titled Red Rover, Red Rover ), Troll 0-816-74026-7 (paperback), Grades 3-6. When Sumi's brother leaves for boarding school, her best friend moves away, her grandfather dies, and her mother withdraws into grief, Sumi finds herself facing the beginning of adolescence alone and afraid. MOUNTAIN (a poetry chapbook) ,Andrew Mountain Press 0-9603840-5-7. “Her poetry, original, delightful, compelling, is the real thing. It creates a shock of recognition. These marvelous poems are universal.” - Ruth Stone. Books Edited. A Gathering at the Forks: Fifteen Years of the Hindman Settlement School's Appalachian Writers Workshop Edited by George Ella Lyon, Jim Wayne Miller, and Gurney Norman, Vision Books. How to Play Red Rover. Classic Pastime Has Been Banned on Some Playgrounds. Share PINTEREST Email. Kids and Teens Accessories Tops & Sweaters Dresses Skirts Jeans Pants Outerwear Lingerie & Swimwear Do It Yourself Shoes Skincare Advice Makeup Hair Fragrance Tattoos and Body Piercings Bumps & Babies. There's hardly an oldster alive who doesn't remember playing the schoolyard game of Red Rover, but it has fallen out of favor in some areas because of the risk of injury. Since it requires at least ten or so kids to play, it is most popular as a neighborhood or playground game for school- age children. If you are fortunate enough to have a lot of grandchildren, you may have the chance to introduce them to this traditional game, which they surely don't know how to play. Avoid getting in trouble with the parents by supervising them carefully! Get Ready to Play. No special equipment is needed. Only a good-sized open area is needed, preferably a grassy area. How to Play Red Rover. Divide the group of kids into two teams. The kids then form two lines holding hands and facing each other. The lines should be 30-50 feet apart. The team chosen to go first calls for a runner from the other line, saying, “Red Rover, Red Rover, let Thomas come over!” Thomas then takes off running and tries to break through the other line. If Thomas is a wise player, he will choose what he judges to be a weak link for his effort. If the two players who are targeted are unable to maintain their grip and Thomas breaks through, he chooses one of the kids that he broke through to take back to his team. If he doesn’t break through, he has to stay with the other team. The game ends when everyone is in one line. The game is fun because of the suspense of wondering when your name will be called and wondering whether the runner from the other team will choose you as the weak spot to try to break through. It’s not a highly competitive game as everyone ends up on the winning team. Is Red Rover Too Rough? Red Rover has been banned on some playgrounds as too rough. Undoubtedly there have been some injuries associated with the game, but definitely, no more than are associated with organized sports such as peewee football or Little League baseball. Obviously, the risk of injury is lessened if the kids are close to the same age and size. In addition, three practices should definitely be banned. The first is double-linking by holding each other’s wrists or arms. Only hands should be joined. The second is raising the arms high to “clothesline” the runner. The third is thrusting the joined hands outward so that the runner encounters the equivalent of an outthrust fist. Variations. In one of the variations of this game, the player who breaks through a line may choose any player from that team. In a less common variation, the player who breaks through joins the opposing team. History of the Game. Red Rover is thought to have originated in Britain. It was commonly played in Great Britain, the United States, Canada, and Australia. Several other countries have similar games. No one has been successful in learning why the game is called Red Rover, although there are records of a number of ships with that name. The game sometimes goes by the names Octopus Tag and British Bulldogs. The Chinese call their version Forcing the City Gates, and the Japanese play a similar game called Hana Ichi Monme. LYON, George Ella. LYON, George Ella. (George Ella Vernon). American, b. 1949. Genres: Novels, Children's fiction, Young adult fiction. Career: University of Kentucky, Lexington, instructor in English and creative writing, 1977-; Centre College of Kentucky, visiting assistant professor, 1979-80, writer in residence, 1985; Transylvania University, lecturer, 1984-86; Radford University, visiting faculty, 1986. Publications: POETRY: Mountain, 1983; Growing Light, 1987; Catalpa, 1993. YOUNG ADULT NOVELS: Borrowed Children, 1988; Red Rover, Red Rover, 1989; Here and Then, 1994. PICTURE BOOKS: Father Time and the Day Boxes, 1985; A Regular Rolling Noah, 1986; A B Cedar: An Alphabet of Trees, 1989; Together, 1989; Come a Tide, 1990; Basket, 1990; Cecil's Story, 1991; The Outside Inn, 1991; Who Came Down That Road, 1992; Dreamplace, 1993; Mama Is a Miner, 1994; Five Live Bongos, 1995; A Day at Damp Camp, 1996; Ada's Pal, 1996; A Wordful Child, 1996; A Sign, 1998; Counting on the Woods: A Poem, 1998; A Traveling Cat, 1998; One Lucky Girl, 2000. OTHER: Braids (play), 1985; Choices: Stories for Adult New Readers, 1989; (ed. with B.H. Baber and G. Norman) Old Wounds, New Words: Poems from the Appalachian Poetry Project, 1994; With a Hammer for My Heart (novel), 1997; Where I'm from, Where Poems Come From, 1999. Address: 913 Maywick Dr, Lexington, KY 40504-3121, U.S.A. Cite this article Pick a style below, and copy the text for your bibliography. MLA Chicago APA. "Lyon, George Ella ." Writers Directory 2005 . . Retrieved June 02, 2021 from Encyclopedia.com: https://www.encyclopedia.com/arts/culture- magazines/lyon-george-ella. Citation styles. Encyclopedia.com gives you the ability to cite reference entries and articles according to common styles from the Modern Language Association (MLA), The Chicago Manual of Style, and the American Psychological Association (APA). Within the “Cite this article” tool, pick a style to see how all available information looks when formatted according to that style. Then, copy and paste the text into your bibliography or works cited list. Red Rover, Red Lover by Preston Smith, reviewed by K Weber. Mythology and outer space, corporeal bodies and celestial bodies interplay in stanzas and dance through couplets in Preston Smith’s debut poetry chapbook, Red Rover, Red Lover . The first poem introduces us to the book’s narrator as well as Apollo and Artemis, while the final prose piece literally takes us from A to Z. Beautiful scenes throughout propel us from Earth to the stars and from modern-day situations to tales of legends past. The narrator sees life and love with such curious clarity with a unique bent towards the universal, the universe. Apollo missions are referenced in many pieces within this collection. But Apollo also references the Greek god and here is where we see how Smith is plugged into valuable wordplay and nuances that such a duality can provide. “Apollo the First” shows us how a mission can be a person — a conquest — while descriptions of light and rust emphasize the terminology of both a relationship and a spacecraft. In “Apollo Aborted,” the longings expressed in the previous poem are followed up with the downside of the pursuit of love and how the narrator experiences a very human awakening (or walk of shame). Suddenly the narrator is muddy, “say[s] no to every pickup truck/that stops to help.” The overwhelming notion that the narrator was “not born into divinity” builds strength here. In poems after Apollo 5 and Apollo 7, descriptions such as “flames encased” remind us, again, that this body of work will continue to traverse a path wherein the narrator and Apollo will dance, interweave, flirt and mingle. However, just as a space shuttle can use flames in order to remain in flight, flames can also become “sputtered” and so goes the relationship between the narrator and the god Apollo. The blaze of “the sun returns” and the narrator is again doe-eyed over the abilities of the light presence of Apollo. It is then that the narrator is first introduced to Apollo’s sister, Artemis. This relates so heavily and rings true in a relationship where one meets their partner’s family. Poems after Apollo 8, 9, 10, and 11 continue to show how the light of Apollo floods the narrator’s memories and feelings. It is also profound when “[the narrator] realize[s]/[Apollo] never truly had a home.” Time becomes an essential feature of the relationship’s nature as light and darkness come and go. The pair can withstand the seasons, but winter is an obstacle as more light becomes lost in each day. In flight, in this uplifting romance and reverence, or in a space mission, there is an ease of exploration. In “Interstellar Experiments ( After Apollo 10 )” all of the previous missions in the love affair culminate in the ability for the pairing to “stick the landing.” That idea drifts easily into “There was a reason I never took gymnastics lessons ( After Apollo 11 )” where sticking the landing can be difficult. In this poem, Apollo breathes life into the narrator’s abilities as they “spin around the globe” and perform acrobatics in zero gravity. The bright light of awareness shakes the narrator awake in human form in poems after Apollo missions 12–17. Even in “To Knock Down A House ( After Apollo 13 ) where a battle of otherworldly proportions takes place, the narrator “know[s] too well the intensity of familial pain.” Themes of the anxiety brought on by enclosed spaces and the nervousness of being with someone who has a parent in a position of power are very human ideas but are handled with great care in the moments that transcend the human. In the title poem, an ode to Apollo 15, the narrator shares the depths of loneliness but explores boundaries with “the lover.” Themes of family and interacting more with Apollo’s sister, Artemis, take place in “Zodiacal Geography.” Outside of the Apollo-centric pieces, there are several poems in the latter part of the collection that continue to forge connection and conquering. We soon learn that “[a] god has many faces.” The narrator becomes more connected to Artemis and finds solace in her. Nearing the end of this collection of poems, we see the narrator exploring the self. In “The Price of Glass” the narrator realizes that a true self hides that is more “wooden, rigid.” In “Helios,” the narrator navigates home, feeling most alone, starts right back at the where the first poem began. Apollo is less prominent at this point, but the narrator reaches out to his moon sister as winter takes hold. “Wonderland as a Temporal Refraction” gives us a very interesting Lewis Carroll-esque take on mirrors — this time using the idea of the moon as being a mirror and how we can soak up the light that is cast. The final prose piece sums up the light and dark of our lives and ourselves in a very alphabetic way. We began this book at point A with (Apollo and Artemis) and landed at Z in the end, with Zeus and the influence of the zodiac. Red Rover, Red Lover is exceptional in intermingling so many ideas without being overwrought. It is even exceptional in its title. As children, many of us played the game “Red Rover” but a “rover” is also a type of research tool used on a planet’s surface. Love is also something to be explored and can often feel like a game, one of acceptance or failure, as the playground game Red Rover shows us. Preston Smith has meticulously combined factors of emotion with interests in myth, space, and more and produced a chapbook that reads well even for those who do not know all of the minutiae of gods, goddesses, or space missions. It is also interactive enough that one can easily access these aspects of the book to delve ever-deeper into the beauty of the cosmos Smith has written. K Weber. K Weber lives and writes in the midwestern United States. Her writing has been included in issues of Memoir Mixtapes , Detritus Online , Black Bough Poetry , Writer’s Digest , Moonchild Magazine , Theta Wave , and others. Her photography has appeared in Barren Magazine and Nightingale & Sparrow. K earned her BA in Creative Writing from Miami University (Ohio). Her most recent project, THIS ASSEMBLY , features poems written words donated by 165 people. Learn more and access her online chapbooks and audiobooks at kweberandherwords.wordpress.com. You can also find her on Twitter @kwandherwords and on Instagram @kweberandherwords. Author: K Weber Tags: poetry review Category: Book Reviews March 13, 2020.