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Bridging the gap between A-level and undergraduate poetry teaching. This short paper makes no claim to give an account of all schools and american university requirements, all examination boards but is intended to highlight one of the difficulties which face many first-year undergraduates as they attempt to make sense of contemporary poetry when their diet of reading up until this time has been dictated by a relatively conservative and self-asserting form of the art. In addition to this the examination system itself, a modular approach to marathon umn, Years 12 and 13 with the multiple re-takes available, encourages a sense of division of tasks which is sometimes at odds with the notion of learning how to read. I also will look at american, the challenging article written by Andrew Crozier in 1983, ‘Thrills and Frills: poetry as figures of empirical lyricism’ and his questioning of the notion promoted by the accepted figures of modern poetry which he terms the ‘intransigent fiction of the resume ordinary person’. Let me begin by university essay referring briefly to the syllabus offered by two examination boards as far as modern poetry is concerned and, let me emphasise, this is citing book mla, merely the university syllabus not the assessment objectives which dominate the marking of the examinations. I do not intend to name these two boards since my aim is certainly not to suggest a sense of resume preference. The first example outlines its purpose as follows: Well this sounds promising but we might examine how extensive this is when it comes to modern poetry.

Poetry for the AS level paper has a theme of university essay requirements ‘identity within the world of modernity’ and candidates are asked to choose one of the following three volumes of poetry: And Still I Rise by Maya Angelou (Virago), The World’s Wife * by shakespeare's essay Carol Ann Duffy (Picador) or Skirrid Hill * by Owen Sheers (Seren). The examination itself will take the form of a 2 hour paper consisting of two sections and candidates will answer one question in each section. Section B covers poetry and candidates may bring their set poetry text into the examination room. This text should be a clean text, that is, free from annotation. There will be a choice of two questions on american essay requirements, each set poetry text and candidates answer one of sample them. One of the essay requirements two questions will ‘foreground’ one particular poem and its relation to the whole text, the other will provide a view about the poems for candidates to resume publishing, discuss. A general comment made by the board suggests that there will be an emphasis throughout both AS and A2 on the ‘development of the informed, independent reader of literary texts through a course of wide and american essay, close reading’.

This again sounds very promising and we would do well to umn, look at the range of texts offered. When it comes to A2 the board affirms that the skills of close reading and analysis, interpretation, comparison and the ability to evaluate the influence of various contextual factors will be assessed. In terms of modern poetry the following texts for wider reading are suggested: poetry by Simon Armitage*, W.H Auden, Gillian Clarke, Carol Ann Duffy *, Allan Ginsberg, Langston Hughes, Jackie Kay*,Liz Lockhead*, Agnes Meadows, Grace Nichols*, Alice Oswald, Adrienne Rich, Gertrude Stein, Alice Walker, Benjamin Zephaniah. A second examination board promotes the following two anthologies for american university essay study at AS level: Poetry Here to Eternity, ed. Andrew Motion with poems on the themes of either ‘Home’ or ‘Land’ or ‘Work’, and The Rattle Bag, ed. Seamus Heaney and Ted Hughes with poems selected on the same themes. For this second board the resume live A2 syllabus for modern poetry is a choice between Emergency Kit, ed. Jo Shapcott and Matthew Sweeney (see Appendix 6 for the selected poems) and Rapture by university requirements Carol Ann Duffy*. I shall not bore you with a list of the assessment objectives which dictate what will be given an A* at A level but allow me to quote from a recently retired Head of English: A student from another school whom I tutored briefly showed me an AS answer that had been given top marks by the board and used as a model. This may have covered what was formally required but Browning’s poetry lay lifeless as a result. The discussion was formulaic and revealed no ear for tonal nuances at all, yet the candidate had delivered.

Before I move on from these comments about the current state of play let me just add that under the resume old A level scheme there were two years of sixth-form study which ended with an end-of-course examination. This meant that in american requirements, some schools where the practice of reading was taken seriously much of the first year could be used for a wide range of different texts that allowed the teacher’s own interests to communicate themselves with enthusiasm. There was a possibility for pupils to become engaged with the intriguing, sometimes mystifying, challenging nature of shakespeare's theater reading different works without them becoming ‘examinable’. There were opportunities for teachers of real commitment to work with pupils in a way that was not circumscribed by the frenetic urgency of getting all the right boxes ticked. A fine example of how this might work was revealed in the current issue of PN Review where one of R. American Requirements. F. Langley’s former pupils paid tribute to that extraordinarily powerful figure: Let me return for paper sample thesis a moment to those words from one examination board quoted at the beginning of this paper: a general comment made by the board suggests that there will be an university, emphasis throughout both AS and globe essay, A2 on the ‘development of the informed, independent reader of literary texts through a course of wide and close reading’. It is at this point that I wish to remind us of Andrew Crozier’s seminal essay ‘Thrills and american university requirements, Frills; poetry as figures of empirical lyricism’ which first appeared in 1983 in a collection titled Society and Literature 1945-1970, edited by Alan Sinfield, in a series devoted to the ‘Context of English Literature’. My reason for citing an essay in a book going back to this essay, and its sequel ‘Resting on Laurels’ first published in american university essay requirements, 2000 in another book edited by Sinfield, British Culture of the Postwar, is shakespeare's theater, because the thrust of Crozier’s argument hinges upon what he refers to american university essay, as a canon which has remained largely unchanged in half a century. His opening question in ‘Resting on paper sample, Laurels’ hits to the heart of the subject: Crozier’s earlier essay examined the nature of the readily-accepted canon of american essay requirements British poetry during the fifties and beyond: For the purposes of study at A level is the only modern poetry ‘in evidence’ that which ‘is at hand’?

Does the exam board’s noble statement about developing the shakespeare's globe essay independent reader become closely linked to the methods of publication and if so then does this present an implicit commitment to university essay, particular literary judgements. Andrew Crozier’s earlier essay opened with the question ‘What is the canon?’ and he quoted Blake Morrison on Seamus Heaney: Crozier suggests that we should attend in particular to the implicit strategies of sound this argument, which strip from the notion of american university essay a canon of resume umn excellence any suggestion that the requirements criteria involved might not be universal. First of all, the live argument is contained within an unspecified concept of quality, ‘the finest poets’. Requirements. It accomplishes itself by means of sample thesis ostensibly neutral chronological markers (‘since Yeats’, ‘post-1945’); yet, while 1945 is an important date in social history (the election of american university requirements a Labour government, the essay on racial end of the Second World War—although neither was directly an event in american university essay, Irish history, surely), ‘Yeats’ is a function of literary history. The notion of an autonomous literary history is implied by the concept of succession, Yeats-Heaney, Larkin-Hughes-Heaney. As Crozier puts it: Crozier goes on to give a short account of The Movement in terms of its historical status and reminds us of resume sound Morrison’s account of its ideological characteristics: the Low Church and university essay, middle-class origins; the concern with classlessness and upward social mobility; the hostility to the ‘posh’ and essay profiling, the ‘phoney’, and the nostalgia for traditional order; the connection with provincial universities. Crozier’s views on this notion of a canon of poetry had been made clear in a review he wrote as a third-year undergraduate at Christ’s College Cambridge to be published in an issue of the university requirements magazine Granta in on racial profiling, October 1963 where he looked closely at Robert Conquest’s recently published New Lines 2. In the requirements review he suggested that the poets included in Conquest’s anthology ‘are our orthodoxy, not our rebels’ and noted that most of Robert Conquest’s poets showed a total separation of their form and their content: Crozier also claimed that the New Lines anthology ‘codified a successfully assertive group position based on exclusion and prejudice’: In these poems from New Lines 2, where objects were always defining something or other rather than being allowed to exist in their own right, Crozier saw ‘a disabling force which predisposes the poet to shakespeare's globe, a thinness of presented experience, and a lack of humility in his approach (as poet) to the external world.’ Towards the end of american essay his essay Crozier suggests that ‘It is surely worthy of consideration…that our three canonical poets, Larkin, Hughes and globe, Heaney, share the same publisher, are apparently thought to possess similar market potential, and imply the same sort of readership’ and concludes. In the second of the two Crozier essays, ‘Resting on american essay, laurels’, 2000 he then summarizes the ‘Thrills Frills’ essay: David Kennedy’s The New Poetry published in 1993 reached its tenth impression by 2005. In 1996 it was followed by a complementary volume of essays by Kennedy, New Relations, The Refashioning of British Poetry 1980-1994, complete with an Appendix ‘The New Poetry—A User’s Guide’ giving ‘pointers on using The New Poetry with GCSE and Advanced Level examination syllabuses for 1996 and publishing, 1997’.

According to the introduction. The alpha and omega of this anthology are Pauline Stainer and Simon Armitage. The persona of the world of Armitage’s poems is ‘an average citizen or common man. This is the american essay requirements poet who is like his readers to thesis, the extent that they don’t normally read poetry, and are pleasantly surprised that it deals with the routine stuff of essay everyday life: probation officers, football, drugs. Discursively, that is to say, Armitage’s poems are directed by an intransigent fiction of the ordinary person and the dreariness of this viewpoint can be registered by comparing some of his work with the originals whom he seems to be imitating. ‘Very Simply Topping Up The Break-Fluid’ is a re-working of ee cummings’s witty ‘she being brand new’ and ‘poem’ reduces Frank O’Hara’s ‘A Step Away from Them’ to citing an essay mla, banality.

If I can end by taking you back to that memory of Roger Langley as a teacher it is american requirements, clear from the resume publishing account given by a former pupil that his teaching was challenging: And with that thought in mind may I suggest that students reading English at university, coming to terms with contemporary poetry, would be better served by looking at the anthology Vanishing Points, edited in 2004 by Rod Mengham and John Kinsella where the opening remarks of Mengham’s introduction set forth the essay requirements challenge for the easy-answers brigade: If I could leave you with two comments which I think are useful for essay profiling sixth-form pupils to bear in mind when preparing for university. Firstly JHP’s advice to first year students concerning Practical Criticism: And secondly John Hall’s comment to Tim Allen in interview:

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malta essay Transcript is a. ESSAY: 'Malta’s Jonah Complex' by Antoine Cassar. In-nies ta' fuqha jbahhru. bla qatt ma jaslu. Every island is a boat. The people on board sail on. never to arrive. Oliver Friggieri 1. One of the salient threads running through the poetics and literary criticism of Oliver Friggieri, the institutional Maltese poet per antonomasia , is his tireless preoccupation with the tension between stability and change, idleness and voyage. Indirectly applied to his homeland, Malta is identified in essay requirements, the above haiku as a stationary boat, in a ‘fixed flux’ symptomatic of the passengers’ deeply-rooted collective malaise: that of a permanent, inexorable sensation of live sound, anticlimax, as the american essay requirements part-Latin, part-Semitic society struggles to pursue its desire to sail on into the profiling promised waters of the future.

The metaphor of a craft lost at sea is poignant for an ultra-Catholic micro-nation which, in 2011, has just approved the introduction of the right to divorce following a consultative referendum (hailed as a major victory despite going through by only 52.67 %), retains the colonial George Cross on university its national flag, and still widely considers its native tongue as a ‘kitchen language’, to such an extent that the University of Malta has recently renewed a rule that forbids its students from sitting their examinations in any language other than English (except for those related to degrees in Maltese or foreign languages). Elementary psychology would indeed contend that, before the islands can begin to row themselves out of the whirlpool and steer the rudder in a chosen direction, the first fundamental step would be to carry out a self-searching etat des lieux , taking stock and thereby coming to grips with their own condition and situation. Self-acceptance, even of the most prudent type, has never been much of an resume live sound, idiosyncratic Maltese virtue. Take a (very powerful) magnifying glass, zoom into the globe a good ten thousand percent or so, and american requirements somewhere behind the letter M, the main island of the archipelago will appear as a (not-so-) big fish, with its tail up, its mouth open, and its eye looking up toward Sicily and the toes of continental Europe. Like Friggieri’s rickety boat, the fish does not seem to be going anywhere, as if holding itself back from the need to globe, settle into and blossom out of its own scales and university skin. Judging by the proportions of its abdomen, the big fish could perhaps be better seen as a whale, which in live, turn offers itself as an accurate biblical symbol: in 1968, psychologist Abraham Maslow’s coining of ‘the Jonah complex’ based itself on american requirements the Old Testament character who, too frightened to accept and perform his mission to preach to the peoples of Nineveh, fled 180? to Jaffa in order to sail to Tarshish, only to be thrown overboard in globe theater, a storm and american university requirements swallowed by a whale, finding refuge in the tenderness of sound, its belly.

Comfortably trapped inside its own soft tummy and in no rush to find its way out and face its destiny, Maltese society could well be suffering from the same fear of ‘self-actualisation’ as defined by Maslow (the refusal to be what one essentially is, and trace out one’s own path accordingly). 2. Post-independence Maltese authors have been well aware of their country's entrapment in this complex, that is, of the population’s difficulty in accepting itself as a Mediterranean people, as much culturally Christian European as North African or Semitic, as the local language and ethnology instantly reveal to the passing visitor. Modern and contemporary Maltese literature, and poetry in particular, have attempted to lead the first expeditions out of the cetacean’s belly, and continue to do so. During the american university essay late 1960s and early 70s, the Moviment Qawmien Letterarju (MQL, ‘Movement for publishing, the Revival/Promotion of Literature) 3 , a broad, eclectic crowd of american essay requirements, Maltese writers, took the first energetic steps towards overcoming the profound identity crisis that had quickly set in resume, following the advent of self-government. This initial epanouissement or 'flowering' was double-edged: not only did authors such as Friggieri, Mario Azzopardi, Victor Fenech, Albert Marshall and Achille Mizzi seek to shatter the rusty shackles of colonialism in their writing – which they did successfully –, but they were a lot more concerned with leaving behind the late Romantic muse, steeped in gratuitous Catholic patriotism and the anti-Moslem sentiment of american university essay requirements, authors such as Dun Karm (still considered the ‘national poet’ to this day).

The break with the sample past was never complete – “ more evolution than revolution ”, as Friggieri himself, perhaps the most Romantic and formalist of the new wave, pointed out 4 –, and the outburst of the MQL was relatively short-lived, quickly becoming an american essay requirements, institution in itself (and in some aspects remaining rather colonial, with its committees, secretaries and treasurers). Nevertheless, Maltese poetry did experience a highly generous import of literary currents from the continent, with Azzopardi explicitly declaring in the inaugural 1967 issue of the MQL’s own organ Il-Polz (‘The Pulse’, ironically printed at resume live sound, the ‘Empire Press’) the university essay need for Malta to place itself on the international literary map. 5 Briffa’s assertion of the paradox whereby “ the writers of the Sixties modelled their literary output on Anglo-American sources ” (2007: 16) is sound perhaps exaggerated, as several authors, including Azzopardi and Mizzi, looked for inspiration to university requirements, the poetries of Eastern Europe (Mizzi was an avid translator of Pushkin), Marshall to the symbology of the Indian subcontinent, and Fenech to the classical kigo -based haikus of Japan. In essence, these writers carried Maltese poetry away from schoolbook provincialism and into the international sentiment of modernism, the post-WW2 recognition of our species as an exhausted humanity, populated with tenets that appeared to run contrary to resume marathon, the general local mood of political liberation. Central to these modernising efforts are poems such as Identita ('Identity'), Bettieha (‘Melon’) and Xjenza (‘Science’) by Achille Mizzi 6 , who whilst remaining deeply and explicitly religious, ventured wholeheartedly into american requirements Jung’s theory of the collective unconscious, tracing in his poem Deja Vu a diachronic voyage across defining moments of human experience, from the caves of Altamira to the mushroom cloud above Hiroshima, toward a communion with a divine, all-encompassing world soul. At the same time, the local element was never too far, albeit portrayed with a tongue-firmly-in-cheek stance, such as in Azzopardi’s Ritratti quddiem Caffe Premiere (‘Pictures at the Caffe Premiere’, where the resume MQL’s literary gatherings often took place), in which pigeons foul a monument to university requirements, Queen Victoria. Later in resume live, the same year of publication of this poem in the anthology Antenni (1968) 7 , during an arts festival at Valletta’s Manoel Theatre, the MQL was to encounter its first major face-off with the american essay requirements Establishment, which accused Azzopardi, Fenech, Daniel Massa and a handful of fellow authors of penning ‘anti-patriotic’ and ‘sexually explicit’ poems; as narrated by Briffa, “ [w]hen the authors decided, nevertheless, to marathon, read their works as planned, the Manoel Theatre was patrolled by plain-clothes policemen to make sure that the controversial works were deleted from the evening’s repertory. ” (2007: 41).

Fast-forward to 2011, and the Establishment continues to stamp its heavy-footed authority over the literary production of contemporary Maltese authors, or at least tries to: the national Attorney-General recently appealed against the acquittal in court of Alex Vella Gera and Mark Camilleri, who the police had accused of respectively writing and publishing the american obscene short story Li Tkisser Sewwi (‘Repair what you Break’), the sound scathingly parodical and american requirements explicit monologue of a perverse Maltese macho, in sound, the student newspaper Ir-Realta . 8 The real danger, as exclaimed by Vella Gera in a press interview following his acquittal 9 , is not the censorship imposed from above, but that of the self-censorship certain authors may feel cornered into by such forces. Nevertheless, as oblivious as Malta’s irjus kbar (‘big heads’, i.e. the most politically influential) may be to what does and university does not constitute art and fiction, let alone the ongoing developments of its own literature, whether mainstream or peripheral, the so-called ‘next wave’ of contemporary authors continues somewhat in the same vein as the ‘new wave’, variably building on the legacy left by the MQL, albeit with a much sharper attentiveness to resume publishing, Malta’s Jonah-like condition. 10 Time will tell just how indebted the ‘next wave’ are to the ‘new wave’, although the american essay collective intellectual and creative desire to stretch beyond the provincial belly of the citing mla whale remains an university essay requirements, innermost preoccupation of the new poetics, sought no doubt with an ever-renewed vigour and urgency. In this second epanouissement of modern Maltese literature, to varying degrees, the live authors evince a full understanding of the need to foster a planetary sense of place without extricating their roots from the university requirements local soil. Thesis? If world literature, as defined by Vinay Dharwadker in his Cosmopolitan Geographies 11 , is “ a montage of american university essay, overlapping maps in motion ”, the new Maltese writers have consciously furthered the shift from insularity to the acute awareness of forming part of a multi-dimensional global jigsaw where the resume publishing laws of university essay requirements, cause and effect stretch far beyond the static notion of nation state. Beyond the live sound proliferation of literary events and publications advertising themselves as ‘ imqarba ’ (‘naughty’) – a reflection not so much of a live bookish community struggling to essay requirements, expand its own limits of mind-set and live sound imagination, but more of the need to challenge the general public’s perception of local literature as innocently bland and outdated (a prejudice better understood when one realises that Romantic poetry still constitutes the bulk of american requirements, core texts in the school syllabus, and that the Qawsalla anthology consulted by pupils bears the national flag on the front cover) –, the necessary audacity professed by sample, contemporary Maltese literature can be seen as a two-fold reaction to the society’s protracted Jonah complex. The first fold is inward-looking, as writers actively re-examine and interrogate the recent past (the legacy left by essay, the transition to an independent nation) and more so the present, not shy to stir the spotlight toward the sample pressures holding Malta back from university essay, self-actualisation, and therefore the acceptance of herself and of the natural direction she should take. From Vella Gera’s novel L-Antipodi (‘Antipodes’; a Bildungsroman documenting an altar-boy’s conversion before, during and after his experience at an essay in a mla, the Woodstock festival), through the short stories of Pierre J. Mejlak such as Ir-Rih tal-Bidla (‘The Wind of Change’) and Dar ix-Xoghol (‘The House of Work’), to Clare Azzopardi’s theatre play L-Interdett taht is-Sodda (‘The Interdict beneath the american university essay Bed’, the citing in a mla first literary work to expressly tackle one of the darker episodes of modern Maltese history, when Archbishop Mikiel Gonzi – the uncle of the essay requirements current prime minister– excluded all members of the socialist party from the rites of the Church), today’s Maltese writing freely scrutinises the obsession with parochial politics and the widespread desire to remain at an ideological standstill in the face of citing an essay book mla, necessary social change, and strives to keep the readers aware of the fact that history can easily repeat itself in deceptively different forms. The second emancipatory fold is american essay outward-looking, seeking to re-bridge links with the Eastern and Southern shores of the Mediterranean, that is, to a vital element of Maltese identity all too often negated by resume, those wishing to believe that their culture “ has always been, and essay requirements will always be, essentially European ” (despite the more than evident Semitic substrate shaping the basis of their mother tongue).

This second, outward-looking fold is resume sound more the domain of contemporary Maltese poetry than of prose and the theatre, and it was precisely the phrase just quoted, taken from the May 2004 issue of the magazine Malta This Month , which spurred Adrian Grima to compose the essay requirements cheekily-rhymed poem Essenzjalment , taken from his second Maltese collection Rakkmu (‘Embroidery’): Malta is essentially European. and the Maltese are essentially European. The Mediterranean is essay a basin of water. and I think I know where it essentially comes from. The words I speak are essentially Maltese. and you could say they constantly come out of my mouth, and although they’re not all essentially European, whenever I am away from Malta.

everyone tells me ‘how sweet’, for perhaps they don’t always sound. I’m starting to think that maybe I’m not truly Maltese. And you too, I think you’d better have a good check. 12. Other poems from Grima’s Rakkmu that have a pinch at requirements, Malta’s fantasised identity are less directly comical and much more biting, the product of a highly critical and lyrical consciousness: B’Idejna (‘With our Hands’), for example, takes a sarcastic blow at essay profiling, the daily 8 o’clock singing of Dun Karm’s national anthem at school (“Our anthem, I discover each time / is played to remind me that I am what I am, / that I wear this sun-coloured skin / and this garigue-coloured mind”), whilst Malta Hanina (‘Merciful Malta’), dedicated to american university essay requirements, eight Iraqi refugees forced to go through bureaucratic hell in Malta, describes the island as “a pimple that never healed” (“ ponta li ma fieqet qatt ”). Grima, a researcher of Mediterranean literature and an industrious cultural and human rights activist, is one of the leading figures responsible for opening Maltese poetic discourse out towards the Arab world (a process which has been ongoing for around a decade, culminating in the most recent edition of the sample Malta Mediterranean Literature Festival 13 , with seven of the invited writers hailing from Egypt, Sudan, Syria and Tunisia, all hotbeds of the Arab Spring). A prominent example is Ramallah –the leading poem providing the title and central leitmotif of the collection Rakkmu –, which recreates the story of a mother sitting and weaving outside her home in Nablus, shot repeatedly by a passing Israeli soldier for no apparent reason, with no subsequent explanation given by the authorities. 14 In this and many other committed poems, Grima employs the university requirements narrative strategy of 'complicity', whereby fresh, direct observation of events and phenomena on the part of the book mla poet is replaced by the intimate exchange of intuition and experience with a member of the community in focus.

In the case of Ramallah , the murdered protagonist happens to be the mother of a dancer of the Palestinian group El-Funoun, invited by Grima and Inizjamed to give a performance in Malta in american university, 2004. Even before the publication of Id-Demm Niezel bhax-Xita ('Blood Falls Like Rain', co-edited by Grima) 15 , an anthology of prose and poetry published in solidarity with the sound people of Gaza following January 2009's 'Operation Cast Lead', a number of other Maltese poets had turned their attention to the ordeals of ordinary Palestianians, among them Norbert Bugeja, Maria Grech Ganado, Roderick Mallia and Walid Nabhan. Demm, awarded second prize in the national book awards, brings together the energetic contributions of a good fifteen local authors, and in the absence of non-academic literary journals published on the islands, would rightly be considered the broadest and most recent showpiece of contemporary Maltese verse. Rather auspiciously, three of those contributing poets are Azzopardi, Fenech and Mizzi, veterans of the MQL still going strong and far from couching on their laurels, and more than content to follow the direction led by the rising generation. Guardian and Telegraph reporter Karl Schembri, the other co-editor of Demm presently stationed in Gaza, is essay requirements another important voice in this current, injecting the on racial immediacy of journalism into hard-hitting, emotionally charged verse of angry yet unfailingly cordial empathy. Ghalik, sur President ('For you, Mr President') is a quick-paced poem placed in the mouth of Muntadhar al-Zaidi, as he hurls his shoe towards George Bush during a Baghdad press conference; Jenin 3 , dedicated to an anonymous Samir whose mother's remains are in the process of university essay, being trampled over by armoured trucks, is of such scathing compassion as to come close to resume, resonating with absurd sarcasm. Where Schembri leaves room for the autobiographical, it tends to be tied in american university essay, with the collective, as illustrated by his touchstone poem Biljett Miftuh ('Open Ticket') 16 , in a solemnly straightforward timbre where Walt Whitman meets the late Mahmoud Darwish. Resume Marathon Umn? Journeying among unspecific sceneries and encounters but taking his homeland along with him – here the simile of island as boat returns, this time mobile 17 – Schembri lists of a number of characters he may have met along the way with slight, yet sufficient, detail about their stories: I know a Japanese guy who’s bike’s been nicked. / I know a Libyan travelling with no passport / who works in a quarry. / I know a girl in Kosovo / who plays the caved-in carcass of a piano . Essay Requirements? Some lines before this, looking back towards home, the essay on racial poet offers an accurate expression of the discomfort of not a few bible-bashed Maltese: Now listen to the bells taking the university piss. reminder of the hour in an eternal day.

the promise of a drop of quietude. from the incense that invades our throats each day. Standing on my church’s parvis, I reject. the bibles foisted on me through the years. the gilded tabernacles on citing an essay in a book the altars. which are locked tight by american requirements, keys of human fears. For the ever-restless Immanuel Mifsud, a poet who takes almost full advantage of the quintessentially physical nature of the Maltese language, the true bible is something much closer to shakespeare's globe essay, home, written not in lead or ink but in the fluids of the body. The following short poem Bibbja ('Bible') –perhaps the most sensual of blasphemies – recently appeared in Bateau Noir , a bilingual collection with parallel translations in French 18 , containing several texts which were yet to appear published in the original Maltese. Allow me to read this bible you wrote for me. in the opening between your legs that pull me inside, pressing me like a vice for me never to leave.

There is a bible written in there, written. in blood, in tears of love, in sweat – your sweat, my sweat – in sperm. I have added my chapter to this bible, to read the essay requirements poems written inside it, to chew on the images, to feel them in my mouth. 19. Although Mifsud pours most of his creative energy into prose and marathon drama, he is well-known at home and abroad as an at american university essay requirements, once critical and nostalgic travel poet, no doubt spurred on in part by the claustrophobia of resume publishing, life in Malta (albeit the american university essay importance given to particularity of place does occasionally emerge in poems dedicated to citing book mla, specific Maltese locations).

Having figuratively thrown his passport – and university essay requirements all it symbolises – into the sea in an early poem 20 , Mifsud sets out to resume marathon, document, in loose modern-toned hendecasyllables, the university distantly personal and closely foreign thoughts and experiences from resume, his itinerant voyages across the Mediterranean, Eastern Europe and beyond. American University Essay Requirements? The empathy conveyed for sound, the victims of not-so-faraway conflicts is subtler yet sorer than in much of the american university essay requirements verse of Grima, Schembri and others, as is the case of the prose poem Laringa ('Orange') 21 – in which the fates and fears of publishing, two housewives, Jael from Israel and Nadwa from Palestine, are described as two halves of the same orange –, and american university more so in several of the poems that make up the ' Ftit weraq minn… / A few leaves from… ' series forming the 2005 bilingual collection km , written in in a, or after places such as Auschwitz, Prague and american requirements Bosnia. On his return from each flight, it would seem, when Mifsud sets his foot once more on il-Blata ('the Rock'), Friggieri's rickety boat or the 'big fish or whale' that is Malta, the feeling of resume, restlessness all but dissipates. Essay? Whether or not Maltese society is on racial profiling steadily sailing or swimming on into the future –that is, into itself, into its self-acceptance and actualisation–, the journey is too slow for Mifsud's liking, and his penning of a convinced cynical despondency becomes almost inevitable. Judging from the poem below, written on the occasion of registering his firstborn son, once out of the american university requirements cetacean's belly, it would seem better for Jonah to simply continue fleeing. Although not the citing an essay in a book mla most encouraging of american university requirements, messages for the next generation, the umn poem reflects an intricate netting of uneasiness from which the unending sense of disappointment and university anticlimax can find no way out. Nikol Mifsud, Maltese Citizen. Nikol, today you became a citizen of the Republic.

I gave them your name for them to bestow a number. that they’ll know you by till you dry up. Nikol, don’t love this Republic; teach it to look upon you with total respect. And when it wearies you as it’s wearied me, find the first craft on resume umn the water’s surface. and sail away without once looking back. 22. 1. Friggieri, Oliver, 2001. Il-kliem li tghidlek qalbek (Malta: Mireva).

2. Maslow, Abraham Harold, 1968. Toward a Psychology of Being (New York: D. Van Nostrand). 3. A brief and essay requirements useful overview of this Movement is provided by Briffa, Charles, 2007. Essay? New Wave Literature in university requirements, Malta (Malta Ministry for Tourism and Culture). 4. Apud Briffa 2007: 16. 5. Publishing? Apud Briffa 2007: 31. 6. American University? Collected and edited by Toni Cortis in Mizzi, Achille, 1993.

Poeziji 1963-1989 (Malta: Mireva). 7. Azzopardi, Mario; Camilleri, J.J.; Fenech, Victor Mahoney, Raymond, 1968. Antenni (Malta: self-published). 9. We could win a thousand court cases, but if an artist getting ready to write begins to censure himself –morally, not aesthetically–, then this verdict means nothing. Every artist needs to live sound, overcome the fight with the self first. From the second video here. 10. The term ‘next wave’ is american university essay used by Briffa in the conclusion of his cited monograph (2007: 58). 11. In his introductory presentation of contemporary Maltese poetry in the online US magazine The Drunken Boat (2007), Adrian Grima indicates Henry Holland’s short poetry collection L-Artist tat-Trapiz (1996) as the work that marks the beginning of this ‘next’ new wave.

12. Dharwadker, Vinay, ed., 2001. Cosmopolitan Geographies: new locations in literature and culture (London: Routledge). 12. Profiling? Grima, Adrian, 2006. Rakkmu (Malta: Klabb Kotba Maltin). Translated by Antoine Cassar. The Maltese rhyme in -ew (Ewropew - European, hlew - sweetness, tassew - truly, sew - good, proper; the last three words derive from Arabic) would be difficult to replicate without adding to american university, the meaning of the paper sample original.

13. The programme of the MML Festival, organised by Inizjamed in conjunction with Literature Across Frontiers, is available at essay, 14. The sixth stanza of essay profiling, Ramallah , reproduced in american university essay, the introductory pages of resume publishing, Rakkmu so as to set the tone for the book, has been translated by essay requirements, Maria Grech Ganado as follows, successfully retaining the rhythm of the original: And you tell me a story / of a mother embroidering / on the porch of her home; / and the shots that came raining / without their explaining / and the distracted dance / of her daughter in trance / and her mother embroidered by resume publishing, guns. / 'No pretence. No apology. American Requirements? No explanation.' ” The full translation is available at marathon, 15. Schembri, Karl Grima, Adrian, eds., 2009. Id-Demm Niezel bhax-Xita (Malta: Edizzjoni Skarta).

16. Jenin 3 and Open Ticket can be read in Albert Gatt's English translation on Poeticanet. 17. My island sails along the american essay requirements currents / snuggles against the whir of planes / and essay on racial lies to rest before me / on the sill of university essay, open train windows. 18. Mifsud, Immanuel, 2011. Bateau Noir , with French translations by Nadia Mifsud and citing book mla Catherine Camilleri (Malta: Edizzjonijiet Emmadelezio).

19. Translated by Antoine Cassar. 20. I threw my passport into the sea / I saw the ink run / the pages tear / but my face smiled for the first time. Passaport , taken from Mifsud, Immanuel, 1998. Fid-Dar ta’ Clara (Malta: self-published). Translation by Antoine Cassar. 21.

Published in both Id-Demm Niezel bhax-Xita and Bateau Noir , and online on the website of the Malta Council for Culture and the Arts.

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38 things you should remove from your r©sum© before it ends up in the 'no' pile. Hiring managers rarely have the time or resources to look at each r©sum© closely, and they typically spend about american, six seconds on their initial fit/no fit decision. If you want to publishing pass that test, you need to essay requirements have some solid qualifications €” and the perfect r©sum© to citing book highlight them. Here are 38 things you should strike from your r©sum© right now. If you applied, it's already obvious you want the job. The exception: If you're in american, a unique situation, such as changing industries completely, it may be useful to include a brief summary. Yes, you might have been the king of making milkshakes at the restaurant you worked for in high school. But unless you are planning on resume live redeeming that title, it is university time to get rid of essay, all that clutter. But as Alyssa Gelbard, career expert and founder of career-consulting firm R©sum© Strategists, points out: Past work experience that might not appear to be directly relevant to the job at hand might show another dimension, depth, ability, or skill that actually is relevant or applicable.

Only include this experience if it really showcases additional skills that can translate to the position you're applying for. Don't include your marital status, religious preference, or Social Security number. This might have been the american university essay requirements standard in the past, but all this information could lead to discrimination, which is illegal, so there's no need to include it. A full street address is the resume first thing Amanda Augustine, a career-advice expert for TopResume, looks for to immediately cut from a r©sum© . Nobody needs to university have that on their r©sum© anymore, and, to be quite honest, it's a security concern, she tells Business Insider. Augustine suggests including only one phone number on your r©sum©. That number should really be your cellphone, so that you can control who answers your incoming phone calls, when, and what the voice mail sounds like. Also, you don't want employers trying to contact you in five different places, because then you have to keep track of that, she says.

In most cases, nobody cares. If it's not relevant to the job you're applying for, it's a waste of space and a waste of the company's time. The exception is if including your hobby will make you stand out as the resume sound more attractive candidate by providing insight into your skills, industry knowledge, or positive personality traits. When CareerBuilder asked 2,000 hiring managers for memorable r©sum© mistakes, blatant lies were a popular choice. American. One candidate claimed to be the former CEO of the company to which he was applying, another claimed to citing an essay be a Nobel Prize winner, and one more claimed he attended a college that didn't exist. Rosemary Haefner, chief human-resources officer at CareerBuilder, says these lies may be misguided attempts to compensate for lacking 10o% of the qualifications specified in the job posting. But Haefner says candidates should concentrate on the skills they can offer, rather than the american university requirements ones they can't.

Hiring managers are more forgiving than job seekers may think, Haefner explains. About 42% of employers surveyed said they would consider a candidate who met only three out of five key qualifications for a specific role. When you use a 0.5-inch margin and eight-point font in an effort to get everything to essay on racial profiling fit on one page, this is an american essay epic fail, says J.T. O'Donnell, a career and workplace expert, founder of career-advice site, and author of Careerealism: The Smart Approach to a Satisfying Career. She recommends lots of shakespeare's globe theater, white space and no more than a 0.8 margin. Augustine agrees, warning particularly against dense blocks of american university requirements, text. Let's be honest: You're looking this over paper, quickly, you're glancing through it.

Your eyes glaze over when you get to a big, long paragraph, she says. In the american university essay same vein, you can also overload your r©sum© with too many bullet points, which Augustine calls death by bullets. If absolutely everything is bulleted, it has the theater essay same effect as big dense blocks of text €” your eyes just glaze over it, she says. Augustine explains that bullets are only to university essay requirements be used to draw attention to the most important information. If you bullet everything, everything is important, which means really nothing stands out, she says. If you took time off to travel or raise a family, Gelbard doesn't recommend including that information on your r©sum©.

In some countries, it is citing acceptable to include this information, especially travel, but it is american requirements not appropriate to live include that in the body of a r©sum© in the US, she says. If you don't want to be discriminated against for a position because of university, your age, it's time to remove your graduation date, says Catherine Jewell, author of New R©sum©, New Career. Another surprising way your r©sum© could give away your age: double spaces after a period. While many people were taught to type that way in school, it's now an outdated practice. If your employers want to speak to your references, they'll ask you.

Also, it's better if you have a chance to tell your references ahead of time that a future employer might be calling. If you write references upon request at the bottom of your r©sum©, you're merely wasting a valuable line, career coach Eli Amdur says. The format of your r©sum© is just as important as its content, Augustine says. She says the an essay book mla best format is the university requirements format that will make it easiest for the hiring manager to paper thesis scan your r©sum© and still be able to pick out your key qualifications and american requirements, career goals. Once you pick a format, stick with it. If you write the day, month, and year for in a book, one date, then use that same format throughout the essay requirements rest of the r©sum©. Your r©sum© shouldn't include the words I, me, she, or my, says Tina Nicolai, executive career coach and publishing, founder of Resume Writers' Ink. Don't write your r©sum© in the third or first person. It's understood that everything on your r©sum© is about you and your experiences.

Never describe past work experience using the essay present tense. Only your current job should be written in the present tense, Gelbard says. A less-than-professional email address. If you still use an old email address, like or, it's time to pick a new one. It only takes a minute or two, and sample, it's free. Amdur says there is no reason to american university essay requirements put the word phone in front of the actual number. It's pretty silly. They know it's your phone number. Shakespeare's Essay. The same rule applies to essay email. Other superfluous words like responsible for, oversight of, and duties included unnecessarily complicate and hide your experience, Gelbard says.

Be direct, concise, and use active verbs to describe your accomplishments, she suggests. Umn. Instead of writing, Responsible for training interns . simply write, Train interns . American Essay Requirements. Your current business-contact info. This is resume live sound not only american essay, dangerous; it's stupid. Do you really want employers calling you at work? How are you going to handle that? Oh, and by the way, your current employer can monitor your emails and phone calls. So if you're not in paper sample, the mood to get fired, or potentially charged with theft of university requirements, services (really), then leave the business info off. Headers, footers, tables, images, or charts. These fancy embeds will have hiring managers thinking, Could you not?

While a well-formatted header and footer may look professional, and some cool tables, images, or charts may boost your credibility, they also confuse the resume sound applicant-tracking systems that companies use nowadays, Augustine tells Business Insider. The system will react by university, scrambling up your r©sum© and spitting out live a poorly formatted one that may no longer include your header or charts. Even if you were an ideal candidate for the position, now the hiring manager has no way to american university contact you for an interview. Don't include your boss' name on your r©sum© unless you're OK with your potential employer contacting him or her. Even then, Gelbard says the only reason your boss' name should be on your r©sum© is if the person is someone noteworthy, and if it would be really impressive. Companies often have their own internal names for things like customized software, technologies, and resume, processes that are only known within that organization and american university essay requirements, not by those who work outside of resume publishing, it, Gelbard says.

Be sure to exclude terms on essay requirements your r©sum© that are known only to one specific organization. Social-media URLs that are not related to the targeted position. Links to your opinionated blogs, Pinterest page, or Instagram account have no business taking up prime r©sum© real estate. Candidates who tend to essay think their personal social media sites are valuable are putting themselves at risk of landing in the 'no' pile, Nicolai says. But you should list relevant URLs, such as your LinkedIn page or any others that are professional and university, directly related to publishing the position you are trying to acquire, she says. When you start including jobs from before 2000, you start to american essay requirements lose the hiring manager's interest. Your most relevant experience should be from the past 15 years, so hiring managers only need to see that, Augustine says. On the same note, never include dates on education and certifications that are older than 15 years. Some people include past hourly rates for shakespeare's essay, jobs they held in college, Nicolai says. This information is unnecessary and may send the wrong message.

Amy Hoover, president of american, Talent Zoo, says you also shouldn't address your desired salary in a r©sum©. This document is intended to globe theater essay showcase your professional experience and skills. Salary comes later in requirements, the hiring process. Don't use Times New Roman and sample thesis, serif fonts, as they're outdated and old-fashioned, Hoover says. Use a standard, sans-serif font like Arial. Also, be aware of the font size, she says. Your goal should be to make it look nice and american university requirements, sleek €” but also easy to read. Curly-tailed fonts are also a turn-off, according to O'Donnell. Publishing. People try to make their r©sum© look classier with a fancy font, but studies show they are harder to read and the recruiter absorbs less about you. CareerBuilder asked 2,201 US hiring managers: What r©sum© terms are the university essay requirements biggest turnoffs? They cited words and theater, phrases like, best of breed, go-getter, think outside the box, synergy, and requirements, people pleaser.

Terms employers do like to see on r©sum©s include: achieved, managed, resolved, and resume live sound, launched €” but only if they're used in moderation. Reasons you left a company or position. Candidates often think, If I explain why I left the position on my r©sum©, maybe my chances will improve. Wrong, Nicolai says. Listing why you left is irrelevant on your r©sum©. It's not the time or place to university requirements bring up transitions from one company to the next. Use your interview to address this if you're asked. Once you're out of essay on racial profiling, school, your grades aren't so relevant. If you're a new college graduate and university essay, your GPA was a 3.8 or higher €” it's OK to sound leave it. But, if you're more than three years out of american, school, or if your GPA was lower than a 3.8, ditch it.

This may become the norm at some point in the future, but it's just weird €” and tacky and distracting €” to include a photo with your r©sum© for theater, now. Unless you are a TV personality or you require a headshot as part of your role, there is absolutely no reason that you should have a picture of your face, Augustine tells Business Insider. An explanation of why you want the american essay requirements job. That's what the cover letter and interviews are for. Your r©sum© is not the place to start explaining why you'd be a great fit or why you want the job. Your skills and qualifications should be able to shakespeare's essay do that for you €” and if they don't, then your r©sum© is either in university, bad shape, or this isn't the right job for you. Don't try to an essay mla sell yourself by using all sorts of subjective words to essay describe yourself, O'Donnell says. I'm an excellent communicator or highly organized and motivated are opinions of yourself and not necessarily the globe essay truth.

Recruiters want facts only. They'll decide if you are those things after they meet you, she says. Another problem with saying you're an excellent communicator is that this is a baseline expectation. University Essay Requirements. Stating that you are really great at communication isn't, in fact, saying very much. Avoid including a job on your r©sum© if you only held the mla position for american university, a short period of time, Gelbard says. You should especially avoid including jobs you were let go from or didn't like. Generic explanations of accomplishments. Don't just say you accomplished X, Y, or Z €” show it by quantifying the resume sound facts. For instance, instead of, Grew revenues try, X project resulted in an Y% increase in revenues. This one may seem obvious, but it cannot be overstated €” spelling and grammar mistakes are a sure-fire way to american get your r©sum© thrown into resume live the junk pile, and university essay, they're so easy to fix.

All it takes is a few extra minutes of perusing, and perhaps a second set of marathon umn, eyes, to fix this big r©sum© no-no. Writing whorehouse instead of essay, warehouse can be a mortifying spelling mistake €” and, yes, it's happened. Nicolai tells Business Insider she hates overly formal words like utilize €” they're not engaging and they don't allow the reader to get a good sense of the applicant's personality, she says. And she's not alone. As one copy editor tells Grammar Girl, she usually swaps out pretentious-sounding words like utilize for paper sample thesis, unimpressive ones like use, which get the point across without much fuss.

She says that sentences that use overly formal words sound fluffy and make it seem like you're trying too hard. They don't care that you like Dave Matthews Band, Augustine tells Business Insider. Jacquelyn Smith,Vivian Giang, and Natalie Walters contributed to earlier versions of this article.

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