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Please begin with an introductory post that introduces your purpose: to reflect on your learning and development as a poet and critic as well as make an argument about how you have met each of the learning outcomes, below. 

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Please begin with an introductory post that introduces your purpose: to reflect on your learning and development as a poet and critic as well as make an argument about how you have met each of the learning outcomes, below. 

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Welcome to my Padlet Portfolio for ENG 462C! 🌟

This semester, I’ve grown tremendously as both a poet and a literary critic. Through workshops, video lectures, annotation assignments, and critical essays, I’ve sharpened my close reading skills, deepened my understanding of Modernist poetry and its philosophies, and learned how to connect past and present through poetic form and content.

In this space, I will reflect on my development using specific artifacts from class—like my annotations on Perusall, my Modernist Critical Essay, and my own poetry drafts and revisions—to show how I’ve met the course’s learning outcomes. This journey helped me become a more intentional writer, a more confident analyzer, and a more thoughtful peer.

At the end of this Padlet, you’ll also find my final poetry portfolio—a collection of my best Modernist-inspired work. I hope you enjoy exploring my process!

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Select two artifacts from your work this semester that demonstrate your ability to read poems closely, interpreting the works based on the poetics (writing choices) made by the author; you can discuss lineation choices, use of figurative and/or emotional language, attention to sound, etc. in your response. Include specific examples/evidence (such as quotes from your Modernist Critical Essay or links to/screenshots of Perusall annotations) as support. 

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Select two artifacts from your work this semester that demonstrate your ability to read poems closely, interpreting the works based on the poetics (writing choices) made by the author; you can discuss lineation choices, use of figurative and/or emotional language, attention to sound, etc. in your response. Include specific examples/evidence (such as quotes from your Modernist Critical Essay or links to/screenshots of Perusall annotations) as support. 

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One of the biggest areas of growth for me this semester was in developing close reading skills.

📚 Artifact 1: In my Perusall annotations on H.D.'s “Sea Rose,” I explored how the poem’s broken rhythm and compact stanzas mirror the fragility and resilience of the rose. I commented:

“The line ‘stunted, with small leaf’ lacks flourish—just like the rose herself. It’s like the form is speaking her truth before the words even do.”

📝 Artifact 2: In my Modernist Critical Essay, I analyzed how E.E. Cummings used parentheses and spacing in “i” to reflect the speaker’s inner conflict. I wrote:

“The lowercase ‘i’ and the frequent isolation of words visually reflect a fractured self, embodying Modernist themes of fragmentation and alienation.”

These examples show how I moved beyond surface reading and started asking how form, punctuation, and rhythm contribute to a poem’s deeper meaning.

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Select two artifacts from your work this semester that demonstrate your ability to read poems closely, interpreting the works based on the poetics (writing choices) made by the author; you can discuss lineation choices, use of figurative and/or emotional language, attention to sound, etc. in your response. Include specific examples/evidence (such as quotes from your Modernist Critical Essay or links to/screenshots of Perusall annotations) as support.

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Select an artifact from your work this semester that demonstrates your ability to analyze (aka: "unpack" or "look at in small parts") a poem we read together. Discuss how you used evidence from your analysis to synthesize information (aka "draw a conclusion" or "make an interpretation"), combining prior knowledge and experience with new information from my lectures or peer comments.

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Select an artifact from your work this semester that demonstrates your ability to analyze (aka: "unpack" or "look at in small parts") a poem we read together. Discuss how you used evidence from your analysis to synthesize information (aka "draw a conclusion" or "make an interpretation"), combining prior knowledge and experience with new information from my lectures or peer comments.

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I’ve learned that analysis means looking deeply and synthesis means making meaning from that depth.

In my Modernist Critical Essay, I analyzed how Cummings’ “i” and my own poem “Self-Lens” both explore selfhood as a fluid, shifting identity. I wrote:

“By positioning ‘i’ at the edge of the line, Cummings visually displaces the self. My poem mirrors this instability by using slashes instead of line breaks to suggest the pressure of modern identity collapse.”

Through analyzing the formal choices of a Modernist poet and applying those ideas to my own writing, I synthesized Cummings' ideas with my own poetic goals. I also considered class lectures on identity, which helped me frame my interpretations more critically.

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Select an artifact from your work this semester that demonstrates your ability to analyze (aka: "unpack" or "look at in small parts") a poem we read together. Discuss how you used evidence from your analysis to synthesize information (aka "draw a conclusion" or "make an interpretation"), combining prior knowledge and experience with new information from my lectures or peer comments. Include specific examples/evidence (such as quotes from your Modernist Critical Essay or links to/screenshots of Perusall annotations) as support.

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Select an artifact from your work this semester that showcases your ability to make connections between Imagist, Lost Generation, and Harlem Renaissance poetry (as well as other cultural productions if you'd like to gesture to visual art, music, etc.) and contemporary poetry (or other cultural productions). You might think about the anxieties of the Modernist period as well as elements of protest displayed in the art and think about how that connects to contemporary anxieties 

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Select an artifact from your work this semester that showcases your ability to make connections between Imagist, Lost Generation, and Harlem Renaissance poetry (as well as other cultural productions if you'd like to gesture to visual art, music, etc.) and contemporary poetry (or other cultural productions). You might think about the anxieties of the Modernist period as well as elements of protest displayed in the art and think about how that connects to contemporary anxieties 

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Modernism isn’t just a style it’s a philosophy. This semester, I finally understood how theory informs practice.

In our reading of Ezra Pound’s "A Retrospect," his mantra “Make it new!” stood out to me. It directly influenced how I approached my Imagist-inspired poem where I focused on economy of language and direct imagery. I revised the poem to remove unnecessary adjectives and focused on showing.

I also connected Gertrude Stein’s ideas on repetition-as-difference to my Harlem Renaissance-inspired piece. In my Craft Padlet, I wrote:

“Stein’s use of looping repetition taught me that saying something again doesn’t mean redundancy it can actually reshape the meaning.”

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Select an artifact from your work this semester that showcases your ability to make connections between Imagist, Lost Generation, and Harlem Renaissance poetry (as well as other cultural productions if you'd like to gesture to visual art, music, etc.) and contemporary poetry (or other cultural productions). You might think about the anxieties of the Modernist period as well as elements of protest displayed in the art and think about how that connects to contemporary anxieties (the information age and ubiquity of social media; social justice initiatives; and the COVID19 pandemic, etc.). Include evidence/examples from your work alongside Modernist work; you may draw from Padlets, Perusall annotations, or the Modernist Critical Essay.

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Identify your strengths as a reader and a writer: what are some things that you feel confident or proud about? Give examples/evidence from your work this semester--whether they are research-driven (as in seeking sources about Stein's literary take on cubism, for example) or craft-driven (as in taking risks in language use for one of your own poems). 

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Identify your strengths as a reader and a writer: what are some things that you feel confident or proud about? Give examples/evidence from your work this semester--whether they are research-driven (as in seeking sources about Stein's literary take on cubism, for example) or craft-driven (as in taking risks in language use for one of your own poems). 

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Modernist poetry might feel distant—but it reflects anxieties we still carry today.

In my Harlem Renaissance poem “Reclaim,” I referenced police violence and generational trauma. I drew inspiration from Langston Hughes’ protest poetry, particularly “Let America Be America Again.” In a class comment, I noted:

“Hughes’ bitterness and hope coexist in the same lines—I tried to channel that tension in my poem, where the speaker flips the American Dream into a question.”

In one Perusall post, I compared the fragmentation in Imagist poems to the disconnection people feel today due to social media and constant information overload. The Lost Generation’s feelings of loss after WWI reflect our post-pandemic cultural confusion.

Art echoes across time. This course helped me make those echoes ring louder in my own writing.

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Identify your strengths as a reader and a writer: what are some things that you feel confident or proud about? Give examples/evidence from your work this semester--whether they are research-driven (as in seeking sources about Stein's literary take on cubism, for example) or craft-driven (as in taking risks in language use for one of your own poems). 

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Identify your strengths as a reader and a writer: what are some things that you feel confident or proud about? Give examples/evidence from your work this semester--whether they are research-driven (as in seeking sources about Stein's literary take on cubism, for example) or craft-driven (as in taking risks in language use for one of your own poems). 

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Writing is messy, and that’s okay. This semester, I leaned into the mess—and I’m proud of what came out.

My Strengths:

I took risks in language play, like breaking grammar rules in “i-self (unfinished)” to reflect instability.

I learned to research poetic movements deeply—like looking into Cubism for my analysis of Stein and crafting a poem that mimicked that logic.

My Struggles:

I still find revising poetry hard. Cutting lines I love is emotionally tough, and I struggle with trusting that “less is more.”

Giving feedback in workshops challenged me—especially balancing encouragement with honest critique. But reading others’ work gave me new perspectives.

Overall, I’m walking away with better habits: freewriting, annotating my own work, and embracing revision as creative—not just corrective.