Volume V | Summer 2021

Short Description:
Fifth print edition of the international literary, arts and ideas journal, San Antonio Review.

Long Description:
The fifth print edition of San Antonio Review, an international literary, arts and ideas journal.

This issue of San Antonio Review includes nearly 300 pages of art, poetry, short fiction, reviews and more.

The issue opens with editors’ notes and a “Timeline of Irresponsibility” charting Texas leaders failures in responding to the SARS-Cov-2/COVID-19 pandemic, police violence and Winter Storm Uri, among other contemporary challenges. The feature essay by Baylor University professor Dr. Mia Moody-Ramirez, Ph.D. looks at Texas Republicans’ efforts to limit discussions in public school classrooms by attacking critical race theory. Founding Editor and Publisher William O. Pate II shares an excerpt of his work-in-progress transcription of the third volume of the report from the 1919 Texas House of Representatives Committee Investigation into the Texas Rangers for violence against Mexican Americans during the first quarter of the 20th century. A cartoon by Coyote Shook. Peter Berard, Ph.D., reviews the next world war. Postcard art by and a Q&A with Milicent Fambrough. Paintings by and a Q&A with Andrea Muñoz Martínez. Quotes, recommendations and much more.

Front cover image by A.S. Robertson. Cover design by William O. Pate II. Always read free at sareview.org.

Word Count: 76188

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Texas' international literary, arts and ideas journal.

Short Description:
San Antonio Review publishes original essays, poetry, art, reviews, theory and other work twice a week on its website. Print issues are published quarterly, per the publisher’s discretion, available time and funding levels. Founded in San Antonio in 2017, SAR is based in Austin, Texas.

Long Description:
San Antonio Review publishes original essays, poetry, art, reviews, theory and other work twice a week on its website. Print issues are published quarterly, per the publisher’s discretion, available time and funding levels. Founded in San Antonio in 2017, SAR is based in Austin, Texas. San Antonio Review is devoted to serving as a gathering space outside academia, the market and government for writers, artists, scholars, activists, workers, students, parents and others to express their perspectives and reflections on our shared world and help develop visions of our collective future. Funded by its publisher’s income from his day jobs, donations and the sale of print editions and other materials and led and maintained by an all-volunteer editorial collective, SAR is not beholden to any institution, organization or ideology. San Antonio Review is a costly endeavor undertaken with love by its editors and publisher. It is not a profit-seeking enterprise. It aims to herald interesting and unheard voices. It receives no financial support beyond donations, referral fees for purchases from sites we link to (like independent bookshops) and purchases of our print edition, which are used to recover some of the ongoing costs of web hosting, printing and other infrastructure.

Word Count: 34477

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"See, Think, Wonder" is a "Visible Thinking Routine" developed by Project Zero at the Harvard Graduate School of Education. This activity invites students to "make their thinking visible" by responding to a selected poem.

This course explores the city through writing—listening to the voices of poets, short story writers, novelists, journalists, critics, historians, ethnographers, urbanists, musicians, filmmakers, and visual artists. Through extensive reading that informs their work on a longform story, students will join the chorus of storytellers to richly represent the variegated city. Our focus is on three nonfiction forms—essay, memoir, literary narrative—with special emphasis on the writer-editor relationship and on revision as a heuristic to better thinking.

Linda Gates, Professor of Voice at Northwestern University (USA) discusses how Shakespeare's poetry and plays lend themselves to vocal performance by discussing how breath can be used to 'punctuate the thought'. This audio recording is part the Interviews on Great Writers series presented by Oxford University Podcasts.

Students generate new vocabulary by discussing descriptive words, or adjectives, and the names of shapes they see in a still life painting. Inspired by an object in the painting, students then use their new vocabulary to create a shape poem.

This lesson is the third in a series called “The Different Colors of Beauty.” The goal of these lessons is to help students develop their racial or ethnic identities in a safe and open classroom environment, while being aware of our multicultural and diverse world.

This poem describes the feelings of a girl whose best friend, Hanna, has moved away. The little girl feels that nothing will be the same again since her friend left.

OverviewThis remote hyperdoc activity was created by Katlyn Powers on July 26, 2020. The attached hyperdoc & lesson plan is designed for high school ELA students. Students will analyze and evaluate the elements of Smith's poem, build background knowledge to clarify and deepen understanding of metaphors, and use relevant evidence from a variety of sources to assist in analysis and reflection of Smith's poem. This lesson plan addresses the following NDE standards: NE.LA 10.1.5.C, NE.LA 10.1.5.D, NE.LA 10.1.6.C, NE.LA 10.1.6.I, NE.LA 10.1.6.M, NE.LA 10.2.2.BThis hyperdoc will take students approximately 90 minutes to complete.

Sor Juana Inés de la Cruz, la primer gran poeta de América Latina, es considerada una de la figuras literarias más importantes del continente americano y una de las primeras feministas. En el siglo XVII, defendió su derecho a la educación, proponiendo la mayor participación de las mujeres en la cultura y la pedagogía en una sociedad dominada por los hombres.

Sor Juana Ines de la Cruz, the first great Latin American poet, is still considered one of the most important literary figures of the American Hemisphere, and one of the first feminist writers. In the 1600s, she defended her right to be an intellectual, suggesting that women should be educated and educators and accusing men of being the cause of the very ills they blamed on women.

Taught by William Flesch at Brandeis University, Spenser and Milton are the two greatest non-dramatic English poets of the sixteenth and seventeenth centuries, and they even rival Shakespeare. Shakespeare read (and adopted) Spenser; Milton read and used Spenser as a way to think about poetic, aesthetic, religious and political issues in a non-Shakespearean way. This course covers all of Spenser’s great allegorical poem The Faerie Queene, and all of Milton’s major poetry, including Paradise Lost and Paradise Regained. Any complete editions of Spenser and Milton will suffice.

Students will plan and design a still life composition. When composing the still life, students will choose objects that emphasize a variety of shapes and textures, and arrange the objects to reflect balance. Next students will create a photographic still life and use it as inspiration to write a poem. Then students will present the still life photograph and poem to the class.

Some of the most the most essential works of literature in the world are examples of epic poetry, such as The Odyssey and Paradise Lost. This lesson introduces students to the epic poem form and to its roots in oral tradition.

Unlike film, theater in America does not have a ratings board that censors content. So plays have had more freedom to explore and to transgress normative culture. Yet censorship of the theater has been part of American culture from the beginning, and continues today. How and why does this happen, and who decides whether a play is too dangerous to see or to teach? Are plays dangerous? Sinful? Even demonic? In our seminar, we will study plays that have been censored, either legally or extra-legally (i.e. refused production, closed down during production, denied funding, or taken off school reading lists). We’ll look at laws, both national and local, relating to the “obscene”, as well as unofficial practices, and think about the way censorship operates in American life now. And of course we will study the offending texts, themselves, to find what is really dangerous about them, for ourselves.

William Butler Yeats occupies a dominant position in the lives and work of the Irish poets who followed him. We will explore some of that poetry, and consider how later poets, especially female poets, tried to come to grips with, or escape from, that dominance. As a seminar, the subject will place special emphasis on student involvement and control. I will ask you to submit one ten-twelve page essay, two shorter (five page) essays, and to accept the role of “leadoff person,” perhaps more than once, That role will demand that you choose from among the assigned readings for that session the poem we should focus upon, and to offer either a provocative articulation of what the poem is about, or a provocative question which the poem confronts, and which we should grapple with, as well.

The core of this seminar will be the great sequences of English love sonnets written by William Shakespeare, Philip Sidney, Edmund Spenser, and Mary Wroth. These poems cover an enormous amount of aesthetic and psychological ground: ranging from the utterly subjective to the entirely public or conventional, from licit to forbidden desires, they might also serve as a manual of experimentation with the resources of sound, rhythm, and figuration in poetry. Around these sequences, we will develop several other contexts, using both Renaissance texts and modern accounts: the Petrarchan literary tradition (poems by Francis Petrarch and Sir Thomas Wyatt); the social, political, and ethical uses of love poetry (seduction, getting famous, influencing policy, elevating morals, compensating for failure); other accounts of ideal masculinity and femininity (conduct manuals, theories of gender and anatomy); and the other limits of the late sixteenth century vogue for love poetry: narrative poems, pornographic poems, poems that don’t work.

This resource includes group discussion prompts relating to The Bell Jar, a YouTube video reviewing Sylvia Plath as a writer, and a poetry activity for students to complete independently.

This is a 10-20 minute activity that frontloads T.S. Eliot's "The Lovesong of J. Alfred Prufrock" using a Terry Gross interview with Stephen Colbert. In the interview, Colbert tells Gross about his fascination with the masks we wear. He then pulls in a favorite song of his - "The Best Imitation of Myself" by Ben Folds - to illustrate the concept of 'faking' identity. Next steps after this activity: reading and annotating the poem itself. This activity is an excellent example to use for teaching 'allusion.'