Mountain Scholar :: Browsing by Author "Beachy-Quick, Dan, advisor"

Browsing by Author "Beachy-Quick, Dan, advisor"

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A version
(Colorado State University. Libraries, 2023) Wesely, Nicolas D., author; Beachy-Quick, Dan, advisor; Cooperman, Matthew, committee member; Jazz Harvey, Madeline, committee member
At surface level "a version" enacts a poetic exploration of form and its myriad influences on creative intent and execution, with particular interest in that mysterious echo of formal play—the sestina. A deeper investigation of the thesis reveals the intricate movement of how poetic self might be realized through the navigation of these various, highly active, literary lineages, which themselves arrive as echoes of past, present, and future writings, experiences, and hopes, here largely circling military history, myth, family, physical body, and love. This thesis exhibits the movement toward, and simultaneously away from, the constraints of form, asking how it is that creativity enters into free flowing abundance through formal parameters; highlighting those moments when repetition deviates from defined meaning and achieves a polyvocality of authorial lineage; a version of a version that has always been and never been before. Here the sestina is pushed into sprawling forays of liturgical praise and negation. It assumes forms and roles meant for other times and spaces, and by so doing, shows its adaptability (and so too our own) toward an immediate presence of modern poetics.
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Aleph
(Colorado State University. Libraries, 2013) Goldenberg, Tirzah, author; Beachy-Quick, Dan, advisor; Steensen, Sasha, committee member; Moseman, Eleanor, committee member
The manuscript begins with poems sifted from the language of the Dead Sea Scrolls--poems pre-written, gathered into new song. The "speaker" (collective anonymity, a sect) seems to speak from the ruins of the scriptorium, from the archaeological site, from the caves, from the jars within the caves. The physicality of the scrolls, their furled and unfurled form, their being hidden, the remainder that is read out of the absence from which it came, finds parallel meaning in the Kabbalistic notion of the simultaneously revealed and concealed Godhead, or Thou, the addressed. These poems (siftings) are the roots, and the pages that make up the second half of the manuscript are grown from them, rooted in pre-written song--words are imagined as artifacts, ostraca, signatures with roots in the hereafter.
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All at once, just once
(Colorado State University. Libraries, 2018) Peats, Ryann, author; Beachy-Quick, Dan, advisor; Dungy, Camille, committee member; Souza, Caridad, committee member
All at Once, Just Once is a collection of poems structured to reflect the cyclical nature of the calendar year as someone who identifies as queer. The first and last sections introduce & explore themes of grief, coming out, defining the self in familial, interpersonal & domestic spaces, and tracing violence in the world. The three center sections include poems of a quieter and concise register that work through explorations of the feminine, nurturance, definitions of "woman," the multiplicity of queer bodies, being in a love relationship, and exploring violence against queer bodies in moments of crisis and healing.
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Auricle
(Colorado State University. Libraries, 2012) Knapp, Caroline, author; Beachy-Quick, Dan, advisor; Steensen, Sasha, committee member; Lunkenheimer, Erika, committee member
To view the abstract, please see the full text of the document.
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Blue sail come cover
(Colorado State University. Libraries, 2020) Lodge-Rigal, Susannah, author; Beachy-Quick, Dan, advisor; Steensen, Sasha, committee member; Little, Ann, committee member
Blue Sail Come Cover is a study of love—an investigation of care blurred by fear and gratitude, a searching for sign in world and word, both. These poems explore conditions of loss and fear, and within those wounds, the necessity of love and its manifestations—patience and care. This manuscript's central personas, a lyric I and a lyric you, encounter omen, song, and the sky's changeable weather, ever in search and in awe of a more companionable world. As they move through geographies of memory, grief, fear, and the American Midwest in search of a kinder ontology, they discover a means by which to stay. While explicit internal and external landscapes remain legible throughout, these poems are rooted most by their assertions of how care can keep us. As the I and you transform across the three sections, they attend to silence and song within themselves and in their environment, eventually discovering a more welcoming world. This manuscript explores how attention—to the world, each other, and the lyric—can enact the sort of faith that helps people stay. In Blue Sail Come Cover, the objective isn't to solve life's big questions, but to learn how to live with them. It is a book of discovery, slowly uncovering its own ethos for living and dwelling, for caring for one another through every joy, sorrow, and ordinary day. It is my hope, then, that these poems are first and foremost companionable—that the I and you who occupy these pages are participants in the very world we live in. In this project, I am interested in troubling the I/thou tradition and seeing what these pronouns can accomplish when freed from static identities. These pages formally and substantively probe lyric tropes—I/thou, sky, birds, song—in an attempt to unearth larger questions surrounding the trouble and necessity of a lyric voice.
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But not this book
(Colorado State University. Libraries, 2013) Pieplow, Sarah Louise, author; Beachy-Quick, Dan, advisor; Steensen, Sasha, committee member; Dicesare, Catherine, committee member
The following book of poems explores the Persian/Urdu ghazal form, as interpreted into an American English-language context.
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Commedia
(Colorado State University. Libraries, 2012) Jordan, Kirstin Britt, author; Beachy-Quick, Dan, advisor; Steensen, Sasha, committee member; Moseman, Eleanor, committee member
"Commedia" is a poetry manuscript focused on etymology and cosmogony viewed through stock characters from traditional Commedia dell'arte improvisational theater. The text focuses on the characters ability to dream a new world into reality, pulling from the traditions of several ancient creation myths (Welsh, Norse, Greek, and Roman, among others) as well as the tactics of visual and literary Magical Realism. These poems are carefully focused on the dream-space as "real," in the sense of Slavoj Žižek's philosophy of the real, rather than dreams as an interpretive space (Freud, Lacan).
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Drift
(Colorado State University. Libraries, 2022) Delfino, Annmarie, author; Dungy, Camille, advisor; Beachy-Quick, Dan, advisor; Lehene, Marius, committee member
The poems in Drift explore cyclical, nonlinear ways of experiencing and viewing time and our relationship to the natural world. Centered in the coastal landscapes of Southern California, these poems examine how ecology shifts over time. Interspersed throughout the collection are poems from the point of view of a young speaker as she revisits her childhood memories, connects them to the present day, and imagines how her present self might evolve in the future. Both the landscape-centered and human-centered poems question what appears stable and fixed, exploring the ways memory and landscape are malleable, fluid, and interconnected.
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Falling unfolded silhouette: a poem
(Colorado State University. Libraries, 2011) Moore, Richard Owen, author; Beachy-Quick, Dan, advisor; Steensen, Sasha, advisor; Lehene, Marius, committee member
The work of my thesis seeks to formally enact my poetic. My poetry is a way of interrelating awareness, language and nature. The trajectory of my thesis is an amorphous vision that develops the language in which I think, and in turn speak of the environments in which I've been. It is a vision of the dynamic force between things. It interweaves by creating relationships--it is meditation that is also mediation. It is a poetry that seeks to strengthen the fabric of interdependency. It recognizes the existence of non-human things and their ineluctable value. It is a poetic that attempts to enact an amorphous form of awareness--one that shifts as it speaks, and thus lives--in a language that is aware of itself as the unique utterance of a universal tone. Thus, a collection of poems.
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Flowers, endless figures
(Colorado State University. Libraries, 2013) Orme, Timothy David, author; Beachy-Quick, Dan, advisor; Steensen, Sasha, committee member; Luft, Gregory, committee member
Flowers, Endless Figures is a book-length collection of poetry that works from a space of increasing doubt into a space of song (lyricism). This project is divided into five sections, the first three of which work directly through doubt via meditations on the flower. The final two sections make up a different, concluding section of the project, a space of walking and singing. Three short experimental films are also a part of this project, two of which were made with paint on paper, one that was an erasure of 35mm film.
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Gone song
(Colorado State University. Libraries, 2018) Young, Catherine, author; Beachy-Quick, Dan, advisor; Dungy, Camille T., committee member; Dicesare, Catherine, committee member
Gone Song is a collection of poems divided into two primary sections. With its major themes of loss and grief, the book explores different means of survival, looking both toward the outside world—landscape, other people, other writers—and toward the self/body and interior consciousness and the experience of reading and writing.
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Guest
(Colorado State University. Libraries, 2012) Zamora, Felicia, author; Beachy-Quick, Dan, advisor; Cooperman, Matthew, committee member; Moseman, Eleanor, committee member
To view the abstract, please see the full text of the document.
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|Harm harness harmony|
(Colorado State University. Libraries, 2014) Kenny, Michael, author; Beachy-Quick, Dan, advisor; Steensen, Sasha, advisor; Fassnacht, Steven, committee member
A single agent perceiver explores the arctic self via four elemental forms.
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How to dress a fish
(Colorado State University. Libraries, 2016) Kerstetter, Abigail, author; Beachy-Quick, Dan, advisor; Dungy, Camille, committee member; Swensen, Thomas, committee member
In 1901, my great-grandfather, Michael Chabitnoy, an orphan and full-blooded Aleut, was sent to the Carlisle Indian School in Pennsylvania, far removed from his Alaska Native heritage. He died shortly after my grandfather was born, and as a result, my family grew up knowing very little about the history and culture of the Aleut, though we’ve benefited from the Alaska Native Claims Settlement Act. This practice of boarding schools and displacement was common in the early twentieth century, but is glossed over in American history, as are the effects of this history on Natives today. As a result of early and brutal contact and relocation practices, much Aleut culture has been lost. This work seeks to redefine history through family, Aleut culture, and story to address questions of the relationship of culture, place, and the individual. In these poems I combine research into early encounters of the Russians with the natives of the Aleutian Islands, Aleut culture and traditional stories, and archived student records of my great-grandfather from the Carlisle Indian School with influence by the work of contemporary poets, native and non-native, that I have read closely while at CSU to explore family history and the Aleut culture as well as questions of the relationship of culture, place, and the individual and how language can reflect and remake experience and meaning. Heavily influenced by research and documentary poetics, this work seeks to provide witness to and understanding of the Aleut. This work is significant because it attempts to realize the potential effectiveness of using poetry as an act of witness and tool for social change. It demonstrates how language is capable of shaping one’s experience of the world, and how language can thus ultimately reshape one’s understanding of that experience. Through poetry, it examines the history and culture of a specific people, the Aleut of Alaska, as well as the history of the Native American experience on a more inclusive level through examining the history and experience of the Carlisle Indian School and modern complexities of Native identity. By incorporating excerpts from my great-grandfather’s student records, borrowing language from early ethnologies, and engaging with traditional Unangan storytelling motifs, it engages with documentary poetics to give witness not only to the treatment this people has already endured, but also through the incorporation of the Alutiiq language and traditions to give testimony to a people that persists today. Its interrogation of history and identity emphasizes the complexities of race and the politics behind every telling of history. This work is personally significant as a gesture of gratitude and act of reuniting with my ancestral culture.
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If the garden
(Colorado State University. Libraries, 2012) Eddington, Cassandra, author; Beachy-Quick, Dan, advisor; Steensen, Sasha, committee member; Moseman, Eleanor, committee member
Within this manuscript, the crisis of the self's development--existentially, phenomenologically, beginning in the inner psychology of childhood--and larger societal cultural forces and narratives is constant. Like the fairy tales my manuscript is in conversation with, there is a necessary knowledge my poems wish to uncover. As foraging in the forest, this process of identification is urgent: it means death or survival. But this knowledge is not readily accessible--it must be found among the understory: language's mutation, memory's woodpile, the dark, domestic corners of memory, imagination's borders. This crisis of survival is a feminine crisis that requires an uncovering of histories that bind. And the detritus comes with a stutter; we must listen to language's mutation. We find ourselves in the darkest parts of the forest, of the self--where we must. Alongside foraging and uncovering run concerns of the self at a sprinting pace, the knowledge that to desire is to be hunted, that the erosion of the self's borders is inevitable within the erotic. And yet the desire to distinguish the self is rabid. What may be the paradoxical prayer of my poems is the desire "to disappear as deer/ to be held and not// carve a name not/ be still in scar."
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Immeasurable mouth of night
(Colorado State University. Libraries, 2024) Seebeck, Tashiana, author; Beachy-Quick, Dan, advisor; Steensen, Sasha, committee member; DiCesare, Catherine, committee member
This thesis is a collection of poetry concerned with the unconscious interior: dreams, nightmares, memories, and the liminal space between. The poems are committed to a necessary logic of surreality and formal experimentation.
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Little mercy
(Colorado State University. Libraries, 2021) Walter, Robin, author; Beachy-Quick, Dan, advisor; Steensen, Sasha, advisor; Harrow, Del, committee member
Little Mercy is an exercise in interrogating the natural and exploring the intimately personal. Set in a cabin in the foothills of the Bighorns of Wyoming, the manuscript hopes to reach towards the universal through attending to the particular. This work engages the human and more-than-human worlds as equal partners in pursuing otherwise inaccessible truths. Engaging in multitude of forms derived from a variety of poetic traditions, Little Mercy hopes foremost to make its own language anew. The ethic of this work is grounded in a belief in the reciprocity of attention, attunement, and care.
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Lush the cradle
(Colorado State University. Libraries, 2019) Macintyre, Kristin, author; Beachy-Quick, Dan, advisor; Steensen, Sasha, committee member; Harrow, Del, committee member
Lush the Cradle posits a mind for its speaker. In a formal sense, the collection is a mind. It cycles through six different logics, each section wholly its own and each, too, deeply connected to the others. Respectively, the sections are concerned with dream, memory, the addicted or endangered mind, the mind reborn, the desiring mind, and vision (of the prophetic kind). In each section, the poems relocate the I, pull it from the depths of itself further into the world. In order to recover, by which I mean in order to be, the I must find itself again beneath the sky. It must be warmed, it must be nourished there. It must be a part of the whole. In order to achieve this, the collection cycles through patterns, borrows images across and throughout its poems, and uses the line as a device to think, to reveal, and to elicit wonder.
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Mechanisms light and miraculous
(Colorado State University. Libraries, 2020) Schonning, Daniel, author; Beachy-Quick, Dan, advisor; Dungy, Camille T., advisor; Fletcher, Harrison Candelaria, committee member; Harrow, Del, committee member
Mechanisms Light and Miraculous is a work concerned with form. From abecedarians to long stretches of terza rima, to the innovated "Little Box," each poem in the collection is beholden to a set of constraints that intimately informs the direction in which it grows. These containers are all derived, in varied ways, from the alphabet and the base unit of the letter. This gesture owes its metaphysical spine to such texts as the Sefer Yetzirah, which offers—in a Jewish mystic framework—a precise and profound relationship between the twenty-two letters of the Hebrew alphabet and world that they inhabit. In all its component pieces, Mechanisms Light and Miraculous aims to apprentice its poems to the essential medium of letters, to listen to and learn from the systems and symmetries found therein. Yellowred, though similar in some respects, operates via utterly different terms. Yellowred, to borrow from the language of the work itself, is concerned with "the cold white distance between object and eye," or—perhaps more so—the distance between eye and mind, between mind and that object made anew. Before the word for "orange," it was not a color unto itself except in the imagination. Before the word for "sky" or "soul" or "self," Yellowred might posit, those things likewise did not exist—there was only the amalgamated whole. This manuscript means to understand and deconstruct those basest forms of making.
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Mosaic disturbance
(Colorado State University. Libraries, 2017) Brant, Cedar, author; Beachy-Quick, Dan, advisor; Dungy, Camille, advisor; Harrow, Del, committee member; Cooperman, Matthew, committee member
In ecology, the most resilient landscapes are ones that experience a mosaic of disturbance. This means small swaths of windfall, wildfire, and beetle kill across a landscape that create a patchwork of forest dynamics. A mosaic of disturbance increases diversity, making the land more resilient to larger, potentially-catastrophic disturbance. These poems I trace the lineages of damage in the world and in the individual. What kinds of damage open us to the world in ways that become essential to our understanding of ourselves and others? These lines often lead back to an idea of home. These poems ask how one makes a home, even as those places—physical, emotional, ecological—are always in a mosaic of damage and change. These poems accrue as an inventory, using science, myth, and symbol as organizational nets to trace patterns of disturbance and regeneration across the boundaries between self and the rest of the world.