Books are so important to Lisa that she spent 1 semester of college studying nothing but languages so she could better appreciate works written in other tongues (she knows a little of 7 languages). Though she’s still not fluent in anything but English, she continues to love studying human thought as expressed in writing throughout different times and cultures.
A lifelong artist, Lisa Draper began painting at the age of 2, under the instruction of her grandmother Carol Gerlach. She studied studio art at The Northwest Art Center in Washington, and figure drawing at The Visual Arts Institute in Salt Lake City. After her initial exposure to epoxy resin in 2016, Draper has created a process that she is proud of, and she continues to push the limits on material, gravity, the laws of physics, and her own mind. Her award-winning work hangs in private and corporate collections internationally, and is best known for its unusual 3D effects and shimmering, reflective beauty.
The Raven was first published in January 1845, and is well known for its beautiful rhythm, rhyme, and lilt. This poem made Edgar Allen Poe famous in his lifetime, as it appealed to both the lay person and high critic (something he himself alluded to in a later essay “The Philosophy of Composition”). The Raven references religious, philosophical, and other “pop culture” of the day. These references can be researched to find even deeper meaning in this work.
A poem that describes a raven’s visit to a mourning narrator, it follows the narrator’s descent into madness, hastened by the raven’s repetitive squawking of a single word: “nevermore”.
This poem first captured my attention when my 9th grade honors English teacher, Glen Varga, offered a point of extra credit per stanza memorized. I only got 5 or 6 stanzas in, but the effect has been lasting nonetheless. The beauty was enchanting, and words haunting.
Over time I have found more meaning in this dark piece. I am drawn by the idea that we shouldn’t search for hope in hopeless places. When we need to pull back and create safety, we should. The thing that drove this man to madness was turning to a figure of doom for hope when he already felt all hope was lost. Through this process, he himself lost his last shred of hope, and fell into an everlasting pit of despair.
What areas in our own lives are we following this man’s same fatal fallacy?
Where are we searching for hope in places where it cannot be found?
How can we change and actually find joy?