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\"Footprints forever etched in time. A commemorative patch from a tragic flight. Two golf balls, still lodged in frozen dust 238,900 miles away. From the amusing to the poignant, The Museum on the Moon introduces readers to the mysterious objects left on the lunar surface since humans arrived in 1969. Part history, part poetry, heartwarming and haunting, and illustrated with breathtaking graphite drawings, The Museum on the Moon is a moving exhibit of humankind's most famous quest for knowledge and our place in the universe.\"--Amazon.

Even though the people around him discourage him, a young Neil Armstrong yearns to fly to the moon and does everything he can to prepare for the day when man travels into outer space.

A poem is presented.

The stylized medievalism of William Morris's The Defence of Guenevere, and Other Poems (1858)—often expressed in cryptically condensed and iterative ballad stanzas—appears to reflect asocial and escapist nostalgia. Memory, however, is politicized in the Chants for Socialists that Morris wrote during the 1880s and early 1890s. These poems' conventional and repetitive forms underscore the communal nature of identity, and their commemoration of the dead awakens activist fervor. Yet readings of two representative poems reveal vital continuities between Morris's early and late poetry; after all, the Chants are also at times nostalgic in their admiration of pre-capitalist communities and their urge to cultivate imaginative solidarity with past eras. And paradoxically, in The Defence of Guenevere, self-justifying poetic beauty that uses retrospection to resist the demands of an industrializing society can itself lay claim to political utility.

This practice-led thesis centres around Small Finds, a new poetry collection which uses poetry as a personal archaeological process. The collection focuses solely on the women living in the forts on Hadrian’s Wall at the time of Roman occupation and links these women’s lives with those of modern women.The research interrogates Christopher Tilley’s use of a sensory approach to landscape as a tool for interpreting ancient lived experience, and reinterprets Doreen Massey’s concept of space-time as ‘poem-space’. Set poetic forms are subverted and imagined as square quadrats, or temporary parameters, which magnify multiple vectors and draw out their silences.The creative practice draws upon Tilley, Massey, and the metaphor of form as quadrat to develop poetry as a personal archaeological process. Sensory descriptions of the landscape around Hadrian’s Wall become a meeting ground for ancient and modern women, and set forms are used to illuminate vectors of silence in landscape, rooms, and objects, creating ‘splintered conversations’ which acknowledge the ‘holes and disconnects’ in Massey’s space-time / my ‘poem-space’ and use them as catalysts in the creative process.A parallel strand of research explores a personal canon, or ‘poetic line’ of women poets such as Carolyn Forché, C.D. Wright, and Esther Morgan, whose work inhabits specific landscapes, passages of time, and domestic space and objects. I study key poems through the lens of both Tilley’s and Massey’s theories, and examine these women’s use of set forms, finally placing my own creative practice within this layered context.A key figure in the poetic line is Lorine Niedecker. I use her ‘In Exchange for Haiku’ form in a non-sequential section of Small Findsto write about modern and Roman domestic objects and settings. My research concludes that, whilst all set forms can be used and subverted in order to generate poetry as an archaeological process, Niedecker’s ‘In Exchange for Haiku’ form is the most effective, as its finely-balanced elements are the ideal process for magnifying ‘poem-space’ and its silences.