About

I have had a variety of occupations since starting work. I was a library page in high school. I worked as a library associate, a baker, a short-order cook and a hospital orderly at various times during college. Just before joining the Navy I worked as an agricultural loan specialist with a federal USDA agency.

I entered the Navy Nuclear Power program and spent a combined four years as an enlisted machinist’s mate on the Sturgeon-class fast attack, the USS Hammerhead (SSN-663) and on the commissioning crew of the Ohio-class ballistic missile submarine, the USS Michigan (SSBN-727 (B)). I returned to college, participated in Navy ROTC, and graduated summa cum laude from Florida A&M University. Following college, I returned to the fleet as a commissioned officer, serving division officer tours in engineering and weapons systems on the Coontz-class guided missile destroyer, the USS Luce (DDG-38). We decommissioned that great ship in April, 1991.

I joined the Foreign Service in 1992. While assigned to Embassy London, I completed an M.A. at the School of African and Oriental Studies (SOAS) at the University of London. I rose through the ranks, entered the Senior Foreign Service in 2008, and retired in 2013 with 34 years of total federal service.

Since junior high (probably before) I have written and loved reading poetry. I recently completed an MS in Library and Information Science, and I look forward to a career as a librarian.

See more of my poetry here:

https://thisismypoetryblog.wordpress.com/

Baghdad Nights by Raymond Maxwell (diplopundit.net)

Advertisements

One thought on “About”

  1. Copyright Notice
    © Raymond Maxwell 2016. Unauthorized use and/or duplication of this material without express and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Raymond Maxwell with appropriate and specific direction to the original content.

    http://www.poetryfoundation.org/foundation/bestpractices?utm_source=flash_drive&utm_medium=pdf&utm_campaign=AWP

    Regarding Parody and Satire

    PRINCIPLE: Under fair use, a poet may adapt a poem or a portion of a poem in order to (1) offer a direct or indirect critique of that poem, its author, or its genre; (2) present a genuine homage to a poet or genre; or (3) hold up to ridicule a social, political, or cultural trend or phenomenon.

    Regarding Allusion, Remixing, Pastiche, Found Material, etc.

    PRINCIPLE: Under fair use, a poet may make use of quotations from existing poetry, literary prose, and non-literary material, if these quotations are re-presented in poetic forms that add value through significant imaginative or intellectual transformation, whether direct or (as in the case of poetry-generating software) indirect.

    Regarding Education

    PRINCIPLE: Under fair use, instructors at all levels who devote class time to teaching examples of published poetry may reproduce those poems fully or partially in their teaching materials and make them available to students using the conventional educational technologies most appropriate for their instructional purposes.

    Regarding Criticism and Illustration

    PRINCIPLE: Under fair use, a critic discussing a published poem or body of poetry may quote freely as justified by the critical purpose; likewise, a commentator may quote to exemplify or illuminate a cultural/historical phenomenon, and a visual artist may incorporate relevant quotations into his or her work.

    Regarding Epigraphs

    PRINCIPLE: Under fair use, an author may use brief quotations of poetry to introduce chapters and sections of a prose work or long poem, so long as there is an articulable relationship between the quotation and the content of the section in question.

    Regarding Online Use

    PRINCIPLE: Under fair use, an online resource (such as a blog or web site) may make examples of selected published poetry electronically available to the public, provided that the site also includes substantial additional cultural resources, including but not limited to critique or commentary, that contextualize or otherwise add value to the selections.

    Regarding Literary Performance

    PRINCIPLE: Under fair use, a person other than the poet may read a poem to a live audience, even in circumstances where the doctrine otherwise would not apply, if the context is (1) a reading in which the reader’s own work also is included, or (2) a reading primarily intended to celebrate the poet in question.

    Like

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s