In Solmaz Sharif and Layli Long Soldier’s poetry, I was struck by the juxtaposition of legalistic, detached text with text that was emotional and personal. This happened not just in the use of “whereas” as a rhetorical device, but also in the content of the stanzas. For example, on page 72, Layli Long Soldier both discusses a text that reads, “the establishment of permanent European settlements” and also writes, “I wished most to kick the legs of that man’s chair.” The “whereas” structure allowed Layli Long Soldier, and also Solmaz Sharif to quickly jump around topics without having the piece feel entirely fragmented, but still the right amount of disjointed. In part II of Sharif’s poetry, when he has definitions on the left side of the page and interpretations on the right, the juxtaposition set up is literally just a divide down the middle of the page. I think these juxtapositions highlight the contrast between the text drawn from official documents, and the text that comes from the poets, thereby emphasizing their differences. This also made me focused on the individual words of the official government documents. I had trouble putting myself in the minds of a reader of the official documents; I would also like to know what the reaction to these poems would be from someone who both appreciates the poetry, but also deals with these types of documents on a regular basis.