A poem by Tim Cresswell
Mohamed Assaf and Kate Clanchy
These poems were not, as their elegiac, melancholic tone seems to imply, written by a 60-something exile remembering his childhood, but by a small Syrian boy with a grubby collar and a large football, named Mohamed Assaf. He is not an easy child: he
African-American Migration as Seen through Jacob Lawrence's “Migration” Series
Museum of Modern Art (MoMA) 11 West 53rd Street, New York, NY 10019 http://www.moma.org/interactives/exhibitions/2015/onewayticket/ Admission: USD 25/18/14 “I pick up my life, / And take it with me, / And I put it down in Chicago, Detroit, / Buff alo, Scranton, / Any place that is / North and East, / And not Dixie.” Th ese are the opening lines from “One-Way Ticket,” by African-American poet, Langston Hughes (1902–1967). Th e poem provides the emotional and historical core of the “Migration” paintings by Jacob Lawrence (1917–2000), a series that depicts the extraordinary internal migration of African Americans in the twentieth century. Not coincidentally, the poem also provides the title of the current exhibition of the sixty paintings in Lawrence’s series, on display at MoMA, New York, from 3 April to 7 September 2015.1 Shown together for the first time in over twenty years, the paintings are surrounded by works that provide context for the “great migration”: additional paintings by Lawrence, as well as paintings, drawings, photographs, texts, and musical recordings by other African-American artists, writers, and performers of the early to mid-twentieth century.
Landscapes of Englishness in the Postwar Railway Poetry of John Betjeman and Philip Larkin
Railways in John Betjeman's and Philip Larkin's poems of the 1950s and 1960s function as provocative signifiers that interrogate and encourage definition of what constitutes the modern English landscape. Through their works, which recognize how railways have been held to register the cultural health of the nation from their inception, it becomes clear that the panoramic perception that railways make possible aptly represents the self-conscious cultural gaze filtered through crisis that critics argue prevails in the postwar context. Betjeman's and Larkin's speakers reveal the capacity for railway travel to disrupt the settled vision of nationhood at the heart of heritage-based Englishness; at the same time, railways – and they themselves – are not outside of this discourse. For Betjeman and, to a greater extent, Larkin, it is the possibility of double return embodied by the railway system that perhaps proffers a desirable mode of inhabiting the modern English nation.
jingle gloves, a set of seven black velvet circles, a silver Mylar survival blanket, a bag of candy, my signature wooden tokens, a “Manifest Destiny” T-shirt, and a bottle of water. The title is from a published poem by Quick-to-See Smith. Figure 3 Jingle
in Terezín, and his pupil pianist Alice Herz-Sommer. Nurse and poet Ilse Weber wrote sixty poems in Terezín, including the touching lullaby “Wiegala,” which she sang for Terezín children before they were sent to the gas chamber. Karel Švenk’s Theater
Ulrike Ottinger’s Johanna d’Arc of Mongolia Goes off the Rails
of experiences evoked by the Trans-Siberian, an important trope of exoticist literature depicting European encounters with the once Far East, including the poem it references directly, Blaise Cendrars’s “Prose du Transsibérien et de la petite Jeanne
we learn from Mead ( 2005: 75) that faith in humanism did not preclude Benedict from composing poems engaging with supra-human subjects, such as “The Eucharist” and “Light.” A supra-cultural, transcendent pattern that differs markedly from her
Jens Kreinath and Refika Sariönder
. Once these women returned to their seats, Mehmet Dede began to speak. He announced that he would chant a hymn ( nefes) before his sermon ( sohbet or muhabbet ). Upon completing the hymn, he read a poem ( deyif) that touched on themes of hypocrisy
Johannes Görbert, Russ Pottle, Jeff Morrison, Pramod K. Nayar, Dirk Göttsche, Lacy Marschalk, Dorit Müller, Angela Fowler, Rebecca Mills, and Kevin Mitchell Mercer
Raban has noted that “[a]s a literary form, travel writing is a notoriously raffish open house where different genres are likely to end up in the same bed. It accommodates the private diary, the essay, the short story, the prose poem, the rough note, and