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
Mohamed Assaf and Kate Clanchy
A Response to Laila Soliman’s No Time for Art
photos of them (see Figure 1 and Figure 2 ). 3 In writing my poem, what had continued to elude me were the details of what made Ahmad the unique being he was, as I tried to foreground the need to resort to a struggle of the imagination to make up for
Performative Protest in the Scared City of Damascus
the solidity of the world. He later associates literature to knowledge, and thus literature becomes a light meant to encounter the weighty world. Calvino traces several poems and books in which the authors use the concepts of flying and lightness in
Revisiting the Poetry
In July 1989, as part of the celebration of the Bicentennial of the French Revolution, the great Martinican poet, playwright, and essayist Aimé Césaire was a special invitee of the Avignon Theatre Festival. I led a round table with him then in the context of the Institut d'Études Françaises of Bryn Mawr College. In his remarks he also read two unpublished poems. One of them, "Parcours," which I translate here as "Journey," is the subject of this article. This piece constitutes a reading of the poem as the poet's looking back, metaphorically, on his poetic journey, fifty years after the publishing of his epic poem, "Cahier d'un retour au pays natal" in 1939. This theme of looking back becomes a way to meditate on my own intellectual trajectory as a scholar of Césaire's poetry. I conclude with a poem of my own, on "Rereading Césaire Thirty Years On."
Linda E. Mitchell
Through the analysis of three important texts—Gerald of Wales's Topographia Hibernica, the poem known as both The Song of Dermot and the Earl and The Deeds of the Normans in Ireland, and the 1367 Statutes of Kilkenny—this article seeks to demonstrate that characterizations of the Irish by the English during the first centuries of conquest and settlement established the Irish as differently gendered from the English. This is shown through the use of terms that define the Irish as sexually, socially, and culturally deviant, as unmanly and emasculated, and as legally and culturally inferior even to English women.
A number of histories of circumcision have recently been written and in them the case of A. E. Housman, along with a number of others, has acquired a certain prominence. This article reconsiders the existing evidence regarding Housman's circumcision and the various interpretations of it in the secondary literature before going on to examine a number of overlooked sources. While this writing around Housman's circumcision is not without positive results, it will be suggested via a consideration of Jacques Derrida's testimony regarding his own circumcision that the historian of sexuality needs also to contend with an inherent negativity and loss. The testimony provided by a recently uncovered poem on circumcision will prompt the suggestion that we should be wary of overemphasizing the individual example. In conclusion, the article argues that the problematic of Housman's particular case has pertinence because in regard to individual experience we can only ever write around the history of circumcision.
Dominik Graf's Wispern im Berg der Dinge (A Whispering in the Mountain of Things) was the second film televised in the twelve-part Denk ich an Deutschland-documentary series launched on the eve of Germany's eighth Day of Unity (October 1998). Though Graf does not refer directly to Heinrich Heine, he clearly takes Heine's mode of thinking about Germany seriously—that is, he resolutely focuses on ruptures, which characterize Heine and his writings, and on the tensions provoked by the interplay of opposites evident in Heine's poem Nachtgedanken (1843), the source of the Denk ich an Deutschland-phrase. In Graf's documentary, Heine's ruptures turn into ruptures between his father's excessively silent war generation and his own unanchored post 1968 generation. The tensions, on the other hand, are evoked by the filmic medium—in particular, between verbal and iconic images. Thinking about film when he thinks about Germany, Graf examines his deceased father's many roles in the West German films of the 1950s and 1960s—roles that had turned him into the representative of the damaged war generation. Faulting the purely verbal in a medium intended to give concrete, visual form to reality, Graf attempts to harness the powers of both verbal and iconic images in the service of identity formation, yet grants the edge to the iconic, as well as to the fictional rather than the factual.
All titles (in bold), and some lines in the poem are taken directly from the Flash Report of the OHCHR’s Mission to Bangladesh, ‘Interviews with Rohingyas Fleeing from Myanmar since 9 October 2016’, published on 3 February, 2017 and available at
Ananta Kumar Giri
the need to develop poetic creativity in one’s life and society. It wants to interrogate the existing imaginative cage and prosaic fundamentalism of state, market, civil society, and religion in which we are bound and challenges us to write poems not
Penny Welch and Susan Wright
Molina describe and evaluate an experiential learning activity about Marx’s theory of alienation. Students were asked to produce a work of art or a poem and then to explain what inspired their creation. The tutors then shocked the students by telling them