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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

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Khaled Furani

we learn from Mead ([1974] 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

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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

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Theophilus Kwek

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

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Eleni Philippou

“Epitaphic” features two poems that were written to speak to the poet’s interest in commemorating or capturing past moments, events, or persons. “Topographies” is concerned with the interplay between transience and permanence—the passing of time, changing relationships, but also the altering of emotional and physical landscapes. The poem largely speaks to a process of loss and memory, both on a macrocosmic or geographical level, and on a smaller, intimate level. Similarly, “Thanatos” connects with the broad theme of loss, particularly humanity’s inability to recognize, appease, or ameliorate the suffering of the animal Other

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Refugee Hospitality Encounters in Northern Portugal

“Cultural Orientations” and “Contextual Protection”

Elizabeth Challinor

protest poem, “The Peace Cantata,” by the 1999 Camões literature prize winner Sophia de Mello Breyner Andresen (1919–2004): “We see, we hear, we read. We cannot ignore.” 7 The poem, written for a vigil held in a Lisbon church on New Year’s Eve in 1968 to