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
Mohamed Assaf and Kate Clanchy
A poem by Tim Cresswell
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
“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.
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.
Mette Louise Berg, Elena Fiddian-Qasmiyeh, and Johanna Waters
). The “Creative Encounters” section features poems by Eleni Philippou, reflecting on processes of “commemorating or capturing past moments, events, or persons.” This is followed by a series of book reviews on a variety of topics and themes pertaining to
conductor who led Verdi’s Requiem 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
Ulrike Ottinger’s Johanna d’Arc of Mongolia Goes off the Rails
’s counter-Orientalist treatment 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
, five felt bundles containing 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