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Tim Cresswell

A poem by Tim Cresswell

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Contingency and Constraint

African-American Migration as Seen through Jacob Lawrence's “Migration” Series

Deborah Breen

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.

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“Behind the backs of houses”

Landscapes of Englishness in the Postwar Railway Poetry of John Betjeman and Philip Larkin

Heather Joyce

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.

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Chia-ling Lai

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

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Filmmaking at a Crossroads

Ulrike Ottinger’s Johanna d’Arc of Mongolia Goes off the Rails

Grace An

’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

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Maria Hupfield

, 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

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Lazy Labor, Modernization, and Coloniality

Mobile Cultures between the Andes and the Amazon around 1900

Jaime Moreno Tejada

Patriótica Especial, was created among the highland bourgeoisie to pay tribute to the victims. Nationalist poems were read and calls were made to the progreso of Ecuador. More specifically, the Junta aimed to work, along with the central government, in the

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Johannes Görbert, Russ Pottle, Jeff Morrison, Pramod K. Nayar, Dirk Göttsche, Lacy Marschalk, Dorit Müller, Angela Fowler, Rebecca Mills, and Kevin Mitchell Mercer

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 polished table talk with indiscriminate hospitality.” 2 To this list of genres, which are now well

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Dhan Zunino Singh

Uruguayan novelist Enrique Amorín put it in 1933, depicting the experience in a taxi colectivo . 47 But they can also touch each other, as Baldomero Fernandez Moreno, known as the poet of Buenos Aires, said in his poem “Underground”: “With my forehead I

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Alessandro Jedlowski

, and Migration (Berkeley: University of California Press, 1994). Imageries connected to the idea (or the reality) of a journey back home have also been the subject of much African literature, from the classic poem by Aimé Césaire, Cahiers d’un retour