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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

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Tim Cresswell

A poem by Tim Cresswell

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Learning the Elsewhere of ‘Inner Space’

The Affective Pedagogy of Post-Secular Sufi Healing in Germany

Nasima Selim

Hazrat Inayat Khan (1882–1927) during the 1920s. On the day Rose Ausländer's poem was recited, I was attending a healing seminar in the summer school. Murshida Rabeya, 1 a senior teacher in the Inayati network, ran the seminar. 2 Right after the

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From the Throes of Anguished Mourning

Shi‘i Ritual Lamentation and the Pious Publics of Lebanon

Fouad Gehad Marei

hearts have been crushed! Our souls are like Muslim [ibn Aqeel] and our times are akin to Kufa. The lyrical stanza is the opening couplet of an elegy ( qaṣīda ) by Nour Ameli, a Lebanese poet whose poems feature in recitations by a coterie of

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Afterword

The Elsewhere beyond Religious Concerns

Annalisa Butticci and Amira Mittermaier

anguish, anger, and also hope. These emotions reverberate in their Elsewhere through chants, poems, sounds of chest-thumping, and red lights. How much of that anger and frustration would it be possible to express in a public stage or in their every daily

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Weapons for Witnessing

American Street Preaching and the Rhythms of War

Kyle Byron

all emphasize the distinct rhythms of street preaching. For example, in “Street Preachers’ Manual,” Gerald Sutek encourages preachers to have “several short verses memorized on the subject you intend to preach … Three points and a poem just won't do on

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Portrait

Talal Asad

Talal Asad, Jonathan Boyarin, Nadia Fadil, Hussein Ali Agrama, Donovan O. Schaefer, and Ananda Abeysekara

had no formal schooling. But she often recited long, sad poems about exile in tribal Arabic that she had learned as a child; it is one of my great regrets that I never recorded them when she was alive. Although I was born in Medina in 1932, my

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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

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Eleni Philippou

Abstract

“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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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.