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A poet and female commander in the Israeli Defense Forces creates an original perspective from the war-torn front lines of the Middle East conflict.The Dove That Didn't Return tackles the canon of war poetry, an almost exclusively male-penned body of poems. In the book, biblical stories, verses, and fragments are rewritten through the eyes of a female lieutenant in the Israeli Army. It is a contemporary poetics on the revelations of war from an Israeli perspective never before told—a woman, and a soldier at that.This debut full-length collection follows upon the publication of her critically acclaimed chapbook, Between Sanctity and Sand, from Finishing Line Press.

Im Vorfeld wie in der Folge des Deutsch-Französischen Krieges 1870/71 entstand auf deutscher wie auf französischer Seite ein polyphoner Chor lyrischer, erzählerischer und dramatischer Stimmen, die den politischen Konflikt, die patriotischen und nationalistischen Diskurse, die Kampfhandlungen und ihren Verlauf, die ökonomischen und sozialen Auswirkungen des Krieges und nicht zuletzt seine Folgen im Hinblick auf das Leben des einzelnen Menschen wie die Gesellschaft thematisieren. Der Band beleuchtet Darstellungsformen, Repräsentation und Inszenierung von Krieg und Kriegserlebnis. Literarische Zeugnisse werden im Hinblick auf die Entwicklung der Unterhaltungs- und Trivialliteratur der ersten Hälfte des 19. Jahrhunderts gelesen. Voraussetzungen und Bedingungen, die der Krieg für spätere Tendenzen, wie Naturalismus, Expressionismus oder Heimatkunstbewegung, gegeben hat, werden untersucht.

In Outskirts, Heathen continues the life-long praxis to realize Rukeyser's vision of poetry as a harnessing of human consciousness to change the world. From the lived personal experiences of the author embedded in places of war and genocide, the trauma of violence and rape known firsthand both within and outside of the delineation of conflict zones, they write in concert with fellow outcasts in communal resistance to nationalist and authoritarian impulses both in history and now on the rise around the world and in the United States. With references to punk rock, sacred texts, partizankas in Yugoslavia, painters, and other writers, Heathen summons from the ouija of a larger-than-human ecological consciousness, the connections between past and present, the self and others, (other creatures, other lives, other landscapes) living and dead, enacting this desire through a poetic language that will never cease its longing. Outskirts embodies the call to fuck the patriarchy and to never stop fighting for a better world through the enlargement of love and community beyond man-made borders.

Finally, in printed form, the poems from Louise's BBC3 commission'Love is a Battlefield'make a wonderful pamphlet The Uniform Factory is modern war poetry marching to it's own syncopated rhythm. Anti-war. Pro-soldier. It documents and dreams the after-affects of economic conscription, war in Afghanistan and PTSD. Gallows-humour standing shoulder to shoulder with bitter anger. The collection is punctuated by landays- a Pashtun poetic form, traditionally spread woman to woman, changing, rebelling and re-mixing in the telling. Written from the perspective of the families left behind in Northern England

Your Body Is War contemplates the psychology of the female human body, looking at the ways it exists and moves in the world, refusing to be contained in the face of grief and trauma. Bold and raw, Mahtem Shiferraw's poems explore what the woman's body has to do to survive and persevere in the world, especially in the aftermath of abuse. A groundbreaking collection, the poems in Your Body Is War embody elements of conflict, making them simultaneously a place of destruction and of freedom.

From Klail City to Korea with Love contains two previously published books in Rolando Hinojosa's Klail City Death Trip Series: Rites and Witness and Korean Love Songs, which has long been out of print.

This debut collection explores the vestiges of war and the effects those can have on a family. Carlson excavates the personal experience of violence and abuse that follows a traumatized soldier home and also reveals veins of redemption.

International Poetry Nights in Hong Kong (IPNHK) is an awardwinning biennial poetry festival established by renowned contemporary Chinese poet Bei Dao. Since its debut in 2009 in Hong Kong, IPNHK has become the most influential series of international poetry events in the sinophone areas, delivered internationally acclaimed poets'thoughts and ideas about poetry to contemporary China, and stimulated Chinese poets'reflection upon their own conditions of reading world poetry. Following the enormous success of previous editions, IPNHK's 2017 event is scheduled to happen between 22–26 November in Hong Kong, with the theme “Ancient Enmity”, and invites more than twenty poets and lyricists from different parts of the world to share and read their works, in the hope of encouraging exchange among poets and lyricists. Poets include Gabeba Baderoon (South Africa), Javier Bello (Chile), Chen Dongdong (China), Jérôme Game (France), Major Jackson (US), George Szirtes (UK), Anja Utler (Germany), Haris Vlavianos (Greece) and others. The IPNHK anthology includes selections of the most internationally acclaimed contemporary poetry by the invited poets, accompanied by unique Chinese and English translations in bilingual or trilingual formats.

Lena Khalaf Tuffaha's debut, Water & Salt, sings in the voices of people ravaged by cycles of war and news coverage. These poems alternately rage, laugh, celebrate and grieve, singing in the voices of people ravaged by cycles of war and news coverage and inviting the reader to see the human lives lived beyond the headlines.

Finalist, 2016 Miller Williams Poetry Prize, edited by Billy Collins Out of the contradiction, paradox, loss, and strange beauty of contemporary warfare, Brock Jones brings us Cenotaph, a collection of poems that have as their genesis Jones's deployments to Iraq in 2002 and 2005, when he was in the US Army. These are war poems, but also love poems and hate poems, poems about dying and living, poems about hope and hopelessness. These are poems that beautifully reflect Jones's resignation to and rejection of the impossibility of saying anything definitive or honest about war. These are poems that strive to do what poet Bruce Weigl described as the poet's job: to find “some kind of miraculous way th at if you work hard enough to get the words right, that which you call horrific and wrong is defeated.” Cenotaph is a poet doing the poet's work: trying, hoping to get the words right.

Men carry a mattress retrievedfrom a dumpster past the floodedfoundations of an unfinishedhigh-rise, an old woman catchesa pigeon in the folds of her dressthe dead smile and rise from swimmingpools or stand at attentionon stamps. The landscape can't believeit's real—there is no groundbeneath it, like what mirrors do.Adam Day is the recipient of fellowships from the Poetry Society of America and Kentucky Arts Council, and a PEN Emerging Writers Award. His work has appeared in Boston Review, the Kenyon Review, American Poetry Review, AGNI, the Iowa Review, and others.

There can be no area of human experience that has generated a wider range of powerful feelings than war. Jon Stallworthy's classic and celebrated anthology spans centuries of human experience of war, from Homer's Iliad, through the First and Second World Wars, the Vietnam War, and the wars fought since. This new edition, published to mark the centenary of the outbreak of the First World War, includes a new introduction additonal poems from David Harsent and Peter Wyton amongst others. The new selection provides improved coverage of the two World Wars and the Vietnam War, and new coverage of the wars of the late twentieth and early twenty-first centuries.

Jon Stallworthy wrote his first poems during school days shadowed by the Second World War and a mother's memories of a brother and friends killed in the First. At school he was introduced to the poems of Wilfred Owen, whose biography he would later write, and to those of others who would be represented in his Oxford Books of War Poetry. Many of the most anthologized and ambitious of his own poems-''No Ordinary Sunday,''''A Letter from Berlin,''''The Nutcracker,''''A Poem about Poems about Vietnam''--Respond to wars that scarred the 20th century. A recent uncollected poem, from which t.

War never ends. There have been two world wars since 1914 lasting for ten years, but wars have continued for a hundred years since then in many parts of the world: wars between nations, tribes and factions, wars over religion and beliefs, wars fought for land or oil or history or power, civil wars, political wars, and the Cold War when the West remained on a war-footing while supposedly at peace. This anthology presents poems from a hundred years of war by poets writing as combatants on opposite sides, or as victims or anguished witnesses. It chronicles times of war and conflict from the trenches of the Somme through the Spanish Civil War to the horrors of the Second World War, Hiroshima and the Holocaust; and in Korea, the Middle East, Vietnam, Ireland, the Balkans, Iraq and Afghanistan and other so-called'theatres of war'. There are poems from years when the world was threatened by all-out nuclear war and more recent poems written in response to international terrorism. Where possible, the poems from each war or conflict are presented chronologically in terms of when they were written or set, building up a picture of what individual poets from different nations were experiencing at the same time, either on the same battlegrounds or in other parts of the world (including the home front), with, for example, British, French and German poets all writing of shared experiences in opposite trenches during the five-month Battle of the Somme. At different stages of each war there are also poets responding to events in their own countries. For example, in just one three-month period, from August to November 1944, Polish poets join the Warsaw Uprising, Miklós Radnóti is herded on a forced march from Serbia to Hungary (where he is killed), other Hungarian poets witness deportations to camps, Dylan Thomas voices the anguish of Londoners under V-bomb attack, and Louis Simpson is a foot soldier caught up in the chaotic Battle of the Bulge. Just as the original Hundred Years'War in the 14th and 15th centuries was actually a series of nationalistic conflicts rooted in disputes over territory, so it has been in the wars fought over the past century, but with even worse suffering inflicted on countries and people subjected to warfare and mass killing on a scale unimaginable in any earlier time. And yet amidst all that horror, there are individual voices bearing witness to our shared humanity, somehow surviving the folly with defiance and hope, yet often aware that the lessons of history are rarely passed on from one generation to the next. As Germany's Günter Kunert writes in his poem'On Certain Survivors'in which a man is dragged out from the debris of his shelled house:'He shook himself | And said | Never again. || At least, not right away.'Like Neil Astley's Staying Alive trilogy, this is a world poetry anthology featuring poets from many nations writing from different perspectives, experiences and cultures.

The Perception of War and Peace in Modern Ukrainian Poetry. Ukrainians are going through a very difficult, traumatic, catastrophic experience. Contemporary Ukrainian poetry about the war, for instance, is closely connected with the themes of women and childhood during the war. The tragedy of mothers who stayed with their children in Ukraine or went abroad to save their children is sometimes depicted in a folk-poetic style or acquires an interpretation close to the biblical one. There is a tragic, mythologized, figure of a warrior woman, and a widow. There are also poems that express the feelings and experiences of Ukrainians during the war, their psychological trauma and transformation, and the horrific experience of being physically present at war. Like most Ukrainians after February 24, 2022, the poets are acutely aware of the war against Ukrainian identity and language. The invasion of Ukraine has greatly accelerated the process of national self-identification, as evidenced by the poetry. Most Ukrainian authors are not interested in the war as such, but in the human being at war: at the front and in the rear. An individual person, his or her suffering, pain, trials, emotions, feelings, traumas, struggle, love, and death have become the main object of depiction. The heroes of Ukrainian contemporary poetry are ordinary people who were destined to defend their homeland and become warriors; they are also civilians in the rear and evacuated, suffering from the cruel burden of war but finding the strength to resist stress and fatigue.

Light and Heavy Things provides readers in this country an opportunity to discover the work of the late Pakistani poet, Zeeshan Sahil. Although readers of Urdu poetry mourned his passing in 2008, Sahil is a relatively unknown poet in the United States. Sahil's work conveys his post-modern sensibility with plain language, presenting political realities of Pakistan in personal terms.

One of the most engaging voices contemporary spirituality in is that of the Irish poet, Pádraig O'Tuama. This second poetry collection arises out of a decade of his hearing stories of people who have lived through personal and political conflict. These poems tell stories of individuals: their loves and losses, their hope and generosity.

War and Peace in Contemporary Eritrean Poetry focuses on Eritrean written poetry from roughly the last three decades of the twentieth century. The poems appear in the anthology Who Needs a Story? Contemporary Eritrean Poetry in Tigrinya, Tigre and Arabic from which a selection is offered here in their original scripts of Ge'ez or Arabic, and in English translation. Who Needs a Story? is the first anthology of contemporary poetry from Eritrea ever published, and War and Peace in Contemporary Eritrean Poetry is the first book on the subject. Therefore, the groundbreaking effort of the former warrants a discussion of its means of cultural production. All of the poets in Who Needs a Story? participated in the Eritrean struggle for independence (1961-91) as freedom fighters and/or as supporters in the Eritrean diaspora. Thus, contemporary Eritrean poetry divides itself between experiences of war and peace, although one can contain the other as well. War and Peace in Contemporary Eritrean Poetry also includes an extended analysis of one of Eritrea's most famous contemporary poets Reesom Haile, as an example of the kind of extended analysis that many of the poets of Who Needs a Story? should stimulate and, last but not least, a meditation on how the author, a non-native speaker, personally becomes involved in Eritrean poetry translation.