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This essay shows how the Islamic Persianate poetic tradition is a critical conceptual resource for imagining futures in which poetry is a technology of congregation through which futures are postulated, negotiated, and lived. The essay engages the multilingual poetic milieu of Kashmir (Urdu, Persian, and Kashmiri) in the first half of the twentieth century, offering an inaugural analysis of the itinerant nature of Persian, Urdu, and Kashmiri poetry in relation to the form of ghazal and its consequences for future making. Kashmiri poets and critics, in poetry as well as prose, made prominent contributions to the literary and political debates about the purposes and potentialities of poetry as a socially aware public form in an anti-imperial context, a theme that animated multiple Urdu and Persian literary circles from the 1930s. [ABSTRACT FROM AUTHOR]

This paper considers the letters and the character of Frances 'Fanny' Brawne together as a model for criticism at the present time, as well as a meaningful indication of how criticism was practiced by laypeople in the Romantic period. Focusing on Keats's great love affair rather than on Keats himself, or on Keats to the exclusion of his interlocuters, I describe the erotic conflict between Brawne and the poet as a form of agonistic engagement between writer and critic–the one tragic in impulse, the other more comic. Toward the end of the essay, I ask how conflict of this kind may be understood, in Stanley Cavell's terms, not as the ugly underside of love but as one of its most significant expressions, a way of keeping up (in Cavell's words) 'the conversation love demands'. Throughout, the essay queries the relation between criticism and love, and how that relation might contest contemporary thinking around affect and pleasure. [ABSTRACT FROM AUTHOR]

This article focuses on the translation that Guy Debord made of the poem Coplas a la muerte de su padre , a work by fifteenth-century Castilian court poet Jorge Manrique. Despite the apparent distance between translator and translated, Debord's interest is a product of his fascination with moments of historical crisis and their transformative possibilities. The Debordian way of confronting such moments and of considering Manrique's work as a product of one of them is framed within a historical model that collapses the synchronic and the diachronic through textual montage, juxtaposing fragments in an associative way. Debord develops this form of montage in his best-known works, such as The Society of the Spectacle. In dialogue with this peculiar philosophy of history, the article argues that the translation is part of a moment of interest in Spanish culture post-May '68 in Debord's work and should be read as a part of the Champ Libre publishing project, financed by Debord's film impresario, patron, and friend Gerard Lebovici. The ultimate reason for his interest in Spanish culture is the idealization of the political possibilities of a society that, between the seventies and the early eighties when Debord translates Manrique, is in the midst of the transition from dictatorship to democracy. [ABSTRACT FROM AUTHOR]

Poetry of the Tramps is characterized by special features in its construction and cultural composition. Cultural analysis reveals the textual structures, their nature, meanings, and symbols; Therefore, it is distinguished by great importance from other types of analysis of literary texts in literary criticism. Since the texts in the poetry of the tramps contain in their deep structure implicit patterns related to the poet’s outlook, culture, and nature, the need came to reveal these patterns and interpret them culturally. To know the deep culture that characterized the tramp poets, and the nature of life, thought, and philosophy, their dimensions and facts. This research was divided into two sections, the first: a reading of cultural criticism and cultural patterns. The second includes the analytical aspect of a number of patterns, including: (rebellion, alienation, fear, ego, loss, poverty, and adventure). He concluded with several results, the most notable of which are: - The rebellion in the poetry of the Tramps is linked to the psychological and social state of the poet, and he resorted to it for many internal and external reasons, including: poverty, marginalization by the collective system/tribe, feelings of isolation and loneliness, and rejection of the tribe’s laws. - The individualist/poet/tramp talked a lot about himself and his adventures, which played a major role in expressing fear and anxiety in a hidden, implicit way, as he tried to look down on this fear or ignore it by mentioning his heroic deeds. - The poetic text of the tramps includes in its deep structure implicit patterns that elevate the status of the “ego” and make its creation a dominant pattern despite its secondary or marginal status. [ABSTRACT FROM AUTHOR]

The poetry of the Iran-Iraq War (1980–1988) is commonly grafted to classical Persian topoi, imagery, metaphors. Several war poets use classical poetry to communicate with their audiences as this poetry is familiar and they can effortlessly convey their political and ideological message. This article investigates how modern amateur poets use classical poetry to create their own poems for political and religious use. I shall specifically analyse a few instances in which the poetry of the classical Persian poet Hafez of Shiraz (1315–1390) is integrated in various ideologically Shiite contexts. Some scholars have argued that Hafez's ghazals have little cohesion, characterizing the poem's couplets as 'pearls at random strung', but as we shall see these ghazals enjoy thematic coherence, even their ambiguity creates spaces for a modern appropriation and interpolation of couplets in his poetry, allowing the use of a poem as a commentary on religious and political events. While I shall give attention to Hafez's art of poetry, my main focus will be upon the modern application of his poetry by professional Shiite singers (maddāḥs) who perform such poems to whet the emotions of their audiences, placing the poem in a purely Shiite or ideologically Islamist propaganda. [ABSTRACT FROM AUTHOR]

This essay examines the complex role of the poet-translator through the specific case of the collaborative relationship between Mexican poet Octavio Paz and his long-time translator, the American poet Muriel Rukeyser. The article first outlines the role of literary translation in Rukeyser's artistic practice and illustrates her outlook on the process. More generally, it engages with existing theorizations of the translation of poetry, especially those that focus on the often precarious position of the established poet as translator. With Rukeyser's translatorial position established, the article then provides a close reading of the correspondence between these two long-time collaborators, bringing to the foreground a gradually increasing disconnect over how Paz's poetry should be translated. These progressively differing points of view on translation would eventually play a role in opening up Paz's Spanish-language poetry to new translators in the United States. While this article examines an understudied but crucial facet of Rukeyser's career as a writer and translator, it also sheds light on the complicated set of expectations and realities involved when one poet translates another. [ABSTRACT FROM AUTHOR]

This essay reflects on the constitutive bilingualism that characterizes the self-translation of twentieth-century poets in dialect into Italian. Here, Agamben proposes, the poem no longer dwells within the identity of one language but finds a true home in the white space that joins and divides the two texts, often printed on facing pages. Agamben traces back this poetic bilingualism to Dante, who contrasts the vernacular language, "which infants acquire from those around them," and the language he calls "grammatical," which we have to learn through a long course of study. This translative tension between two languages is not just an issue for poetry in dialect, but, as Hölderlin's translations from Pindar and Sophocles clearly show, also defines every authentic poetic intention. Taking on this inherent bilingualism is, according to Agamben, the task of both the translator and the poet. [ABSTRACT FROM AUTHOR]

This article offers a new approach for reading and evaluating translations by repurposing a long-standing model for assessing translations: the equivalence paradigm. Instead of decoupling a target text from a source text, or establishing an equal playing field between them—two common approaches used by recent theorists in translation studies—this article reverses the relationship between the two. The test case for this practice is John Ashbery's translation of Rimbaud's Illuminations. The exercise thus requires reading Rimbaud's work as a translation of Ashbery's "original" text. In this way, the clear hierarchy of values inherent in the equivalence paradigm is highlighted both to expose the model's biases and to bring attention to the inimitable "originality" of a translation. In the end, although Rimbaud may be rightly appreciated as an unparalleled poet, many will find his appeal as a translator—at least as a translator of Ashbery—wanting. [ABSTRACT FROM AUTHOR]

The author explores the significance of creativity to the work of poet-translators, or what she calls translational poetics. She describes the importance of translator creativity to new theories of poetic translation, including the contribution of translation theorist Lawrence Venuti's updating of the hermeneutic model of translation to the new vision of poet-translator creativity. She also discusses a series of essays on translational poetics published within the issue.

The author discusses a series of articles on translational poetics and the poet-translator published within the issue.

This essay is an Algerian-French poet-translator's personal reflection on the indispensable role that translation has played in his poetic creativity. Emphasizing in particular his bilingual education in the colonial Algerian context, he observes that his translation of poets from English, Arabic, and German into French is thus "doubly foreign" because his French is steeped in his Arabic culture and language. The essay advocates for the peaceful coexistence of any two languages, and especially the postcolonial coexistence of Arabic and French, as one of mutual enrichment. Tengour shows how this inclusive translational approach to Algerian bilinguality informs not only his creative process but also his editorial work, including Diwân ifriqiya, volume 4 of the Poems for the Millennium series from the University of California Press, and Poèmes du monde, a series of poetry in translation from Éditions Apic in Algeria, which has published over twenty poets from at least a dozen countries. [ABSTRACT FROM AUTHOR]

In his 2005 article "The Lightness of Being: Re-figuring Trends in Recent Nigerian Poetry," the literary critic Harry Garuba accounted for the emergence of the first, second, and third generations of Nigerian poets. But recently, there has been an outburst of new Nigerian poets under the age of forty, who are yet to be properly categorized. This article adopts Garuba's "strategic intervention" as a theoretical framework for the classification of these new poets. In presenting its views that these poets have made strategic interventions in Nigerian poetry by establishing social media literature with Facebook as their foremost publishing platform; mainstreaming digital publishing; influencing a new tradition of queer, self-conscious, and subversive poetry; and earning significant literary prizes, this article revises Garuba's classification and expands the canon of Nigerian poetry to inaugurate these Facebook writers and their contemporaries as the fourth generation of Nigerian poets. [ABSTRACT FROM AUTHOR]

AbstractBless Me Father, the autobiography of South African-Italian poet Mario d’Offizi, enriches the spectrum of masculinities presented in South African white male poets’ autobiographies. It narrates the story of a “marginal” white man growing up under apartheid, and provides an innovative testimony within the rich autobiographical tradition of South Africa. The focus in this article is placed on traumatic episodes in the author’s past and on the relationship with a predatory father figure. The conflict between the choice to remain silent about hurtful events and the desire to expose them is the central dialectic of psychological trauma, and scriptotherapy is the medium used by d’Offizi to grapple with his haunting past and seek healing. Bless Me Father, this article argues, is a story of pain, loss, survival, and triumph over adversities that occupies a distinctive space within post-apartheid South African literature. [ABSTRACT FROM AUTHOR]

The article analyzes the shared visual world of Italian poet Dante Alighieri and Italian painter Giotto di Bondone. Topics discussed include allegorical strategy and spiritual development in "Divine Comedy," depiction of Christian narratives, physical blindness equated with moral blindness and personifications in di Bondone's frescos, visual perception as a means of reforming the soul and spiritual sight in "Purgatorio" and "Paradiso," and association of damnation with blindness in "Inferno."

This article responds to the following problem: why does Arveragus's abandonment of his wife to pursue honor go unquestioned by everyone in the Franklin's Tale, including the wife herself? Chaucer imagines a fictional past in which criticizing honor is impossible. Endeavoring to understand the impossibility, this article draws upon the work of the semiotician A. J. Greimas, which illuminates how the tale's structure forecloses anti-honor discourse. Greimas's theory of history explains how the poet could use foreclosure to simulate the distant past. But the consequences of Dorigen's response to the black rocks suggest how history can modulate from one foreclosure to another—something Greimas does not address. Unlike the tale's Brittany, late-fourteenth-century England was a realm where the negative aspects of honor were increasingly obvious. Chaucer's bracketing of anti-honor discourse might have procured some relief from contemporary anxieties, but his tale also reveals the instability of the historical closure it contrives. [ABSTRACT FROM AUTHOR]

The bhāṇaka s were the main textual practitioners of early Buddhism. Although scholarship has been naturally critical of traditional accounts regarding the shaping of the canon, scholars have accepted many of their underlying assumptions, including a ubiquitous reference to bhāṇaka s as "reciters," without questioning the category. However, bhāṇaka s were no less performers, storytellers, poets, expounders of the teaching and preachers. This article reconsiders their figure by showing that discourses were not preexisting entities that were placed in collections according to length and topic, but were generated through the particular methods of each Nikāya. Here, I focus on the Saṃyutta-nikāya , showing many of its unique formulas and narrative designs, including central definitions of the doctrine of selflessness and structured narrative frames. The Saṃyutta , we discover, even has its own ideological and philosophical emphases, and its own theory of liberation. This means that a Saṃyutta- text is the product of the Saṃyutta- methods and views. This understanding brings to light important aspects in the performative arts of the bhāṇaka s. [ABSTRACT FROM AUTHOR]

An interview with fiction writer, poet and editor Sheree Renée Thomas is presented. Topics discussed include Thomas' inspiration for getting involved in speculative fiction, the history of her career in publishing, and the role of speculative fiction on her journey as an editor. Also covered are Thomas' views about the evolution of Black women women's speculative fiction and Afrofuturism, and her storytelling experiences with her family.

The article explores the use of Black American poets in the 2020 US Democratic Primaries, focusing on how candidates incorporated poetry into their campaigns. It raises questions about the authenticity and effectiveness of these strategies and examines the implications of using Black poets in terms of outgroup affiliations and the distribution of Blackness. The article emphasizes the need for critical examination of the use of Black poets and poetry in political campaigns, highlighting the appropriation and re-authoring of Black culture by white institutions. It also discusses the historical sublimation of Black personhood and the commodification of Black poets for political gain. The text examines the complex dynamics of race, politics, and representation in the context of US electoralism. [Extracted from the article]

The article focuses on the question "What is poetry?" and presents diverse perspectives from eleven poets, highlighting the essence of poetry as a transformative experience for both the creator and the audience. Topics include the definition of poetry as a magical or epiphanous encounter, the concentration and distillation of language and experience, and the soulful essence of art that transcends mere definition.

The article focuses on the idea that poetry possesses a wisdom beyond the poet's control, challenging the notion of complete authorial authority. It explores how poets initially seek to express themselves through their work but eventually learn to surrender to the poem's inherent autonomy, emphasizing the importance of deep listening, relinquishing control, and employing craft elements like rhythm to shape the poem's emergence.

The article examines Amiri Baraka's play "Dutchman" as a cautionary tale about the perils of Black Americans succumbing to the seduction of white American culture. Baraka's work emphasizes the necessity of forging self-determined Black identities and resisting assimilation, advocating for activism through art.

The article explores the early influence of Ralph Waldo Emerson on Jose Marti, tracing their philosophical and stylistic connections. It delves into Marti's "Political Prison in Cuba," showcasing parallels with Emerson's ideas on Hindu philosophy, the sublime, societal corruption, and individualism.

Dustin D. Stewart's book, "Futures of Enlightenment Poetry," challenges the traditional understanding of Enlightenment poetry as solely focused on reason and empirical observation. Stewart argues that there is a neglected tradition of devotional poetry associated with a reactionary Counter-Enlightenment that should be included in our understanding of the period. He explores the themes of afterlife and futurity in the poetry of Edward Young, Elizabeth Singer Rowe, and Mark Akenside, showing how their meditations on these topics offer insight into the development of eighteenth-century poetry. Stewart's book also examines the influence of spiritualist and mortalist poetics on the works of later poets, such as William Wordsworth, Phillis Wheatley Peters, William Blake, and Emily Dickinson. Overall, the book provides a fresh perspective on Enlightenment poetry and its relevance to contemporary debates. [Extracted from the article]

Daniel Cook's book, "Reading Swift's Poetry," explores Jonathan Swift's use of poetic borrowing and repurposing throughout his literary career. Cook examines Swift's intertextuality and his construction of "The Author" as well as his use of unconventional elements in his poetry. The book analyzes Swift's early poems, his appropriation of other writers' material, his non-love poems, his poetry of insult, and his late works. Cook argues that critics have focused too much on the overall intertextual effects of Swift's texts, and instead suggests a closer examination of the local effects of Swift's borrowings. [Extracted from the article]

The article focuses on reconciling contradictory assessments of the status of ballads in poet, William Wordsworth and Samuel Taylor Coleridge's "Lyrical Ballads" collection, delineating their renovations of ballad style in the 1798 Ballads, and complicating conventional views on their prosodic tendencies. It examines their departures from key balladic influences and arguing for a reassessment of the role of popular verse in their achievements.

A disabled poet with Rett syndrome and a disabled performing artist with type 1 diabetes document their 12-month artistic collaboration to illuminate ground-time: the nonverbal, expressive dynamics of embodied communication. Five "communication moments" between the artists (documented in writing, video, and photo) are described. Potentials and limitations of augmentative and alternative communication (AAC) technologies, specifically Tobii Dynavox eye-tracking technology and Communicator 5, are discussed. Additionally, the authors question the clinical diagnostic category of "intellectual disability" on the grounds of disability justice, decolonial science, and philosophy. Communication-assistive technology platform developers are challenged to consider relational embodiment as the foundation of communication in design decisions regarding platform function. Technologies should facilitate improvisation and nonlinear expression—verbal and nonverbal— while maintaining freedom of nondisclosure. The right to opacity in communication is also discussed. [ABSTRACT FROM AUTHOR]

The article focuses on the exploration of infraverbal human language, such as bodily sounds, by modern poets since the end of World War II, including the experiments of lettrists, sound poets of the 1960s, and contemporary poets. It discusses how these poets use ordinary human sounds to challenge traditional language norms, addressing theoretical debates on phonocentrism and writing domination, and inviting reflection on embodiment, spontaneity, and human identity.

Renaissance readers were familiar with two traditions of visualizing the continent of Europe as a woman: the myth of Europa and the bull, and personifications of Europe as a queen. This article examines the impact of these traditions on the geographical, political and cultural discourses of Europe through the example of the French poet Ronsard's Discours de l'alteration et change des choses humaines. It argues that the reference in the Discours to the Ottoman Empire assailing Europe the continent would evoke for readers a female figure. The article conducts an analysis of the poem in light of this, exploring how the spectre of sexual violence associated with the Europa myth enhances the political critique of the Ottoman Empire in the Discours. As such, the article shows how the dynamic interplay of myth, personification and geographical space enriched the meanings and associations of the signifier 'Europe'. In doing so, it articulates a method for approaching how 'Europe' was used and understood in Renaissance texts. [ABSTRACT FROM AUTHOR]

This course emerges from my individual research and seeks to bring students into an experimental project of co-reading. The course reading plan is structured by pairing canonical Romantic poets with writing by Black theorists from the twentieth and twenty-first centuries. This course is designed for the graduate level and would also be appropriate for upper-level undergraduate students. [ABSTRACT FROM AUTHOR]

This study integrates race and disability into a literary-historical analysis of the mostly anonymous poetry composed by Chinese migrants and inscribed onto the walls of the men's barracks of the US Immigration Station at Angel Island in San Francisco Bay, 1910–1940. Scholarship in Asian American and Asian diaspora studies has approached this body of work as a modern reinvention of traditional Chinese poetic forms within a US context. This study considers the men's barracks a protest space created under disabling conditions of confinement, and it demonstrates how Angel Island detainees critiqued the racialized and ableist systems of social control that operated at the station. The poets attest to undergoing invasive imperial regimes of bodily inspection and medicalized racial exclusion, and they document lived experiences of chronic illness, depression, and the anguished temporality of detention space. As corpus of disabled life writing by early Asian American and Asian diaspora writers, Angel Island poetry offers wider access to non-English historical vocabularies of disability as well as environmental and holistic understandings of embodied conditions beyond Western diagnostic models. As a built environmental archive and a National Historic Landmark, Angel Island is a significant cultural site for exploring how race and disability operate concurrently as social constructions. [ABSTRACT FROM AUTHOR]

This essay explores the motif of "the Pit" as a third, thematic focus for the Psalter (alongside "refuge" and "pathway"). Especially as it comes to fullest expression in Psalm 88, the Pit can be seen as the "black hole" at the center of the Psalms. Yet, while powerful, Psalm 88, and the presence of the Pit therein, does not have the final word. The sequence of the following psalms (Psalms 89, 90, and 91) slowly but surely draws the poet of Psalm 88 out of what has been called the saddest of all psalms. In this way, Psalm 88 retains its witness within the Psalter, but it is also not alone within the Psalms. Astrophysics has determined that black holes are not only destructive; they are also generative, shaping things around them and producing massive amounts of energy. In this light, the Pit, too, can be viewed as a generative theme for the Psalms, one that is crucial—somehow even central—but, in the end, transcended. [ABSTRACT FROM AUTHOR]

Manuscript RB II 2534 from the Real Biblioteca de Madrid contains an unpublished poem by Guillaume des Autelz, addressed and dedicated in 1559 to Antoine Perrenot de Granvelle, bishop of Arras. This study aims to provide the edition of this poem and to contextualize it in the literary trajectory of this poet of the Pléiade. We will observe the evolution that characterizes Des Autelz's trajectory and how, through his relationship with Granvelle, the poet tries to obtain a certain recognition from the Habsburgs. [ABSTRACT FROM AUTHOR]

In 1961, the poet Jacques Roubaud was dismissed by the French military in Algeria after undergoing a series of "clandestine hunger strikes," an act he later referred to as his "very first constraint." By using a term that at once refers to a particular and increasingly prevalent resistance act, the rules and procedures used by post–World War II avant-garde artists and writers, and oppressive structures like prisons that delimit lives, "constraint" provides a way to rethink the history of avant-garde procedural poetry through the act of the hunger strike. This essay analyzes the constraint as a "score," a method of making that allows for the repeatability and transformation of forms across contexts. This repetition with a difference is underscored by a cast of 1960s and 1970s writers from France, the United States, and Morocco, including Roubaud, Norman H. Pritchard, Bernadette Mayer, Saïda Menebhi, and Abdallah Zrika. Foregrounding the hunger strike and seeing an aesthetics that accords with this provocative and popular act, this essay makes a case for avant-garde practice, rather than the avant-garde object, as acts that might not only reorganize everyday life into weapons and tools, but also thread trans-national possibilities of solidarity through a shared political form. [ABSTRACT FROM AUTHOR]

This essay engages the question of historical form via one of the more remarkable retellings of Chaucer, the British-Nigerian poet Patience Agbabi's 2014 book Telling Tales. Retaining Chaucer's governing conceit that the pilgrims share tales to pass the time while traveling from London to Canterbury, Agbabi layers onto this frame narrative a dazzling array of poetic and linguistic forms. The result is a work that flaunts its literary historical textures while resisting single period-based historicization. Rather than peeling back the layers of culture and history that inevitably accrue on artworks as they pass through time, Agbabi's book accentuates them, modeling a brand of historical poetics based not on recovery, but remediation. [ABSTRACT FROM AUTHOR]

This article calls for a revaluation of Thomas Hardy's Poems of 1912–13 , viewing them as in dialogue with William Wordsworth's Lucy poems and Percy Bysshe Shelley's Jane poems. Though Poems of 1912–13 has been favored with a great deal of criticism that aims to come to terms with its manifold influences, the Romantic influence upon Hardy's collection has been overlooked. This article considers how Hardy brings Wordsworth and Shelley's sequences into conversation with his elegies to argue that Hardy reimagines both poets' sequences to create his poetry of mourning. [ABSTRACT FROM AUTHOR]

This article examines Jean Baudrillard's status as a translingual writer, particularly through his performance of "Motel Suicide" (1996a) at the 1996 conference "Chance: Days in the Desert" in Nevada. It argues that Baudrillard's bilingual (French-English) performance stages ideas about translation that had become increasingly crucial to his theoretical project. Offering the first close reading of the performance itself, this article begins by retracing Baudrillard's theoretical engagement with cultural translation, particularly through his translingual experiences in the U.S. This framework explains not only how he found himself in this role of performer in the American west, but also how the performance articulated a vision of translingual exchange, translation, and polyvocality as critical responses to a sense of alienation in the modern era. [ABSTRACT FROM AUTHOR]

The article uncovers an unpublished letter of poet Helen Maria Williams to literary salon owner Hester Lynch Piozzi in London, England, dated February 7 and probably written around 1790. The letter presents a description of Williams' life in London, insights into her ability to set up social gatherings, and nature of her friendship with Piozzi. It suggests that the home of Williams provided a place for people to meet and reveals the involvement of Piozzi in the novel "Julia."

The article provides details of the ancient Greek or Russian signet ring in the Louvre Museum in Paris, France which American poet Hilda Doolittle encountered during a visit in 1911 and matches the serpent and thistle motif which she dreamt about around the years 1904 to 1906. It describes similarities and differences of the signet ring and the description by Doolittle, including the engraved stone, position of the coiled serpents, and depiction of the deity Agathodaemon.

In his own poetry, Tycho Brahe took inspiration from ancient Roman poetry by appropriating ancient theology: the god Apollo and the Muse of Astronomy, Urania. In so doing, he framed himself as being in a unique position to reveal the secrets of the cosmos. This study offers the first comprehensive analysis in English of Tycho's Elegy to Urania, and traces sources that have not previously been identified. The first 52 lines of his deeply personal Elegy are presented here in English for the first time. This study also looks at Scottish epigrams in praise of Tycho, and a brief look at how other poets and astronomers (notably Corbinianus Thomas) employed Urania for their own purposes. [ABSTRACT FROM AUTHOR]

Acting as a bridge over the river of "academic" and "artistic" contributions to this special edition, this article explores zones of chance (with a particular focus on Surrealist objective chance and the work of English Professor Wendy Wheeler); environment (often relating to the motion of a river and the mention of various of insects, revolving around the author's attempts to listen with tinnitus to the environment, and to listen with the environment to tinnitus); and depiction (notably the work of the painters Edvard Munch and Gastone Novelli, the poet Robert Grenier, and the philosopher Michel Serres). Placed in relation to the author's own lived experiences with tinnitus, these zones are channeled into the undulation of a wave symbol (〰), in an attempt to acknowledge, hold, and communicate different lived experiences and possibilities of tinnitus. As such, each zone may be read either as part of as whole, in any order. [ABSTRACT FROM AUTHOR]

This article charts a poetic conversation between three Hebrew women poets, Rachel Bluwstein, Yona Wallach and Sivan Beskin, surrounding the biblical figure of Jonathan, son of Saul. It traces the way in which the women poets reclaim and revise the figure of Jonathan against the grain of an androcentric intertextual tradition, in which the male-bond appears as a metorrym of male superiority. The three poets' shared fascination with Jonathan transposes the biblical intertext from the realm of male-exclusivity into a much more open field of meaning featuring gender-fluidity, pleasure, trauma, and queer temporality. The article reads the poetic conversation surrounding the queer figure of Jonathan as a cross-generational collaborative endeavor of queer appropriation and reconstruction. Sustaining this collaboration is an intertextual network that spans beyond the three poets and the biblical text, encompassing a wide range of multilingual classic and modern cultural intertexts, through which various queer cultural contents interact with each other, ultimately confounding national and heteronormative time and space. [ABSTRACT FROM AUTHOR]

This essay is about poetry, publication, and intergenerational caretaking in the context of a mass death event—the HIV/AIDS pandemic. It reads the work of contemporary Black, queer American poets Danez Smith, Jericho Brown, and Pamela Sneed for their intertextual and interpersonal engagement with queer and of-color literary texts and voices (in particular, those of Essex Hemphill, Melvin Dixon, and Donald Woods) under threat of erasure by HIV/AIDS and its effects and aftermaths. In doing so, it argues that Smith, Brown, and Sneed enact in their writing a political, spiritual, and historical project of recuperation and republication, taking the term "republishing" to encompass varying forms of print, performance, allusion, thematic evocation, formal echoes, and citation. In examining the complex, varied, and cross-temporal processes of poetic and scholarly caretaking and kinship—and of publication, "depublication," and republication—this essay shows that the imprinting of HIV/AIDS into countercanonical poetry offers a crucial, ongoing, and collective counterweight to prevailing assumptions and stereotypes about the virus and the disease it causes, as well as creating and sustaining alternative sites of memory, mourning, and meaning making. The implications of the kind of republishing that Smith, Brown, and Sneed gesture toward—this way of remembering and reminding others of lost texts and writers—are manifold, if complex and unavoidably constrained, and include new readerships; the preservation of stories, legacies, and knowledge; and the mitigation of Black queer literary losses as a result of HIV/AIDS. [ABSTRACT FROM AUTHOR]

Rejections are a given in any poet's career. This essay considers how rejections and the idea of the unpublished fragment might shape poetic form, how practical decisions might turn into aesthetic ones. Both Hart Crane and Jack Spicer had careers among magazines, the experiments of their writing entwined with ephemeral publishing cultures and communities. This essay explores how, through their own distinct experiments with splintered forms of the long poem, magazine rejections also created opportunities in Crane's and Spicer's poetry. Both poets turned practical processes into aesthetic experiments, exploring the states between writing, submission, publication, and acceptance or rejection. Yet practical decisions can turn into aesthetic ones. Indeed, the playful tension between practicality and aesthetics sits at the heart of poetic form. Crane and Spicer both incorporated rejections—unpublished poems or poems waiting on publication through various submissions—into the form of their work. [ABSTRACT FROM AUTHOR]

The proletarian writer H. T. Tsiang worked and lived in the US under the constant threat of deportation since arriving in the country under the Johnson-Reed Act. This article examines a cache of poetry that Tsiang wrote in the Ellis Island detention center from 1940–1941 and mailed to the painter, book illustrator, and author Rockwell Kent. These poems, which are preserved among Kent's papers in the form of a toilet paper manuscript, a make-shift chapbook, and typescript sheafs, were roundly rejected by publishers in Tsiang's time. Yet they speak to his precarious immigration status and his long-term project of constituting proletarian readerships outside US publishing. Tsiang's unpublished poems, I argue, composed a counterpublic of early Chinese American writing that grew from, and responded to, the conditions of exclusion. Having been detained on both Angel Island and Ellis Island, Tsiang was willing to take the "crooked path" into US cultural memory. [ABSTRACT FROM AUTHOR]

PharmEvo, a socially responsible pharmaceutical company, has been publishing Thematic Calendars for the past 25 years. The 2024 calendar focuses on the twelve languages spoken in Pakistan and was formally launched in various cities across the country. These calendars aim to promote literary activities and enhance the well-being of society. The launch events were attended by literary figures, poets, and healthcare professionals. The calendar showcases the linguistic heritage of Pakistan and celebrates its diversity. The meetings included poetry recitals and speeches by prominent individuals in the literary and medical fields. [Extracted from the article]