Selected College Poems presents a cross-section of English language poetry suitable for the undergraduate General English course. While the major part of the anthology consists of British poetry from Shakespeare to Dylan Thomas, a few selected American and Indian poets have also been included. Each poem is preceded by an introductory note on the poet and the poem in particular and is followed by detailed explanatory notes.

This collection of essays explores the poetics and politics of US-American poetry's diverse and distinct investments in the imaginary space of 'the Orient'. Reading American poets - from Emily Dickinson to Frank Bidart, from Ralph Waldo Emerson to Kimiko Hahn - the contributions show how tropes of the Orient have fabricated screens onto which we project matters by no means foreign, but very close to home. As we accompany American poets on their journeys East, we are bound to arrive in - culturally specific - territories of the West. Traversing cultural crossroads and rediscovering places as 'exotic' as Banyan ashrams and Bostonian living rooms, these expeditions shed new light on crucial moments of American literary and cultural history. And, on the way, they reassess what Edward Said, thirty years ago, conceived of as Orientalism, and how far this concept has travelled in the meantime.

This is the first comprehensive and comparative study of compositional and stylistic techniques in medieval Arabic and Persian lyric poetry. Ranging over some seven countries, it deals with works by over thirty poets in the Islamic world from Spain to present-day Afghanistan, and examines how this rich poetic traditions exhibits both continuity and development in the use of a wide variety of compositional strategies. Discussing such topics as principles of structural organisation, the use of rhetorical figures, metaphor and images, and providing detailed analyses of a large number of poetic texts, it shows how structural and semantic features interacted to bring coherence and meaning to the individual poem. It also examines works by the indigenous critics of poetry in both Arabic and Persian, and demonstrates the critics' awareness of, and interest in, the techniques which poets employed to construct poems which were both eloquent and meaningful. Comparisons are also made with classical and medieval poetics in the west. The book will be of interest not merely to specialists in the relevant fields, but also to all those interested in pre-modern poetry and poetics.

Tracing the conception of a child through to her birth, Quiet Orient Riot addresses birth regimes and the politics of reproduction, unspooling the many ways that liturgical commands and an intense demographic anxiety affect a journey towards motherhood. Through these poems, Nathalie Khankan considers what it means to bear a Palestinian child in the occupied Palestinian territory, particularly with a pregnancy enabled through contingent access to Israel's sophisticated fertility treatment infrastructure. The poems confront questions of how to be a national vessel and to bear a body whose very creation is enabled by the pronatalist state, yet not recognized by it While Quiet Orient Riot chronicles a journey that is specific and localized, the larger questions that emerge from these poems reach beyond this particular story. The book asks questions of itself, wondering what kind of language may hold precarious life and what kind of poem may see an unborn body through emergency, diminishment, and into blossoming. Through the trials of pregnancy and birth, demographic and religious imperatives, these poems are concerned with many kinds of worship. They bow to a "chirpy printed sound," "what grows in the rubble," and "the capacity for happiness despite visual evidence." Wherever you look, there are water holes for the thirsty and a grove of "little justices."