The pioneering Iranian poet and filmmaker Forugh Farrokhzad was an iconic figure in her own day and has come to represent the spirit of revolt against patriarchal and cultural norms in 1960s Iran. Five decades after her tragic death at the age of 32, Forugh Farrokhzad, Poet of Modern Iran brings her ground-breaking work into new focus. During her lifetime Farrokhzad embodied the vexed predicament of the contemporary Iranian woman, at once subjected to long-held traditional practices and influenced by newly introduced modern social sensibilities. Highlighting her literary and cinematic innovation, this volume examines the unique place Farrokhzad occupies in Iran, both among modern Persian poets in general and as an Iranian woman writer in particular. The authors also explore Farrokhzad's appeal outside Iran in the Iranian diasporic imagination and through the numerous translations of her poetry into English. It is a fitting and authoritative tribute to the work of a remarkable woman which will introduce and explain her legacy for a 21st-century audience. This second edition includes two new chapters which explore a travelogue Farrokhzad wrote during her time in Italy, and an examination of Farrokhzad's influence on the writings of the Afghan female poet Laila Sarahat Rowshani.

This poignant, haunting poem, originally written for the author's fiancée Ruth who died in a plane crash in 1943, was given to the SOE agent Violette Szabo as her code poem, before she was dropped into occupied France in 1944. It afterwards became famous through the film of her life, Carve Her Name With Pride, starring Virginia McKenna, and has been a source of inspiration ever since to those who have lost a loved one or are themselves facing death.Only in 1998, with the publication of Leo Marks' remarkable book about his works with SOE, Between Silk and Cyanide, did it become known that he was the author of this and many other poems used by SOE agents during World War II.Now one of the best loved poems in the English language, The Life That I Have is presented as a special illustrated gift book, with pencil drawings by the artist Elena Gaussen Marks, the author's wife. Her pencil sketch of Violette Szabo, based on a photograph, is also included.

In Code was born out of Maryann Corbett’s years of work for the Minnesota Legislature, with a nonpartisan office that mandated that she maintain a public silence about politics. In poems that go from elegiac to fiery to funny, she examines behind-the-scenes legislative labor and the people who do it, the tensions of working for government in a climate hostile to government, and the buildings and grounds that put a beautiful face on a history full of ambiguities. This well-honed collection, Corbett's fifth, reflects on doublespeak and public poses; on coworkers and commutes; on legalese, courts, and elections; on news and history; and at last on retirement—through poems masterfully deployed in a dazzling array of forms: including the prose poem, the sonnet, the ghazal, the villanelle, and the canzone. Maryann Corbett is a candid, wistful, purposeful, and meditative poet in command of her craft. Of her years working for the Minnesota Legislature, Maryann Corbett writes in Rattle: "There was the frisson supplied by the constant presence of the media, the satisfaction of believing one's work served the public, the thrill of working with smart, motivated people, the pleasure of being surrounded by the striking buildings and gardens of the Capitol grounds, the sense of history. There was also the uncomfortable awareness that with every legislative session there are winners and losers, and that the same battles for justice are fought, and often lost, by the same people, year after year." In Code features poems that reflect on both those pleasures and that discomfort, as in these lines from "Seven Little Poems about Making Laws": Capitol café: German proverbs, whitewashed since 1917, are restored to view with bright applause. Old hatreds have new objects now. PRAISE FOR MARYANN CORBETT: Ned Balbo: . . . an extraordinary poet. Tony Barnstone: . . . metrical poetry infused with gorgeous imagery and the vernacular of our scientized world. Richard Wilbur: . . . accurate and delightful. Rhina P. Espaillat: . . . every section touches me and keeps calling me back. A.M. Juster: . . . wit without meanness, warmth without sentimentality, and craft without pretension. Geoffrey Brock: . . . one of the best-kept secrets of American poetry. Marilyn Taylor: . . . poignant, perceptive, exquisitely formed poems . . . a poet to be genuinely grateful for. Peter Campion: . . . a poet of the first order. Willis Barnstone: . . . a newborn Robert Frost, with a wicked eye for contemporary life. Susan McLean: . . . a stunner. ABOUT THE AUTHOR: Maryann Corbett earned a doctorate in English in 1981, with a specialization in medieval literature and linguistics. She expected to be teaching Beowulf and Chaucer and the history of the English language. Instead, she spent almost thirty-five years working for the Minnesota Legislature, helping attorneys to write in plain English and coordinating the creation of finding aids for the law. She is the author of five books of poetry and is a past winner of the Richard Wilbur Award and the Willis Barnstone Translation Prize. Her work is widely published in journals on both sides of the Atlantic and is included in anthologies like Measure for Measure: An Anthology of Poetic Meters and The Best American Poetry 2018.

Poetry has long dominated the cultural landscape of modern Iraq, simultaneously representing the literary pinnacle of high culture and giving voice to the popular discourses of mass culture. As the favored genre of culture expression for religious clerics, nationalist politicians, leftist dissidents, and avant-garde intellectuals, poetry critically shaped the social, political, and cultural debates that consumed the Iraqi public sphere in the twentieth century. The popularity of poetry in modern Iraq, however, made it a dangerous practice that carried serious political consequences and grave risks to dissident poets. The Dangers of Poetry is the first book to narrate the social history of poetry in the modern Middle East. Moving beyond the analysis of poems as literary and intellectual texts, Kevin M. Jones shows how poems functioned as social acts that critically shaped the cultural politics of revolutionary Iraq. He narrates the history of three generations of Iraqi poets who navigated the fraught relationship between culture and politics in pursuit of their own ambitions and agendas. Through this historical analysis of thousands of poems published in newspapers, recited in popular demonstrations, and disseminated in secret whispers, this book reveals the overlooked contribution of these poets to the spirit of rebellion in modern Iraq.

Poets, teachers, and musicologists fusing studies of form, scansion, and musical creation to redefine the place of the American bard

The specter of a prison punishment for even slight political offenses became an element of daily life in post-war Poland. In interwar Poland, imprisonment, especially for communists, had served as a rite of passage, endurance training, and a university teaching life skills. The post-war order brought a dramatic shift, as communists all over the region, often veterans of interwar prisons or war-time concentration camps, used incarceration sites as a way to mold the future. The prison system functioned as a tool to subjugate society and silence or destroy enemies- anti-communists as well as committed communists. Arrests, trials, and prison sentences directly and indirectly affected tens of thousands of people and instilled fear and insecurity in many more. Many of those imprisoned as enemies of the new post-war Communist authorities were women. Some were jailed for their alleged collaboration with the Nazi resistance during the war, some for post-war activities in various civil and quasi-military groups, still others on the basis of their relationships with those already imprisoned. For some, there was evidence of their anti-state activities, while for many others the accusations were contrived. In this work, Anna Müller unearths the prison lives of these women through their autobiographical writings, interrogation protocols, cell spy reports, and original interviews with former political prisoners. Her interviewees narrated their own versions of what happened during their arrests, interrogations, and confinement. They also explored their emotions: surprise, confusion, fear, and anger. Although their imprisonments interrupted their lives, separated them from families, and caused much suffering, the women reflected on how they refashioned themselves during their interrogations; applied their senses to orient themselves in the prison space; and used their bodies to gain control over themselves and as a means to exercise pressure on the authorities. The creativity that they displayed individually and collectively in their cells helped them rebuild a semblance of normal life inside prison walls despite the abuses inflicted by interrogation officers and guards. By examining women's lives in the cells of Communist-era prisons, If the Walls Could Speak contributes to our understanding of coercion and resistance under totalitarian regimes.

John Glowney's debut poetry collection constitutes a report on the trials of contemporary life, a document of "visitation" in both senses. "Honesty is what we demand," John Glowney declares in the poem"Proof of Life," and throughout his debut collection Visitation it is honesty that he delivers, hard truths about contemporary life that arrive in burning, burnished words. At the outset he defines visitation as "a special dispensation of divine favor or wrath / a severe trial / an official visit for inspection or supervision", and his poems indeed constitute an inspection and document of wrath and trials (and even some moments of favor), of a universe broken from the beginning that nevertheless gives us life, the "total stranger" to which we owe everything. In the title poem that closes the volume, Glowney observes his neighbor taking out the garbage at night, a "working-class / Santa" in underwear and flip-flops who is a "great and unknowable and terrible" god for the creatures who depend on his trash for sustenance, who has "risen anyway / from his tv and his bag of potato chips / as if he understood the role of a god / is to atone for his long absences." There are glimpse of such atonement throughout these poems, and they are sustenance indeed. Poetry.

The collected critical writings of one of New Zealand's major poets and critics, covering half a century of his work. Of the thirty-eight items (reviews, essays, lectures, interviews, and letters) included, his controversial introductions to his anthologies of New Zealand verse are the best known. There are also incisive essays on Curnow's New Zealand contemporaries, and on writers from further afield, such as Olson and Thomas. For students of English literature, particularly of New Zealand.