Anthology Of Poetry Research Articles

Traducción colaborativa en la poesía mapuche: un aporte a la revitalización del mapuzungun

Este trabajo explora el rol que en la poesía mapuche contemporánea tiene la práctica de la traducción colaborativa, entendida como uno de los actuales esfuerzos de los intelectuales, escritores y traductores del pueblo-nación mapuche por revitalizar su lengua vernácula, el mapuzungun, en el ámbito de la cultura y la literatura. Examinaremos el caso de la antología de poesía mapuche escrita por mujeres, Kümedungun/Kümewirin (2010) a cargo de la poeta y lingüista Jaqueline Caniguan y un equipo de colaboradores. La recreación de la lengua a través de neologismos, el posicionamiento ideológico de los traductores y las reflexiones plasmadas en los paratextos de la antología serán analizados en torno de un ejemplo específico: la traducción colaborativa al mapuzungun del poema «Mi destino» de Adriana Paredes Pinda.

On Refusing Canada, Canlit and More: National and Literary Identity in All Its Varieties

Abstract Two recent anthologies of Canadian writing – Refuse: CanLit in Ruins and Resisting Canada: An Anthology of Poetry – reflect stances of resistance to mainstream institutional understandings of Canadian writing culture. They highlight recent scandals in academia and in literary communities, as well as highlighting the voices of Indigenous and women writers. These stances echo earlier forms of cultural revolution in Canada, in particular the Refus global manifesto, which provoked conventional Quebec society in the late 1940s. This paper contrasts these forms of refusal with a period in the 1950s and 1960s when influential Jewish writers, including Leonard Cohen and Irving Layton, took a counter-cultural stance while appearing in mainstream venues offered to them by CBC television and radio.

A Note on Anne Elder's Scenario for Summer

A Note on Anne Elder's Scenario for Summer Paul Kane For years the poet Anne Elder (1918–1976) was best known for the Anne Elder Award, a prominent literary prize for a first book of poems (similar in prestige to the Yale Younger Poets Prize in the United States). That obscuration of the poet herself has changed of late, with her inclusion in poetry anthologies (by Puncher and Wattmann and the University of New South Wales Press) and particularly with the joint publication in 2018 of a new selection of her poems, The Bright and the Cold (edited by her daughter, Catherine Elder), and a biography, The Heart's Ground (by Julia Hamer). Anne Elder's first career was as a ballet dancer in the Borovansky Company in Melbourne, but her debut collection of poems, For the Record (1972), marked her immediately as a poet of distinction. After her early death, a posthumous volume was published by Angus and Robertson, Crazy Woman and Other Poems (1977), though plans for a collected poems never materialized. Scenario for Summer was written as a radio play in verse and never published (except for a revised excerpt that appeared under the title "Remember the Pool"). It is presumed to have been broadcast, but when and where is currently unknown. In accounting for the poem's provenance and appearance in Antipodes, I have to resort to some personal information. To begin with, the poem was found in Melbourne among the papers of Christine Nicholson, the mother of my late wife, Tina Kane. It was in a manila envelope with "6 Poems by Anne Elder" written on the cover. The poems are all in typescript, and I was told years ago by Chris Nicholson that they were given to her by Anne, a close friend. The other poems included are "To a Friend: On the Occasion of Her Death," "Unaddressed," "The Pilgrimage," "Christmas in Summer," and the well-known "Crazy Woman." When I inquired of Catherine Elder about Scenario for Summer, I received the following: "Even more exciting to hear of your connection to Chris Nicholson who was indeed a dear friend of my mother. Does this mean your wife is/was Tina Nicholson who I remember well from a family holiday at Cowes about 65 years ago?(!!) She and her friend Noelly(?) were then pretty girls in their early teens and my cousin Julia and I (3 or 4 years younger) followed them around in rapt admiration" (16 February 2021). And, subsequently, Catherine (or Cathie) wrote, And yes by all means mention my mother's friendship with Chris. It was very important to her when I was in my early teens and living at home. Not sure what happened later. On reading this piece I get the distinct impression it [End Page 167] draws on images from our holidays on Phillip Island—"the town set against the dramatic bay" could possibly be Cowes where Chris and Tina came to join us one year. And the main street with its honeymoon couples and juke boxes certainly so. The lovely selfish girls fiddling with their hair and strolling on the jetty could be any of us teenagers but I reckon Tina and Noelly were just at that age of delicious self-absorption and flirtatiousness. I and my cousin were too young and gauche to do more than look on in admiration. I remember a lovely evening cooking up a lobster in a cauldron over an open fire close to the beach … Chris was certainly present. Happy times. (7 September 2021) Phillip Island, southeast of Melbourne, remains a popular tourist destination. As Julia Hamer writes, "Sometimes the Elders rented houses by the beach and sometimes they boarded in country properties that were open to guests. Cathie loved these times, remembering especially collecting shells on the beaches of Phillip Island, and making necklaces from them; the lovely little fairy penguins; and dancing on the beach with Anne" (The Heart's Ground, 168). Much of this holiday life appears in Scenario for Summer, and certainly Chris Nicholson; her daughter, Tina; and son, Dennis, all spoke of their time there with great affection—and all had vivid memories of Anne...

A strange magic

A strange magic Kendalyn Mckisick Anthology of Australian Prose Poetry Cassandra Atherton and Paul Hetherington, eds. Melbourne: Melbourne University Press, 2020. 186 pp. ISBN- 978-0-522-87474-7 A book that has been long awaited, Anthology of Australian Prose Poetry, provides an overview of how prose poetry has come into the Australian poetic landscape while presenting a variety of prose poems written by Australian poets who are breaking away from conservative, traditional poetic forms. These poets stand next to one another here—as a sort of resistance—unified by a shared belief that prose can and should be an acceptable entry for poetics. The featured poems are varied in content while also providing examples of how a prose poem might approach taking up space on the page. Each block of text uncovers a unique truth: "Until now, and despite the excellence of prose poetry in Australia, there has never been such an anthology, although poets since 2002 … have called for one to be published, … the result of relative neglect of prose poetry by critics and editors in Australia" (1). The anthology opens with a fourteen-page essay of exposition from the editors that seeks to explain the why of the book and bring readers to a level ground of understanding before experiencing the delight to come. The essay, "A Strange Magic: Australian Prose Poetry," is broken into five sections, wherein the reader learns about the history of the prose poem, how it has evolved in Australia as well as other areas of the world, how select academics view the form, what some of the broader characteristics of the prose poem are, and how prose poetry is being defined in regard to the poems that have been selected. Because the concept of a prose poem is not entirely concrete and not fully derived from traditional lineated poetry, the definition section of the essay is helpful to give a firm foundation to the collection of poems that follow. The featured prose poems are extremely different from one another, cobbling together a clearer, larger view of what Australian prose poetry looks and sounds like, while simultaneously breaking open possibilities of topics that the prose poems might broach. As an American poet who primarily reads poetry by American poets, I find these poems to be quite different from the prose poetry with which I am familiar—prose poems that are primarily narrative and linear but also have an apparent freedom to blend prose and poetic form, using punctuation creatively in place of line breaks, [End Page 398] while even at times blending in concepts of visual art. The poems featured within the anthology show a spectrum of approaches to blocks of texts, including lists, written vernacular, font as decoration, heavy fragmentation, justified and nonjustified text, and indented paragraphs. Two poems within the book that represent the variety of the anthology are "Wha'd I Tell Ya?" by Raelee Lancaster (115) and "Pen-Sickness" by Vincent Buckley (42). Lancaster's poem tells a story of a child who has been taught by their Auntie to weave baskets but does not remember how to start the basket. The response of the Auntie is "Wha'd I tell ya?" to each action of the child, from not remembering to successfully finishing the basket, showing how the same words can take on different meanings in different contexts. The speaker of the poem is a child, portrayed primarily through use of simple language. Though the language is childlike, the actions and repetition of the title create a poetic pattern. "Pen-Sickness" is a poem that uses more traditional poetic language yet uses the prose form. The unknown speaker pulls the reader in, using the address "you," and describes the sometimes painful process of writing a poem, using language that would also describe a person who is lovesick, drawing a parallel between romantic relationships and the relationships between a poet (the pen) and the poem. Instead of setting a narrative scene, the poem lingers in the mind through symbolism. This book certainly contributes to a greater understanding of prose poetry, both the politics and the form, as well as offering a progressive vision of prose poetry entering the world...

Трагедія буковинського єврейства у рецепції Мозеса Розенкранца

. In recent years, there has been an increasing scientific interest in the German-language literature of Bukovyna, which until the 1980s, for various reasons, remained out of sight of literary critics and became a kind of "virgin land" for Ukrainian scientists. The reason for this interest was translations of works by Paul Celan, Rosa Auslander, Zelma Meerbaum-Eisinger, Alfred Gong, Gregor von Rezzori, Georg Drozdowski, etc., which appeared in Chernivtsi publishers. Ukrainian translations of the works of the German-language writer of Jewish origin Moses Rosenkrantz, done by the Chernivtsi scholar and translator Peter Ryhlo, were included in the collections "The Lost Harp. Anthology of German-Language Poetry of Bukovyna" (2002, 2008) and "German-Language Poetry of Bukovyna. Time of the Phoenix " (2008). Most Bukovinian German-speaking authors during the Second world war experienced the horrors of the Holocaust, which led to the almost total extermination of the Jewish community in Bukovyna. They lost their relatives in those terrible times, or they became victims of the bloody Nazi machine. Those who remained alive tried to convey the terrible images of the Disaster and express their own experiences in their works. This article attempts to analyze the poetic reflection of the tragedy of the Holocaust in Bukovyna in the lyrical works of M. Rosenkrantz. The writer created several poems dedicated to the theme of the extermination of Jews. For the research, we selected poetry included in the collections "Visionen" ("Visions") (2007), "Bukowina. Gedichte 1920-1997" ("Bukovina. Poems 1920-1997") (1998) and "The Lost Harp" (2008), where the writer vividly depicted the terrible pictures of Shoah that he had to go through, his own emotions and impressions of what he saw: "Eine Allee" ("Alley"), "Klage" ("Complaint"), "Ausklang" ("Last Chord"), "Die Blutfuge" ("Bloody Fugue"), "Ein Ungeborener" ("Unborn"), "Angst" ("Fear"), "Dorfpogrom/Östlich" ("Rural Pogrom"), "Mein Amt" ("My Duty").

Resisting Sexual Colonization, Reclaiming Denied Spaces: A Reading of Tattooed with Taboos: An Anthology of Poetry by Three Women from Northeast India

In the pervasiveness of the dominant male voices in literature, the resistant female voices have traditionally got drowned. This has made the act of identification and foregrounding of the works of women an important political act, enabling women to gain agency by focusing attention on the silences and taboos on their bodies, sexualities, desires and pleasures thereby disrupting the hegemonic patriarchal establishment. It is in this context that this paper attempts to make a reading of Tattooed with Taboos: An Anthology of Poetry by Three Women from Northeast India, a collection of seventy-seven poems which tries to understand what it means to be a woman in a society fettered with the shackles of patriarchy. The resistance in the anthology (first published in 2011), complied by poets who hail from a peripheral province in the Indian nation-state, begins with the cover design, which powerfully foregrounds a picture of the hem of a phanek (a traditional sarong-like dress worn by women in Manipur), which, because of the norm created by the social matrix of the patriarchal Manipuri society, is regarded as inauspicious and untouchable for the menfolk because of its association with the body of the woman. The paper endeavours to explore how the picture of a vilified piece of dress, symbolising the social control of women’s bodies, becomes in the hands of these women poets potent cultural capital as they go about resisting in/through their poetry the sexual colonisation of their bodies and the smothering of their desires by a patriarchal society. In this context, the paper attempts to look at how the poets in this anthology try to re-historicise the pain, sufferings and trauma inscribed on the ‘abject’ bodies of women by questioning the existing discourse and trying to find a new way of viewing/writing their bodies. This endeavour on the part of the poets, as this paper tries to show, leads them to express a desire to trespass into spaces usually denied to women in the personal and the public.

The Editorial Principles of Anton Federigo Seghezzi and His Giuntina Project

This essay examines the editorial principles and activity of the Venetian editor Anton Federigo Seghezzi (1706–1743) and investigates especially the construction of his monumental expansion of one of Italy’s earliest and most important anthologies of early lyric poetry, the 1527 Giuntina, in his 1731 and 1740 editions of the Rime di diversi antichi autori toscani in dodici libri raccolti.

God’s Exiles and English Verse: On the Exeter Anthology of Old English Poetry

God’s Exiles and English Verse: On the Exeter Anthology of Old English Poetry

Gaya Bahasa Asonansi dan Aliterasi pada Antologi Puisi Romances Sans Paroles

This research aims to explain the analysis figure of speech of assonance et alliteration in poems anthology by Paul Verlaine. The research questions discussed in this research are how the assonance and the alliteration found in those poems by focusing on the repetition of vowels and consonants phonemes in an array. The method used in this research is descriptive-qualitative, by analyzing data contained in the poetry anthology Romances Sans Paroles in the form of sentences. The repetition of phonemes both assonance and alliteration was encountered 137 times. 61 assonances and 76 alliterations were found. The data is dominated by the phoneme [R] which is a type of vibrating shear consonant that found 11 times.

‘a night where june and moon rhyme’

Dr Raphael d’Abdon is a writer, scholar, spoken word poet, editor and translator. In 2007 he complied, translated and edited I nostri semi/Peo tsa rona, an anthology of contemporary South African poetry. In 2011 he translated into Italian (with Lorenzo Mari) Bless Me Father, the autobiography of South African poet Mario d’Offizi. In 2013, he compiled and edited the collection Marikana: A Moment in Time. He is the author of three collections of poems, sunnyside nightwalk (Johannesburg: Geko, 2013), salt water (Johannesburg: Poetree Publishing, 2016) and the bitter herb (East London: The Poets Printery, 2018), and he has read his poetry in South Africa, Nigeria, Somaliland, Italy, Sweden and the USA. His poems are published in journals, magazines and anthologies in South Africa, Nigeria, Ghana, Malawi, Singapore, Palestine, India, Italy, Canada, USA and UK, he is South Africa’s representative of AHN (Africa Haiku Network), and he is a member of ZAPP (The South African Poetry Project) and IPP (International Poetry Project), two joint-projects of the University of Cambridge, UNISA and the University of the Witwatersrand, whose chief aims are to promote poetry in schools in South Africa, UK and beyond, and to instill knowledge, understanding and a love of poetry in young learners.This interview is conducted through e mails in the months of April-May 2020 when Corona virus ravished the world. We saw light through the wings of poesy. We reached out each other through questions and answers about poetry, life and the immediate.

God’s Exiles and English Verse: On the Exeter Anthology of Old English Poetry. John D. Niles. Exeter: University of Exeter Press, 2019. Pp. xvi+288.

<i>God’s Exiles and English Verse: On the Exeter Anthology of Old English Poetry</i>. John D. Niles. Exeter: University of Exeter Press, 2019. Pp. xvi+288.

Yasnov, M. (2019). The nursery of French poetry. Translations. Portraits. Encounters. Moscow: Tsentr knigi Rudomino. (In Russ.)

M. Yasnov’s book attempts to bridge the cultural gap between France and Russia. Showcasing Yasnov’s talents as a poet, writer of children’s books, translator, and commentator of French poetry collections and anthologies, the book continues the cycle of his works dedicated to French poetry and its Russian translations and interpretations. The bilingual edition of 16th–20th-cc. French poetry published in 2016 started the series and included the works of La Pléiade and La Fontaine, Baroque and Rococo poets, as well as poètes maudits and the poems of La Belle Époque. In addition to the collected poems, the book contains essays on the poets and Yasnov’s comments about the challenges of translation. In the new publication, Yasnov the translator lends a voice to French poems for children, many of which appear in press for the first time. Finally children’s literature originating in France will reveal its diversity to Russian readers.

Kajian stilistika dalam antologi puisi negeri dongeng karya mahasiswa universitas peradaban

Stylistics is basically the activity of writers using language, especially language that triggers creativity to sort out the use of language. In this research using the study of stylistics in the poetry anthology of "Negeri Dongeng" by the students of Peradaban University. This research is a qualitative descriptive study. The data in this study are descriptive words in the Poetry Anthology of "Negeri Dongeng" by Indonesian Language and Literature Education Students at the Peradaban University and reference books related to research. Data collection techniques with document analysis that starts from the stages of reading, recording, and analyzing data in the Anthology Poem "Negeri Dongeng". The data validity technique in this research is data triangulation. The purpose of this research is to explain the study of stylistics in the anthology of "Negeri Dongeng" poetry by Peradaban University Students. The results of this study are to explain 6 problems regarding the use of sound style, word style, sentence style, discourse style, the existence of figurative language in the use of figurative language types: metaphor, personification, paradox, hyperbole. While the use of images, namely: vision, hearing, smell, motion, touch. Which is dominated by figurative language imagery.

Samuel Joseph Smith and the Formerly Anthologized

ABSTRACT Samuel Joseph Smith (1771–1835) created poetry brightened by a generally humorous, light, and melodic style. Yet he was, far more often than not, able to avoid trite, forced didacticism, providing us with poetry that truly both teaches and delights. Despite his life as a recluse at Hickory Grove, his family farm, Smith engaged effectively in resisting the early national inebriate character. His “Eulogium on Rum” is one of only six poems to appear in all three of the new nation's first poetry anthologies—The Beauties of Poetry, British and American (1791); American Poems (1793); and The Columbian Muse (1794). It additionally appeared in several periodicals, as did his later poem “The Indian Boy,” an excerpt of which even appeared in the Cherokee Phoenix in 1829 and which dissents from the national notions of the Christian nation and Manifest Destiny, myths that still haunt our politics and conservative media today.

Julian Przyboś – poeta nie-„prześnionej rewolucji”

Andrzej Leder’s monograph Prześniona rewolucja. Ćwiczenia z logiki historycznej [Sleepwalking the Revolution. An Exercise in Historical Logic] allows us to look at Julian Przyboś in a new perspective, which at least in part removes the communist label from the co-author of the anthology of revolutionary poetry Wzięli diabli pana [The devils have taken the lord] (1955) and thus forces us perhaps even to abandon the “white and red” perception of the 20th-century life stories of Poles. Aware of the historical significance, the poet would not say about the post-war social revolution, “It just happened”.

FIGURATIVE LANGUAGE IN AMIR HAMZAH’S POEMS

This study dealt with figurative language in Amir Hamzah’s selected poems. The objective of this study were to investigate the types of figurative language found in Amir Hamzah’s selected poems and to find out the literal meaning of figurative language found. This study was conducted by using qualitative method to solve the problems. The data of this study were phrases and sentences contained figurative language in the poems. The sources of data were six poems poems which had multiple series taken from Amir Hamzah’s Poetry Anthology of Buah Rindu. The data were selected by using random sampling technique. For collecting the data, this study used documentary technique, and the instruments of data were documentary sheets. The data were analyzed by using descriptive qualitative method. The findings of this study are there twenty two figurative languages found as follows, three figurative language of metaphor (13.63%), seven figurative language of hyperbole (31.81%), five figurative language of personification (22.72%) and seven figurative language of simile (31.83%). The literal meaning of figurative language found in Amir Hamzah’s poems were basically was about the love story of Amir himself and also talking about his longing to his mother.Keywords : Figurative Language, Figure of Speech, Poem

The Jesuits in Japan and Asian Poetries in Moveable Type

Abstract In 1600, Japan-based Jesuits printed a moveable-type edition of the Wakan rōeishū (The Collection of Japanese and Chinese resonant verse), a bilingual anthology of classical Japanese and Chinese poetry that had long been an emblem of Japan’s literary world. Made to educate Japanese and foreigners alike in the scripts, languages, and literatures of Japan, the Amakusa Rōeishū was a component of an educational and evangelizing mission. Although it was neither translated into European languages nor widely circulated, the Amakusa Rōeishū represents an alternative to prevailing conceptions of world literature in its capacity to invite and challenge readers to work through its (decreasingly) foreign systems of meaning. By redesigning the anthology’s title page, reediting its contents, and repositioning it on a multilingual and multidirectional curriculum, Jesuit printers and teachers invited an incommensurate ecumene of readers to work through a singular text from a plurality of directions.

Poems from the Edge of Extinction: An Anthology of Poetry in Endangered Languages by Chris McCabe

women. From Chistiane, a longtime friend of Hortense who endures ineffable abuse and cruelty from the titular militants, to Mam’Soko, a village elder undisturbed by the war pressing against the edge of her property, the tales of these characters are concise and clear. Some passages, such as Christiane’s recollection of her life in PointeRouge , feel a bit too comprehensive and, as a result, verge on damaging the realism of the narrative device, Hortense’s journal. Though it is challenging to weave the context of a fictional nation into the novel without hindering its momentum, Mabanckou’s ability to do so is evident in his later work, such as Black Moses. Beyond Vercingetorix’s figures, Mabanckou crafts a setting as timeless as it is prophetic. Presumably an amalgam of Vietnam and the Republic of the Congo, Vietongo is described in the novel’s preface as a “mosaic of ethnicities” and, by extension, cultures. The novel’s parallels to reality are rampant, notably Pointe-Rouge’s reflection of Mabanckou’s home city, Pointe-Noire. Despite the homogenization of ideas and lifestyles, regionalism leads to the authoritative rule of the north and, in contrast, the violent radicalization of the south. The tug-of-war Mabanckou conjures is not only telling of Africa but the world at large— Hortense inquires whether, to some extent, we are not all Vietongolese. How quickly life’s joy can devolve into tragedy lingers in the shadow of every paragraph. Like Atwood’s The Handmaid’s Tale, one is left only to presume the worst for the narrator. Yet, amid the rising volume of this dirge is an unshakable sense that humanity will weather the violence, a sentiment echoed in Hortense’s resolve. With The Negro Grandsons of Vercingetorix , Mabanckou stresses that even as violence is an accomplice to life, perseverance is synonymous. Daniel Bokemper Oklahoma City Poems from the Edge of Extinction: An Anthology of Poetry in Endangered Languages Ed. Chris McCabe. London. Chambers. 2019. 256 pages. LITERATURE STANDS ON the front lines, wherever noble human impulse confronts the void. Mass extinction of species , collapse of earth’s vital ecosystems, devastating environmental degradation, systemic impoverishment, and the fraying of hard-won systems of geopolitical cooperation all hang heavy on us in this generation . One often underappreciated aspect of this avalanche triggered by human overreach is the accelerating loss of our cultural diversity—of the peoples, traditions, and languages of our world. This beautiful volume helps counter such loss on a human scale, touching us individually and emotionally. It is a poetic seed bank, to be savored, yes—and possibly to help us preserve this diversity for our future selves. Poetry from dozens of endangered languages is organized in sections geographically, presented in original and English translation, and contextualized succinctly in a useful discussion section following each poem. In poem after poem, themes of loss, isolation, secret wisdom, and some surprising histories bubble continually over. There is mystical poetry from the Nomad Testament, by Hawad, in translation from the Tamajaght language of central Sahara: “O Ti-n-El / we have seen so many courtiers / butterfly travelers returning / from the vigil of the Pleiades / yet from your face / aflame with a smile / which sculpts fire lashes // No look has returned.” From the Zoque language of Mexico, there is Mikeas Sánchez’s “Jesus Never Understood My Grandmother’s Prayers” (trans. David Shook): “my grandmother’s tongue / smelled like rose apples / and her eyes lit up when she sang / with the brightness of a star. / Saint Michael Archangel never heard her / my grandmother’s prayers were sometimes blasphemies / jukis’tyt she said and the pain stopped / patsoke she yelled and time paused beneath her bed” (WLT, Sept. 2014, 31). Faroese poet Kim Simonson gives us this, in Randi Ward’s translation of December Morning: “A starling flock lights / on red and black currant bushes. / You’re crying on the phone again. / A land is a construct / that has to be recreated every day.” WORLDLIT.ORG 81 Equally fascinating are the texts following the poems—where we also get a glimpse into the surprising complexity of translation approaches employed across this map of this endangered poetic world. For example, the...

Emily Dickinson: A Bee Gatecrashing Eternity

Yu Kwang-chung (1928-2017) is an established Chinese Modern poet across the Taiwan Strait and also an important literary translator who introduced modern English and American poetry to the Chinese reader. His Chinese translation of thirteen well-chosen poems by Emily Dickinson was published with an introduction to the poet in the 1961 Anthology of American Poetry edited by Stephen Soong (1919-1996) and published by World Today Press, Hong Kong. Yu's critical introduction to the art of Emily Dickinson's poetry was later included in his Anthology of Modern English and American Poetry in 1968, wherein he translated 99 modern English and American poems into Chinese; he revised this collection half a century later. In the 2017 republished edition, he translated another twelve of Emily Dickson's poems into Chinese and prefaced them with a critical introductory essay entitled "Emily Dickinson (1830-1886): A Bee Gatecrashing Eternity." The article, on the one hand, unveils the poetic features and the secluded life of the hermit poet of Amherst. On the other, it weighs Dickinson against a spectrum of other modern English and American poets with succinct yet profound criticism. In order to promote Dickinson Studies on the global stage, it is worth translating the poet-translator-critic's well-wrought Chinese article into English so that the voice of Taiwan can be rendered to the Anglophone world.

Rosh Hashanah with Crow

Rosh Hashanah with Crow Susan Cohen (bio) The crow who made me swervestood in the street, peeling the dried fruit of a carcass.It could have killed me with its gift for prophecy—foreseeing I'd steer around it into traffic and back, secondsbefore it merged with the blackness of my tires.It would not let go of the string, crow feetadamant and planted like a tyrant's. In my rearview mirror, the bird remainedalive and bent in conversation with oblivion, tearingat whatever grease was hardened on the pavement.I drove glancing backward at howthe crow kept bowing to the spread on its altar.Do I ever abandon myself to any appetite so completelythat I forget to listen for the rumble of disaster? This was Rosh Hashanah, a day to be writtenonce again in the book of life, with its running addendumof casualties. A day to dip into the honey,but no one in my family was close enough to share itexcept by text: shanah tovah across cities and continents.How I wanted someone near me to celebrateour mutual survival: mine, and the crow, and the Jews. [End Page 183] Susan Cohen Susan Cohen is the author of Throat Singing and A Different Wakeful Animal. Her recent poems have appeared in the American Journal of Poetry, JuxtaProse, Poet Lore, Southern Humanities Review, Southern Review, Tar River Poetry, and elsewhere, including the Atlanta Review 25th Anniversary Anthology and the Bloomsbury Anthology of Contemporary Jewish American Poetry. She lives in Berkeley and has an mfa from Pacific University. Copyright © 2020 University of Nebraska Press