Contents I. Furious Versionis II. The Interrogation This Hour And What Is Dead Arise, Go Down My Father, In Heaven, Is Reading Out Loud For A New Citizen Of These United States With Ruins III. This Room And Everything In It The City In Which I Love You IV. The Waiting A Story Goodnight You Must Sing Here I Am A Final Thing V. The Cleaving

Poetry by Asian American writers has had a significant impact on the landscape of contemporary American poetry, and a book-length critical treatment of Asian American poetry is long overdue. In this groundbreaking book, Xiaojing Zhou demonstrates how many Asian American poets transform the conventional “I” of lyric poetry—based on the traditional Western concept of the self and the Cartesian “I”—to enact a more ethical relationship between the “I” and its others. Drawing on Emmanuel Levinas’s idea of the ethics of alterity—which argues that an ethical relation to the other is one that acknowledges the irreducibility of otherness—Zhou offers a reconceptualization of both self and other. Taking difference as a source of creativity and turning it into a form of resistance and a critical intervention, Asian American poets engage with broader issues than the merely poetic. They confront social injustice against the other and call critical attention to a concept of otherness which differs fundamentally from that underlying racism, sexism, and colonialism. By locating the ethical and political questions of otherness in language, discourse, aesthetics, and everyday encounters, Asian American poets help advance critical studies in race, gender, and popular culture as well as in poetry. The Ethics and Poetics of Alterity is not limited, however, to literary studies: it is an invaluable response to the questions raised by increasingly globalized encounters across many kinds of boundaries. The Poets Marilyn Chin, Kimiko Hahn, Myung Mi Kim, Li Young Lee, Timothy Liu, David Mura, and John Yau

2021 National Book Critics Circle Award Finalist 2021 Foreword Indies Finalist Winner of the Sillerman First Book Prize for African Poetry The poems in The Rinehart Frames seek to exhaust the labyrinths of ekphrasis. By juxtaposing the character of Rinehart from Ralph Ellison's Invisible Man with the film 24 Frames by Abbas Kiarostami, the poems leap into secondary histories, spaces, and languages that encompass a collective yet varied consciousness of being. Cheswayo Mphanza's collection questions the boundaries of diaspora and narrative through a tethering of voices and forms that infringe on monolithic categorizations of Blackness and what can be intersected with it. The poems continue the conversations of the infinite possibilities of the imagination to dabble in, with, and out of history.

Charts new directions for interdisciplinary research on refugee writing and representationPlaces refugee imaginaries at the centre of interdisciplinary exchange, demonstrating the vital new perspectives on refugee experience available in humanities researchBrings together leading research in literary, performance, art and film studies, digital and new media, postcolonialism and critical race theory, transnational and comparative cultural studies, history, anthropology, philosophy, human geography and cultural politicsThe refugee has emerged as one of the key figures of the twenty-first-century. This book explores how refugees imagine the world and how the world imagines them. It demonstrates the ways in which refugees have been written into being by international law, governmental and non-governmental bodies and the media, and foregrounds the role of the arts and humanities in imagining, historicising and protesting the experiences of forced migration and statelessness. Including thirty-two newly written chapters on representations by and of refugees from leading researchers in the field, Refugee Imaginaries establishes the case for placing the study of the refugee at the centre of contemporary critical enquiry.

Set adjacent to "victims" and "bystanders," "perpetrators" are by no means marginalized figures in human rights scholarship. Nevertheless, the extent to which the perpetrator is not only socially imagined but also sociologically constructed remains a central concern in studies of state-authorized mass violence. This interdisciplinary collection of essays builds upon such work by strategically interrogating the terms through which such a figure is read via law, society, and culture. Of particular concern to the contributors to this volume are the ways in which notions of "violation" and "culpability" are mediated through less direct, convoluted frames of corporatization, globalization, militarized humanitarianism, post-conflict truth and justice processes, and postcoloniality. The chapters variously give scrutiny to historical memory (who can voice it, when and in what registers), question legalism’s dominance within human rights, and analyse the story-telling values invested in the figure of the perpetrator. Against the common tendency to view perpetrators as either monsters or puppets — driven by evil or controlled by others — the chapters in this book are united by the themes of truth’s contingency and complex imaginings of perpetrators. Even as the truth that emerges from perpetrator testimony may depend on who is listening, with what attitude and in what institutional context, the book’s chapters also affirm that listening to perpetrators may be every bit as productive of human rights insights as it has been to listen to survivors and witnesses. This book was previously published as a special issue of the International Journal of Human Rights.

‘ No matter what, Juliet ‘ Having you, my Juliet and though drama is hanging in the air. How many times we danced in the open air sweetly in arms. How many times our kisses brought us into glamorous palaces of love. How many times our minds were no longer deserts but oasis of loving hearts. Even though our constellation is far from the starry one I love you with all my heart. No matter what shall happen no one and nothing shall separate us. We are the lovers of all times larger than life you and me, Romeo and Juliet.

Doctor Jimmy Capri was anxious. Doctor Maureen "Mo" Lally had coerced him into presenting their paper at a military medical meeting in Hanoi. He feared that returning to Vietnam would unmask the post traumatic stress disorder, PTSD that he suffered from his first tour at First Marines First Medical Battalion in Da Nang and that he had managed to submerge for over thirty-five years. The memories that had lain dormant did surface, including being shot and the details of his love affair with Mai Nguyen, a nurse at WHO Children"s Hospital. What he didn't anticipate from his short stay in Vietnam, was a new love.