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Seventeenth And Eighteenth Centuries | |
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The World The Mughals Made | |
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from The Memoirs of Babur | |
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Jahangir (1569-1627) | |
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from The Memoirs of Jahangir | |
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Mirza Muhammad Rafi "Sauda" (1713-1781) | |
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from Satires[How to Earn a Living in Hindustan] | |
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Mir Muhammad Taqi "Mir" (1723-1810) | |
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Selected Couplets | |
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from The Autobiography | |
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Barnarsidass (Mid-17<sup>th</sup> Century) | |
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from Half a Tale | |
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Love Suicide at Amijima | |
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Resonance | |
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Houzumi Ikan: Chikamatsu on the Art of Puppet Theatre | |
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from The Story of the Stone | |
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Resonance | |
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Shen Fu: from Six Records of a Floating Life | |
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The Ottoman Empire | |
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I opened my eyes from sleep | |
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At times, my longing for the beloved slays me | |
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My heart burns in flames of sorrow | |
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Fuzuli (1480-1556) | |
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Oh God, don't let anyone be like me | |
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If my heart were a wild bird | |
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For long years we have been haunting the quarter | |
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The pointed reproach of the enemy | |
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Ned�m (1681-1730) | |
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At the gathering of desire | |
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When the east wind leaves that curl | |
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As the morning wind blows | |
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Take yourself to the rose garden | |
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Delicacy was drawn out like the finest wine | |
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Lady Mary Wortley Montagu (1689-1762) | |
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The Turkish Embassy Letters | |
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To Alexander Pope (1 April 1717) | |
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To Sarah Chiswell (1 April 1717) | |
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To Lady Mar (18 April 1717) | |
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The Age Of Enlightenment | |
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Tartuffe | |
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Perspectives: Court Culture and Female Authorship | |
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from Cl�lie | |
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Marie-Madeline Pioche de La Vergne, Comtesse de Lafayette (1634-1693) | |
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The Countess of Tende | |
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Marie de Rabutin-Chantal | |
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from Selected Letters | |
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Elisabeth Charlotte von der Pfalz | |
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from Letters | |
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To my Excellent Lucasia, on Our Friendship | |
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An Answer to Another Persuading a Lady to Marriage | |
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from The Ladies Defence | |
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Countess of Winchilsea (1661-1720) | |
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The Introduction | |
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Friendship between Ephelia and Ardelia | |
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from The Spleen | |
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The Lady's Dressing Room | |
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The Reasons that Induced Dr. S. to write a Poem called The Lady's Dressing Room | |
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To Mr., an Unlettered Poet, on Genius Unimproved | |
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Crosscurrents | |
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Oroonoko | |
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Resonance | |
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George Warren: from An Impartial Description of Surinam | |
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Gulliver's Travels | |
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A Voyage to the Country of the Houyhnhnms | |
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Perspectives: Journeys In Search of the Self | |
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from The Book of Travels | |
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[Selected Haiku] | |
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from Narrow Road to the Deep North | |
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Translations | |
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from Persian Letters | |
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from Supplement to the Voyage of Bougainville | |
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from The Interesting Narrative of the Life of Olaudah Equiano | |
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Crosscurrents | |
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Candide | |
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Resonances | |
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Gottfried Wilhelm von Leibniz: from Theodicy | |
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Alexander Pope: from An Essay on Man | |
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Translations | |
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The Rape of the Lock | |
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Perspectives: Liberty and Libertines | |
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from Life of a Sensuous Woman | |
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from Love Poems of the Sixth Dalai Lama | |
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Earl of Rochester (1647-1680) | |
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The Imperfect Enjoyment | |
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A Satyr Against Reason and Mankind | |
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Fantomina: or, Love in a Maze | |
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from The Social Contract | |
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(1759-1797) | |
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from A Vindication of the Rights of Woman | |
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(1743-1825) | |
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The Rights of Women | |
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(1724-1804) | |
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An Answer to the Question: What Is Enlightenment? | |
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Crosscurrents | |
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Bibliography | |
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Credits | |
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Index | |
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The Nineteenth Century | |
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Lines Written a Few Miles above Tintern Abbey | |
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Nutting | |
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from Preface to Lyrical Ballads | |
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Composed Upon Westminster Bridge | |
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My heart leaps up | |
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Ode: Intimations of Immortality from Recollections of Early Childhood | |
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To the Cuckoo | |
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Mark the concen'tred hazels that enclose | |
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from The Prelude | |
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from Book Fifth: Books (The Dream of the Arab) | |
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from Book Sixth: Cambridge and the Alps (Crossing the Alps) | |
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from Book Eleventh: France | |
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from Book Fourteenth: Conclusion (Ascent of Snowdon) | |
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Perspectives: Romantic Nature | |
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from Reveries of a Solitary Walker - Fifth Walk | |
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from Critique of Practical Reason | |
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The Ecchoing Green | |
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The Tyger | |
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Ode to a Nightingale | |
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To Autumn | |
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The Man on the Heath | |
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In the Grass | |
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The Infinite | |
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Dialogue Between Nature and an Icelander | |
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from Nature | |
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from Self-Reliance | |
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from Walden | |
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Crosscurrents | |
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Faust | |
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Part I | |
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Dedication | |
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Prelude on the Stage | |
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Prologue in Heaven | |
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Night | |
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from Outside the Town Wall | |
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Faust's Study (1) | |
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from Faust's Study (2) | |
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A Witch's Kitchen | |
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Evening | |
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A Promenade | |
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The Neighbor's House | |
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A Street | |
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A Garden | |
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A Summerhouse | |
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from A Forest Cavern | |
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Gretchen's Room | |
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Martha's Garden | |
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At the Well | |
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By a Shrine Inside the Town Wall | |
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Night. The Street Outside Gretchen's Door | |
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A Cathedral | |
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from A Walpurgis Night | |
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Part II | |
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| |
Act 1 | |
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| |
A Beautiful Landscape | |
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A Dark Gallery | |
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Act 5 | |
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Open Country | |
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A Palace | |
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Deep Night | |
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Midnight | |
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The Great Forecourt of the Palace | |
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Burial Rules | |
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from Mountain Gorges | |
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Translations: Goethe's Faust | |
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| |
To the Moon (trans. Jane K. Brown) | |
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Erlking | |
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Dusk Descended from on High | |
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Blissful Yearning | |
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| |
Translations | |
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| |
| |
from Don Juan, Cantos 2-4 | |
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| |
I'm neither the loosening of song nor the close-drawn tent of music | |
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| |
Come now: I want you: my only peace | |
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When I look out, I see no hope for change | |
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If King Jamshid's diamond cup breaks, that's it | |
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| |
One can sigh, but a lifetime is needed to finish it | |
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| |
When the Great One gestures to me | |
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| |
For tomorrow's sake, don't skimp with me on wine today | |
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| |
I'm confused: should I cry over my heart, or slap my chest? | |
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| |
She has a habit of torture, but doesn't mean to end the love | |
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| |
For my weak heart this living in the sorrow house | |
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| |
Religious people are always praising the Garden of Paradise | |
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| |
Only a few faces show up as roses | |
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| |
I agree that I'm in a cage, and I'm crying | |
| |
| |
Each time I open my mouth, the Great One says | |
| |
| |
My heart is becoming restless again | |
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| |
Resonances | |
| |
| |
Agha Shahid Ali: Ghalib's Ghazal | |
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| |
Agha Shahid Ali: Of Snow | |
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| |
| |
I visited Again | |
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| |
The Bronze Horseman | |
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| |
from Eugene Onegin | |
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| |
| |
Perspectives: The National Poet | |
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| |
| |
Reading Hsiao-ching | |
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| |
| |
from The Tale of Kieu | |
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| |
| |
Resonance | |
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| |
Che Lan Vien, Thoughts on Nguyen | |
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| |
| |
The Mouse's Petition to Dr. Priestly | |
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| |
Washing Day | |
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| |
Eighteen Hundred and Eleven | |
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Resonance | |
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| |
John Wilson Croker, from A Review of Eighteen Hundred and Eleven | |
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| |
Chatir Dah | |
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| |
The Ruins of the Castle of Balaklava | |
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| |
Zosia in the Kitchen Garden | |
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| |
The Lithuanian Forest | |
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| |
Hands That Fought | |
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| |
To a Polish Mother | |
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| |
| |
Song of the Bard | |
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| |
The Free Besieged | |
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| |
from The Poet | |
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| |
| |
I Hear America Singing | |
| |
| |
from Song of Myself | |
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| |
Crossing Brooklyn Ferry | |
| |
| |
As I Lay with My Head in Your Lap camerado | |
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| |
O Captain! My Captain! | |
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| |
Prayer of Columbus | |
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| |
Crosscurrents | |
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| |
Perspectives: On the Colonial Frontier | |
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| |
| |
from A Hero of our Time | |
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| |
| |
from Life of Juan Facundo Quiroga: Civilization and Barbarism | |
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| |
from From the Deep Woods to Civilization | |
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| |
Hawaiian Poems | |
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| |
Forest Trees of the Sea | |
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| |
Piano at Evening | |
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| |
Bill the Ice Skater | |
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The Pearl | |
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| |
A Feather Chant for Ka-pi'o-lani at Wai-m�nalo | |
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| |
The Sprinkler | |
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| |
from Noli Me Tangere | |
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| |
Crosscurrents | |
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| |
The Romantic Fantastic | |
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| |
The Rime of the Ancient Mariner | |
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| |
Fair-haired Eckbert | |
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Sarrasine | |
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| |
The Pit and the Pendulum | |
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| |
A Simple Heart | |
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| |
| |
from Travels in Egypt | |
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| |
Perspectives: Occidentalism - Europe Through Foreign Eyes | |
| |
| |
| |
from Journal of a Residence in England | |
| |
| |
| |
On the General Conditions of Europe | |
| |
| |
| |
from The Western Peep Show | |
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| |
| |
The Cup of Humanity | |
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| |
Resonance | |
| |
| |
Chiang Yee: from The Silent Traveller in London | |
| |
| |
Crosscurrents | |
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| |
| |
from Aurora Leigh | |
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| |
from Les Fleurs Du Mal | |
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| |
To the Reader | |
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| |
The Albatross | |
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| |
Correspondences | |
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| |
The Head of Hair | |
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Carrion | |
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| |
Invitation to the Voyage | |
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| |
Spleen (II) | |
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The Swan | |
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In Passing | |
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Twilight: Daybreak | |
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| |
Ragpickers' Wine | |
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| |
A Martyr | |
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| |
Travelers | |
| |
| |
from The Painter of Modern Life | |
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| |
from Paris Spleen | |
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| |
| |
To Each His Chimera | |
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| |
Crowds | |
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| |
Invitation to the Voyage | |
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| |
Get High | |
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| |
Any Where Out of the World | |
| |
| |
Let's Beat Up the Poor! | |
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| |
Resonances | |
| |
| |
Jules and Edmund Goncourt: from Journal | |
| |
| |
| |
Stephane Mallarm�: The Tomb of Charles Baudelaire | |
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| |
| |
Arthur Rimbaud: Vowels, City, Departure | |
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| |
| |
The Death of Ivan Ilych | |
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| |
| |
Notes from Underground | |
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| |
| |
Resonances | |
| |
| |
Friedrich Nietzsche: from Daybreak | |
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| |
| |
Ishikawa Takuboku: The Romaji Diary | |
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| |
| |
Other Americas | |
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| |
| |
The Story of Emergence | |
| |
| |
Resonance | |
| |
| |
Nicholas Black Elk and John G. Neihardt: from Black Elk Speaks | |
| |
| |
| |
Bartleby the Scrivener | |
| |
| |
| |
Narrative of the Life of Frederick Douglass | |
| |
| |
| |
from Incidents in the Life of a Slave Girl | |
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| |
| |
I never lost as much but twice | |
| |
| |
Title divine-is mine! | |
| |
| |
There came a day at summer's full | |
| |
| |
It was not Death, for I stood up | |
| |
| |
After great pain, a formal feeling comes | |
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| |
I died for Beauty | |
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| |
I dwell in Possibility | |
| |
| |
I heard a Fly buzz-when I died | |
| |
| |
I live with Him-I see His face | |
| |
| |
My Life had stood-a Loaded Gun | |
| |
| |
Further in Summer than the Birds | |
| |
| |
Tell all the Truth but tell it slant- | |
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| |
| |
The Psychiatrist | |
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| |
| |
The Yellow Wallpaper | |
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| |
| |
First, A Look | |
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| |
| |
Walt Whitman | |
| |
| |
To Roosevelt | |
| |
| |
I Pursue a Form.... | |
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| |
What Sign Do You Give...? | |
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| |
| |
A Doll's House | |
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| |
| |
Separate Ways | |
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| |
Lady with Pet Dog | |
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| |
The Conclusion | |
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| |
| |
Bibliography | |
| |
| |
Credits | |
| |
| |
Index | |
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| |
The Twentieth Century | |
| |
| |
Perspectives: The Art of the Manifesto | |
| |
| |
| |
The Foundation and Manifesto of Futurism | |
| |
| |
| |
Unpretentious Proclamation | |
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| |
The Surrealist Manifesto | |
| |
| |
| |
Feminist Manifesto | |
| |
| |
| |
Sensation and New Sensation | |
| |
| |
| |
Cannibalist Manifesto | |
| |
| |
| |
Manifesto: Towards a Free Revolutionary Art | |
| |
| |
| |
Some Modest Proposals for the Reform of Literature | |
| |
| |
| |
Preface to the Nigger of the Narcissus | |
| |
| |
Heart of Darkness | |
| |
| |
Resonances | |
| |
| |
Joseph Conrad: from Congo Diary | |
| |
| |
Sir Henry Morton Stanley: from Address to the Manchester Chamber of Commerce | |
| |
| |
| |
My Big Brother | |
| |
| |
| |
Preface to A Call to Arms | |
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| |
| |
A Madman's Diary | |
| |
| |
A Small Incident | |
| |
| |
| |
Dubliners | |
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| |
Araby | |
| |
| |
The Dead | |
| |
| |
| |
Mrs. Dalloway on Bond Street | |
| |
| |
The Lady in the Looking Glass: A Reflection | |
| |
| |
from A Room of One's Own | |
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| |
RashMmon | |
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| |
In a Grove | |
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| |
| |
A Note Forwarded to a Certain Old Friend | |
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| |
| |
Perspectives: Modernist Memory | |
| |
| |
| |
The Love Song of J. Alfred Prufrock | |
| |
| |
The Waste Land | |
| |
| |
| |
Days of 1908 | |
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| |
| |
Ithaka | |
| |
| |
| |
The Tropics in New York | |
| |
| |
Flame Heart | |
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| |
Outcast | |
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| |
Unsleeping City | |
| |
| |
| |
In the Middle of the Road | |
| |
| |
| |
from The Secret Life of Saeed, the Ill-Fated Pessoptimist | |
| |
| |
| |
A Wind Called Bob Rauschenberg | |
| |
| |
| |
Central Park | |
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| |
| |
Crosscurrents | |
| |
| |
| |
The Metamorphosis | |
| |
| |
| |
Parables | |
| |
| |
The Trees | |
| |
| |
| |
The Next Village | |
| |
| |
| |
The Cares of a Family Man | |
| |
| |
| |
Give it Up! | |
| |
| |
| |
On Parables | |
| |
| |
| |
Translations: Kafka | |
| |
| |
| |
The Muse | |
| |
| |
| |
I am not with those... | |
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| |
| |
Boris Pasternak | |
| |
| |
| |
Why is this century worse | |
| |
| |
| |
Requiem | |
| |
| |
| |
Resonance | |
| |
| |
Osip Mandelstam (1891-1938): To A.A.A. (Akhmatova) | |
| |
| |
| |
The Lake Isle of Innisfree | |
| |
| |
Who Goes with Fergus? | |
| |
| |
No Second Troy | |
| |
| |
The Wild Swans at Coole | |
| |
| |
Easter 1916 | |
| |
| |
Resonance | |
| |
| |
Proclamation of the Irish Republic | |
| |
| |
The Second Coming | |
| |
| |
Sailing to Byzantium | |
| |
| |
Byzantium | |
| |
| |
Under Ben Bulben | |
| |
| |
Perspectives: Poetry About Poetry | |
| |
| |
| |
A Pact | |
| |
| |
| |
Rhymes | |
| |
| |
| |
Poetry | |
| |
| |
| |
This | |
| |
| |
| |
Today I read nearly two pages | |
| |
| |
| |
The ancients used to invoke | |
| |
| |
| |
Translations: Pessoa's Autopsychography | |
| |
| |
| |
Tonight I can write the saddest lines | |
| |
| |
| |
Ars Poetica | |
| |
| |
| |
Anecdote of the Jar | |
| |
| |
Of Modern Poetry | |
| |
| |
Of Mere Being | |
| |
| |
| |
Regarding Art | |
| |
| |
| |
He Opens Wide a Third Eye | |
| |
| |
| |
Old Snow | |
| |
| |
| |
The Line | |
| |
| |
Crosscurrents | |
| |
| |
| |
Mother Courage And Her Children | |
| |
| |
| |
Perspectives: Echoes of War | |
| |
| |
| |
I Beg You, Brother: Do Not Die | |
| |
| |
| |
Peace | |
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The Soldier | |
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Anthem for Doomed Youth | |
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Strange Meeting | |
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Dulce et Decorum Est | |
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Patriotism | |
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The Two Flags | |
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Death Fugue | |
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Report from the Besieged City | |
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Like the Night | |
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Giaconda and Si-Ya-U | |
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Youth in an Austrian Town | |
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Seven Laments for the War-Dead | |
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Little Ruth | |
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Crosscurrents | |
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Endgame | |
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Perspectives: Cosmopolitan Exiles | |
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Agape | |
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Our Daily Bread | |
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Good Sense | |
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Black stone on a white stone | |
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An Evening of Russian Poetry | |
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Child of Europe | |
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Encounter | |
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Dedication | |
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Fear-Dream | |
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from Prologue to an Autobiography | |
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Adonis (Ali Ahmad Sa'id), (b. 1930) | |
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A Mirror to Khalida | |
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Crosscurrents | |
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The Garden of Forking Paths | |
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The Library of Babel | |
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Borges and I | |
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Cult of the Phoenix | |
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The Web | |
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Resonance | |
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Gabriel Garc�a Marquez: I Sell My Dreams | |
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Zaabalawi | |
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Arabian Nights and Days | |
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Shahriyar | |
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Shahrzad | |
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The Sheikh | |
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The Cafe of the Emirs | |
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Sanaan al-Gamali | |
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Perspectives: The 1001 Nights in the Twentieth Century | |
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from On the Road to Baghdad | |
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Dunyazadiad | |
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from Invisible Cities | |
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from A Sister to Sheherazade | |
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Crosscurrents | |
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Letter to a Poet | |
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Nocturne (She Flies She Flies) | |
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Black Woman | |
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To New York | |
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Correspondence | |
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Notebook of a Return to a Native Land | |
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Ice Tricksters | |
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Shadows | |
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Perspectives: Indigenous Cultures in the Twentieth Century | |
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Oodgeroo of the Tribe Noonuccal (1920-1993) | |
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We Are Going | |
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Going Home | |
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Pocahontas to Her English Husband | |
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Taking a Visitor to See the Ruins | |
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Yellow Woman | |
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from The Way to Rainy Mountain | |
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Dear John Wayne | |
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The Golden Bird of Misfortune | |
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Crosscurrents | |
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Stale Mates | |
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Breast-Giver | |
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Perspectives: Gendered Spaces | |
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Preciousness | |
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The Harem Within | |
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No Sweetness Here | |
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A Season of Madness | |
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from Makbara | |
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Artificial Roses | |
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My Mother | |
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Crosscurrents | |
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Things Fall Apart | |
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from The African Writer and the English Language | |
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Resonances | |
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Ngugi wa Thiong'o: from The Language of African Literature | |
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Mbwil a M. Ngal: from Giambatista Viko; or, The Rape of African Discourse | |
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Jeremy Cronin: To learn how to speak.... | |
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Death and the King's Horseman | |
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Perspectives: Post-Colonial Conditions | |
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The Defeated | |
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In the Aging City | |
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In the Flux | |
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Face Lost in the Wilderness | |
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A Poem Which Is Not Green, from My Country | |
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Diary of a Palestinian Wound | |
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Sirhan drinks his coffee in the cafeteria | |
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Birds die in Galilee | |
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Resonance | |
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Agha Shahid Ali: Ghazal | |
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Black Out | |
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No Sign of Blood | |
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Solitary Confinement | |
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The Unrecognized | |
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Answers to an Interrogation | |
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A Poem for You | |
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A Far Cry from Africa | |
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Volcano | |
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The Fortunate Traveller | |
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Chekov and Zulu | |
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Crosscurrents | |
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Perspectives: Literature, Technology, and Media | |
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from The Storyteller | |
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from Accident: A Day's News | |
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from Cities of Salt | |
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TV People | |
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Burning Chrome | |
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Crosscurrents | |
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Bibliography | |
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Credits | |
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Index | |