This bilingual edition of recent verse by the celebrated Iranian filmmaker Abbas Kiarostami (award-winning director of such films as Close-Up and Taste of Cherry) includes English translations of more than two hundred crystalline, haiku-like poems, together with their Persian originals. The translators, noted Persian literature scholars Ahmad Karimi-Hakkak and Michael Beard, contribute an illuminating introduction to Kiarostami's poetic enterprise, examining its relationship to his unique cinematic corpus and to the traditions of classic and contemporary Persian poetry.

Of interest to enthusiasts of cinema and literature alike, Walking with the Wind—the second volume in Harvard Film Archive's series "Voices and Visions in Film"—sheds light on a contemporary master who transforms simple fragments of reality into evocative narrative landscapes.

Demonstrates the role of Beirut’s postwar graffiti and street art in transforming the cityscape and animating resistance.

Over the last two decades in Beirut, graffiti makers have engaged in a fierce “war of colors,” seeking to disrupt and transform the city’s physical and social spaces. In A War of Colors, Nadine Sinno examines how graffiti and street art have been used in postwar Beirut to comment on the rapidly changing social dynamics of the country and region. Analyzing how graffiti makers can reclaim and transform cityscapes that were damaged or monopolized by militias during the war, Sinno explores graffiti’s other roles, including forging civic engagement, commemorating cultural icons, protesting political corruption and environmental violence, and animating resistance. In addition, she argues that graffiti making can offer voices to those who are often marginalized, especially women and LGBTQ people. Copiously illustrated with images of graffiti and street art, A War of Colors is a visually captivating and thought-provoking journey through Beirut, where local and global discourses intersect on both scarred and polished walls in the city.

Ancient Greece has for too long been studied in isolation from its Near Eastern neighbors. And the ancient Near East itself has for too long been seen as an undifferentiated cultural monolith. Classics and Near Eastern Studies, in our modern universities, continue to be separated by various disciplinary, linguistic, and ideological walls. Yet there is a growing trend to dismantle these divides and look at the Greek world within its fullest geographical and cultural contexts.

This book aims to bring the comparative study of Greek and Near Eastern cosmogonies to a new level. It analyzes themes such as succession myths, expressions of poetic inspiration, and claims to cosmic knowledge, as well as the role of itinerant specialists in the transmission of theogonies. Rather than compiling literary parallels from different periods and languages and treating the Near East as a monolithic matrix, the author focuses on the motifs specific to the North-West Semitic tradition with which the Greeks had direct contact in the Archaic period. Focusing on Hesiod’s Theogony, the Orphic texts, and their Ugaritic, Phoenician, and Hebrew counterparts, Carolina López-Ruiz avoids traditional diffusionist assumptions and proposes instead that dynamic cultural interaction led to the oral and intimate transmission of stories and beliefs.

When she arrived in Palestine in 1935 at the age of twenty-four, Leah Goldberg was already known as a significant emerging poet in contemporary Hebrew literature. Today, mention of her name is apt to evoke a nostalgic sigh among Israelis who have grown up hearing her poems read, quoted, recollected, and—having been set to some four hundred melodies—sung on the radio. In the wake of overwhelming new attention on Goldberg's work in Israel, With This Night makes available for the first time in English the final collection of poetry that Goldberg published during her lifetime.

Richter-Devroe's ethnographic approach draws from revealing in-depth interviews and participant observation in Palestine. The result: a forceful critique of mainstream conflict resolution methods and the failed woman-to-woman peacebuilding projects so lauded around the world. The liberal faith in dialogue as core of "the political" and the assumption that women's "nurturing" nature makes them superior peacemakers, collapse in the face of past and ongoing Israeli state violences.

Instead, women confront Israeli settler colonialism directly and indirectly in their popular and everyday acts of resistance. Richter-Devroe's analysis zooms in on the intricate dynamics of daily life in Palestine, tracing the emergent politics that women articulate and practice there. In shedding light on contemporary gendered "politics from below" in the region, the book invites a rethinking of the workings, shapes, and boundaries of the political.

What does it mean to be human? Humanism has mostly considered this question from a Western perspective. Through a detailed examination of a vast literary tradition, Hamid Dabashi asks that question anew, from a non-European point of view. The answers are fresh, provocative, and deeply transformative. This groundbreaking study of Persian humanism presents the unfolding of a tradition as the creative and subversive subconscious of Islamic civilization.

Exploring how 1,400 years of Persian literature have taken up the question of what it means to be human, Dabashi proposes that the literary subconscious of a civilization may also be the undoing of its repressive measures. This could account for the masculinist hostility of the early Arab conquest that accused Persian culture of effeminate delicacy and sexual misconduct, and later of scientific and philosophical inaccuracy. As the designated feminine subconscious of a decidedly masculinist civilization, Persian literary humanism speaks from a hidden and defiant vantage point-and this is what inclines it toward creative subversion.

Arising neither despite nor because of Islam, Persian literary humanism was the artistic manifestation of a cosmopolitan urbanism that emerged in the aftermath of the seventh-century Muslim conquest. Removed from the language of scripture and scholasticism, Persian literary humanism occupies a distinct universe of moral obligations in which "a judicious lie," as the thirteenth-century poet Sheykh Mosleh al-Din Sa'di writes, "is better than a seditious truth."