front cover of Ka-Ching!
Ka-Ching!
Denise Duhamel
University of Pittsburgh Press, 2009
Ka-Ching! is a book of poems that explores America’s obsession with money. It also includes a crown of sonnets about e-bay, sestinas on the subjects of Sean Penn and the main characters of fairytales, a pantoum that riffs on a childhood riddle, and a villanelle inspired by bathroom grafitti.
[more]

front cover of The Kalevala
The Kalevala
Or, Poems of the Kaleva District
Elias Lönnrot
Harvard University Press, 1991
The national folk epic of Finland is here presented in an English translation that is both scholarly and eminently readable. To avoid the imprecision and metrical monotony of earlier verse translations, Francis Magoun has used prose, printed line for line as in the original so that repetitions, parallelisms, and variations are readily apparent. The lyrical passages and poetic images, the wry humor, the tall-tale extravagance, and the homely realism of the Kalevala come through with extraordinary effectiveness.
[more]

front cover of The Kannada Mahabharata
The Kannada Mahabharata
Kumaravyasa
Harvard University Press, 2024

The classic Kannada version of the Mahabharata, a jewel of world literature, translated into English.

The Mahabharata, a cornerstone of ancient Indian literature, recounts the rivalry between branches of a royal family, the Pandavas and the Kauravas, culminating in a cataclysmic war. It has inspired numerous adaptations across languages and artistic media.

The Kannada Mahabharata, known as Kumāravyāsa Bhārata, is an innovative retelling where Krishna occupies center stage, composed by the fifteenth-century poet Kumaravyasa. His powerful verses critique kingship and caste and remain popular in musical performances and improvisational folk theatre today.

Volume 1 comprises “The Book of Beginnings” and “The Book of the Assembly,” including Pandu’s tragic death, the marriage of the Pandavas to Draupadi, Arjuna’s fiery destruction of the Khandava forest, the slaying of King Shishupala, and the dice game plotted by the Kauravas leading to the Pandavas’s exile.

This edition, which abridges the Kannada classic, presents a new English translation and the most reliable text of the original in the Kannada script.

[more]

front cover of Kant and Milton
Kant and Milton
Sanford Budick
Harvard University Press, 2010
Kant and Milton brings to bear new evidence and long-neglected materials to show the importance of Kant’s encounter with Milton’s poetry to the formation of Kant’s moral and aesthetic thought. Sanford Budick reveals the relation between a poetic vision and a philosophy that theorized what that poetry was doing. As Plato and Aristotle contemplate Homer, so Kant contemplates Milton. In all these cases philosophy and poetry allow us to better understand each other. Milton gave voice to the transformation of human understanding effected by the Protestant Revolt, making poetry of the idea that human reason is created self-sufficient. Kant turned that religiously inflected poetry into the richest modern philosophy. Milton’s bold self-reliance is Kant’s as well.Using lectures of Kant that have been published only in the past decade, Budick develops an account of Kant based on his lifelong absorption in the poetry of Milton, especially Paradise Lost. By bringing to bear the immense power of his reflections on aesthetic and moral form, Kant produced one of the most penetrating interpretations of Milton’s achievement that has ever been offered and, at the same time, reached new peaks in the development of aesthetics and moral reason.
[more]

front cover of Karankawa
Karankawa
Iliana Rocha
University of Pittsburgh Press, 2015
Winner of the 2014 Donald Hall Prize for Poetry
Selected by Joy Harjo

Karankawa is a collection that explores some of the ways in which we (re)construct our personal histories. Rich in family narratives, myths, and creation stories, these are poems that investigate passage—dying, coming out, transforming, being born—as well as the gaps that also reside in our stories, for, as Rocha suggests, the opportunity to create myths is provided by great silences. Much like the Karankawa Indians whose history works in omissions, Karankawa reconfigures such spaces, engaging with the burden and freedom of memory in order to rework and recontextualize private and public mythologies. First and last, these are poems that honor our griefs and desires, for they keep alive the very things we cannot possess.
[more]

front cover of Keats
Keats
Andrew Motion
University of Chicago Press, 1999
Andrew Motion's dramatic narration of Keats's life is the first in a generation to take a fresh look at this great English Romantic poet. Unlike previous biographers, Motion pays close attention to the social and political worlds Keats inhabited. Making incisive use of the poet's inimitable letters, Motion presents a masterful account.

"Motion has given us a new Keats, one who is skinned alive, a genius who wrote in a single month all the poems we cherish, a victim who was tormented by the best doctors of the age. . . . This portrait, stripped of its layers of varnish and restored to glowing colours, should last us for another generation."—Edmund White, The Observer Review

"Keats's letters fairly leap off the page. . . . [Motion] listens for the 'freely associating inquiry and incomparable verve and dash,' the 'headlong charge,' of Keats's jazzlike improvisations, which give us, like no other writing in English, the actual rush of a man thinking, a mind hurtling forward unpredictably and sweeping us along."—Morris Dickstein, New York Times Book Review

"Scrupulous and eloquent."—Gregory Feeley, Philadelphia Inquirer

[more]

front cover of Keats's Odes
Keats's Odes
A Lover's Discourse
Anahid Nersessian
University of Chicago Press, 2020
When I say this book is a love story, I mean it is about things that cannot be gotten over—like this world, and some of the people in it.”
 
In 1819, the poet John Keats wrote six poems that would become known as the Great Odes. Some of them—“Ode to a Nightingale,” “To Autumn”—are among the most celebrated poems in the English language. Anahid Nersessian here collects and elucidates each of the odes and offers a meditative, personal essay in response to each, revealing why these poems still have so much to say to us, especially in a time of ongoing political crisis. Her Keats is an unflinching antagonist of modern life—of capitalism, of the British Empire, of the destruction of the planet—as well as a passionate idealist for whom every poem is a love poem.

The book emerges from Nersessian’s lifelong attachment to Keats’s poetry; but more, it “is a love story: between me and Keats, and not just Keats.”  Drawing on experiences from her own life, Nersessian celebrates Keats even as she grieves him and counts her own losses—and Nersessian, like Keats, has a passionate awareness of the reality of human suffering, but also a willingness to explore the possibility that the world, at least, could still be saved. Intimate and speculative, this brilliant mix of the poetic and the personal will find its home among the numerous fans of Keats’s enduring work.
 
[more]

front cover of The Keep
The Keep
Emily Wilson
University of Iowa Press, 2001

The poems in The Keep are influenced by art, by paintings, by “thinking about abstraction and figuration and the space between, beauty apprehended and lost, the divine apprehended and lost.” Emily Wilson's poems are also saturated with nature; from “the great oaks emptying, russet, gusseted” to “the caribou mov[ing] through us beyond numerous,” each image connects the natural world of tides and marshes and forests to the human world of documentation and preservation. The image of the keep as a place of safety and as a kind of prison also informs this very strong collection.

[more]

front cover of Keeper
Keeper
Kasey Jueds
University of Pittsburgh Press, 2013
The poems in Keeper explore, and long for, intimacy: with nature, with others, with the unknown. They delve into purely dark spaces (the insides of birdhouses and mailboxes, caves of prehistoric paintings) and in-between places, searching out, as Paul Eluard put it, the other world inside this one, pointing to the pervasive sensuality that connects all beings, and to the fact that essential goodness and sorrow often walk hand in hand.
[more]

front cover of Keeping Time with Blue Hyacinths
Keeping Time with Blue Hyacinths
Poems
Sholeh Wolpé
University of Arkansas Press, 2013
Keeping Time with Blue Hyacinths, Sholeh Wolpé's third collection of poems, is a surreal journey of sorrows and sins, of love, ghosts, and Saudi princes, of banishment inside one's own skin. Wild in its leaps and images, these poems explore personal and psychological exile from a marriage, lovers, expectations, and finally, country.
[more]

front cover of The Keepsake Storm
The Keepsake Storm
Gina Franco
University of Arizona Press, 2004
Here is Kathryn, "nearly 88, infinity next to infinity, / but infinity curled on itself, a whirlwind / that whipped about the house and was gone, / rain in its wake, a smell of dirt."

Kathryn is near the end of her life and is losing her memories: travels, husbands, a storm of keepsakes. As Gina Franco unleashes that storm and as Kathryn's flood of memories washes over us, we know at once that we are in the hands of a truly gifted poet. "The Keepsake Storm" is the culmination of a verse cycle that probes the depths of the heart—a meditation on the meaning of life in a difficult world. Drawing on a rich tradition of storytelling in Latino literature, Franco explores the transformative power of compassion as she addresses themes of cultural alienation, lost family roots, and the uncertain resiliency of the self. In writing that blends rapture, vision, and mystery, Franco calls on a multiplicity of voices and a prodigious command of forms to explore the underlying rhythms of life, finding poetry even in the imperfect transmissions of e-mail:

"I was happy to get your letter. I had a rough day.
My step-mom had a breakdown and is in a hospitol.
I don't understand all the why's of it. She has paranoia
scetsafrinia. (and I know that is spelled totally
wrong). I don't blame myself I just didn't see it coming."


By reaffirming the power of self-awareness, history, and place, Franco reaches out to all who struggle to find meaning in times of trouble or self-doubt. The Keepsake Storm is a personal journey through many lives that is nothing less than a celebration—and a reassessment—of American consciousness.
[more]

front cover of Kentucky
Kentucky
I. J. Schwartz
University of Alabama Press, 1990

An epic poem about life in America in the early 20th century, as perceived by a Jewish immigrant.

Kentucky is the first major work in Yiddish literature to present America as its primary theme. The long epic poem paints a rich picture of life in Kentucky just after the Civil War. Written between 1918 and 1922 by Lithuanian-born writer, I. J. Schwartz, it first appeared in the Yiddish journal Zukunft and later, in 1925, was published as a book. Although unknown to English readers until this translation, the book was a primary text for immigrants and potential immigrants in places as remote as Poland and Argentina who received their first impressions of America from its pages. Parts of it were even set to music and sung in choruses around the world.

[more]

front cover of Kerouac's Crooked Road
Kerouac's Crooked Road
The Development of a Fiction
Tim Hunt
Southern Illinois University Press, 1996

Now a classic, Kerouac’s Crooked Road was one of the first critical works on the legendary Beat writer to analyze his work as serious literary art, placing it in the broader American literary tradition with canonical writers like Herman Melville and Mark Twain. Author Tim Hunt explores Kerouac’s creative process and puts his work in conversation with classic American literature and with critical theory.

            This edition includes a new preface by the author, which takes a discerning look at the implications of the 2007 publication of the original typewriter scroll version of On the Road for the understanding of Kerouac and his novel. Although some critics see the scroll version of the novel as embodying Kerouac’s true artistic vision and the 1957 Viking edition as a commercialized compromise of that vision, Hunt argues that the two versions should not be viewed as antithetical but rather as discrete perspectives of a writer deeply immersed in writing as both performance and evolving process.

Hunt moves beyond the mythos surrounding the “spontaneous creation” of On the Road, which upholds Kerouac’s reputation as a cultural icon, to look more closely at an innovative writer who wanted to bridge the gap between the luscious, talk-filled world of real life and the sterilized version of that world circumscribed by overly intellectualized, literary texts, through the use of written language driven by effusive passion rather than sober reflection. With close, erudite readings of Kerouac’s major and minor works, from On the Road to Visions of Cody,Hunt draws on Kerouac’s letters, novels, poetry, and experimental drafts to position Kerouac in both historical and literary contexts, emphasizing the influence of writers such as Emerson, Melville, Wolfe, and Hemingway on his provocative work.

[more]

front cover of The Key to the City
The Key to the City
Anne Winters
University of Chicago Press, 1985
The Key to the City brings together work that has long been admired by readers of literary magazines and quarterlies. The collection opens with "The Ruins," a group of poems set in poor neighborhoods in New York City—some so cut off from midtown that they seem part of another continent or another age. The people in these poems are schoolgirls, a cleaning lady in the laundromat, derelicts, a prostitute stabbed in the street. Their interwoven voices contribute to a complex, grave vision of remote causes and immediate suffering in the city. The poems of the second section explore a broad range of experience: pregnancy and nursing, inward solitude, the textures of Renaissance painting and American landscapes.
[more]

front cover of A Key to the Treasure of the Hakim
A Key to the Treasure of the Hakim
Artistic and Humanistic Aspects of Nizami Ganjavi’s Khamsa
Johann Christoph Bürgel
Amsterdam University Press
This “Key” to the Khamsa consists of thirteen essays by eminent scholars in the field of Persian Studies, each focusing on different aspects of the Khamsa, which is a collection of five long poems written by the Persian poet Nizami of Ganja. Nizami (1141-1209) lived and worked in Ganja in present-day Azerbaijan. He is widely recognized as one of the main poets of Medieval Persia, a towering figure who produced outstanding poetry, straddling mysticism, romances and epics. He has left his mark on the whole Persian-speaking world and countless younger poets in the area stretching from the Ottoman to the Mughal worlds (present-day Turkey, Azerbaijan, Armenia, Georgia, Iran, Afghanistan, Uzbekistan, Tajikistan, Pakistan, India) have found him an inspiration and have tried to emulate him. His work has influenced such other immense poets as Hafez, Rumi, and Saadi. His five masnavis (long poems) address a variety of topics and disciplines and have all enjoyed enormous fame, as the countless surviving manuscripts of his work indicate. His heroes, Khosrow and Shirin, Leili and Majnun, Iskandar count amongst the stars of the Persian literary firmament and have become household names all over the Islamic world. The essays in the present volume constitute a significant development in the field of Nizami-studies, and on a more general level, of classical Persian literature. They focus on topics such as mysticism, art history, comparative literature, science, and philosophy. they show how classical Greek knowledge mingles in a unique manner with the Persian past and the Islamic culture in Nizami’s world. They reflect a high degree of engagement with the existing scholarship in the field, they revive and challenge traditional views on the poet and his work and are indispensable both for specialists in the field and for anyone interested in the movement of ideas in the Medieval world.
[more]

logo for Tupelo Press
Kill class
Nomi Stone
Tupelo Press, 2019
Kill Class is based on Nomi Stone’s two years of fieldwork in mock Middle Eastern villages at military bases across the United States. The speaker in these poems, an anthropologist, both witnesses and participates in combat training exercises staged at “Pineland,” a simulated country in the woods of the American South, where actors of Middle Eastern origin are hired to theatricalize war, repetitively pretending to bargain and mourn and die. Kill Class is an arresting ethnography of American military culture, one that allows readers to circle at length through the cloverleaf interchanges where warfare nestles into even the most mundane corners of everyday life.
[more]

logo for Harvard University Press
The Killing of Shishupala
Magha
Harvard University Press, 2017

A canonical great poem, or mahākāvya, of the Sanskrit canon, depicting a well-known episode from the Mahābhārata.

Magha’s The Killing of Shishupala, written in the seventh century, is a celebrated example of the Sanskrit genre known as mahākāvya, or great poem. This adaptation from the epic Mahābhārata tells the story of Shishupala, who disrupts Yudhishthira’s coronation by refusing to honor Krishna, the king’s principal ally and a manifestation of divinity. When Shishupala challenges Krishna to combat, he is immediately beheaded.

Magha, who was likely a court poet in western India, draws on the rich stylistic resources of Sanskrit poetry to imbue his work with unparalleled sophistication. He expands the narrative’s cosmic implications through elaborate depictions of the natural world and intense erotic sensuality, mixing myth and classical erudition with scenes of political debate and battlefield slaughter. Krishna is variously portrayed as refined prince, formidable warrior, and incarnation of the god Vishnu protecting the world from demonic threat.

With this translation of The Killing of Shishupala, presented alongside the original text in the Devanagari script, English readers for the first time gain access to a masterwork that has dazzled Indian audiences for a thousand years.

[more]

front cover of Killing Poetry
Killing Poetry
Blackness and the Making of Slam and Spoken Word Communities
Johnson, Javon
Rutgers University Press, 2017
Winner of the 2019 Lilla A. Heston Award
Co-winner of the 2018 Ethnography Division’s Best Book from the NCA


In recent decades, poetry slams and the spoken word artists who compete in them have sparked a resurgent fascination with the world of poetry. However, there is little critical dialogue that fully engages with the cultural complexities present in slam and spoken word poetry communities, as well as their ramifications.
 
In Killing Poetry, renowned slam poet, Javon Johnson unpacks some of the complicated issues that comprise performance poetry spaces. He argues that the truly radical potential in slam and spoken word communities lies not just in proving literary worth, speaking back to power, or even in altering power structures, but instead in imagining and working towards altogether different social relationships. His illuminating ethnography provides a critical history of the slam, contextualizes contemporary black poets in larger black literary traditions, and does away with the notion that poetry slams are inherently radically democratic and utopic.
 
Killing Poetry—at times autobiographical, poetic, and journalistic—analyzes the masculine posturing in the Southern California community in particular, the sexual assault in the national community, and the ways in which related social media inadvertently replicate many of the same white supremacist, patriarchal, and mainstream logics so many spoken word poets seem to be working against. Throughout, Johnson examines the promises and problems within slam and spoken word, while illustrating how community is made and remade in hopes of eventually creating the radical spaces so many of these poets strive to achieve. 
[more]

front cover of Kimonos in the Closet
Kimonos in the Closet
David Shumate
University of Pittsburgh Press, 2013
“These are enormously arresting, odd, wryly humorous, gripping poems. And the variety of subject matter is astounding. I don’t know when I’ve enjoyed reading a book so much.”—David Budbill
[more]

front cover of Kin
Kin
Crystal Williams
Michigan State University Press, 2000

In her first book-length collection of poetry, Crystal Williams utilizes memory and music as she lyrically weaves her way through American culture, pointing to the ways in which alienation, loss, and sensed "otherness" are corollaries of recent phenomena. Williams writes about being adopted by an interracial couple, a jazz pianist/Ford Foundry worker and a school psychologist, and how that has affected her development as an African American woman. She tries to work out the answers to many difficult questions: in what way do African American artists define themselves? What do they owe the culture and what does it owe them? To what extent does our combined national memory inform our individual selves? These poems are steeped in the black literary tradition. They are brimming over with the oral tradition that Williams perfected while spending years on the poetry "slam" circuit. This, combined with her musical upbringing, give the collection not only a sense of urgency, but also a rhythm, a breath all its own. Kin tackles not only racial issues, but also the troubling realities of violent acts that can occur, especially in our inner cities. But more importantly, the landscape that Williams creates offers readers an alternative to the racial/political dichotomy in which we all live. Overall, the book resonates with a message of reconciliation that will leave the reader uplifted.

[more]

logo for University of Chicago Press
The Kinds of Poetry I Want
Essays & Comedies
Charles Bernstein
University of Chicago Press, 1976
A celebration of the radical poetics of invention from Charles Bernstein.
 
For more than four decades, Charles Bernstein has been at the forefront of experimental poetry, ever reaching for a radical poetics that defies schools, periods, and cultural institutions. The Kinds of Poetry I Want is a celebration of invention and includes not only poetry but also essays on aesthetics and literary studies, interviews with other poets, autobiographical sketches, and more.

At once a dialogic novel, long poem, and grand opera, The Kinds of Poetry I Want arrives amid renewed attacks on humanistic expression. In his polemical, humorous style, Bernstein faces these challenges, head-on and affirms the enduring vitality and attraction of poetry, poetics, and literary criticism.
[more]

front cover of The King of Time
The King of Time
Selected Writings of the Russian Futurian
Velimir Khlebnikov
Harvard University Press, 1985

Velimir Khlebnikov, who died in 1922 at the age of thirty-six, is one of the great, untranslated Russian poets of this century. Hailed by his contemporaries and by later writers and scholars as the creative genius behind the Russian Futurist movement, Khlebnikov is famous more for his inaccessibility than for the excellence of what he actually produced. Even Russians are generally baffled by him.

Now, in a powerful American rendition, we are given access to the strange and beautiful world of Khlebnikov, “the word’s wild highwayman.” Trained in the natural sciences and mathematics and by temperament an artist, Khlebnikov thought he had discovered the Laws of Time and Tables of Destiny, by which enlightened humans could live in harmony with themselves and with nature. He coined the terms “Futurian” and “Presidents of Planet Earth” for himself and his friends, and he devoted all of his short, restless life to finding a language appropriate to his vision. Experiments with words became magical paths to a reinvigorated future, and produced some of the most extraordinary poems in the Russian language.

These goals and researches were variously embodied as well in stories, plays, and visionary essays in which Khlebnikov advances architectural plans for mobile cities, a new alphabet based on universal meanings of sounds, and communication by way of vast television networks. The result is poetry of startling originality, modernity, and linguistic virtuosity—a true challenge to translators and one that has been met brilliantly here by Paul Schmidt and Charlotte Douglas.

The King of Time is a representative sampling of Khlebnikov’s writings, taken from the translation of his complete works prepared under the auspices of the Dia Art Foundation. It includes many pieces, among them the full text of the astounding poem-play Zangezi, never before translated. General readers will be introduced to the legendary Khlebnikov, and cognoscenti will applaud the inventiveness of the rendering.

[more]

front cover of King Vulture
King Vulture
Poems
K. E. Duffin
University of Arkansas Press, 2005
This stunning collection heralds the debut of a most gifted poet, one who turns to the formal traditions of the past to celebrate and elegize our vast and transient world in which human stories—tragedies and triumphs—are invariably bound up with nature. K. E. Duffin’s poems are about transformations, from life to death and from death to life, from the sprawl of experience to the spare music of the poem that can reach the future only through memory. These are poems that court the ear and eye alike. They surprise us with their elegant forms and rich, classical themes; they delight us with their force of language and delicious renderings of the vast complications of things.
[more]

front cover of The Kitchen of Small Hours
The Kitchen of Small Hours
Derek N. Otsuji
Southern Illinois University Press, 2021
Reimagining the elusive American dream
 
In The Kitchen of Small Hours, Derek N. Otsuji embraces the fragility and endurance of a family of immigrants from two prefectures in Japan: Kagoshima in the south and Okinawa, an island more than four hundred miles from the mainland. In these poems, five generations sing, save, scold, bury, and cook against the culture and history that emerged from the pineapple and sugar cane plantations of mid-nineteenth-century Hawaii, from the bomb-scapes and hatreds of World War II, and from the canning and tourism industry of the twentieth century. Otsuji writes of how his family used stories and rugged cheer to fill the spaces apart from the cane fields and the canning factory. Their recipes, rituals, celebrations, songs, dances, myths, and family stories passed from grandmother to father to son, who folds them into lyrics. 
 
Here too are whispers, failures, and traceable absences: a face removed from photos, a love silenced to be acceptable, a dead firstborn housed in an urn. There are things that no one intended to give. Otsuji’s language hungers for them anyway. The haunting reunions between author and ancestor sink just as deep as roots and hold just as fast. The cooking pot, the family photo, the moon recur as images that feed and comfort. Lyrical and warm, Otsuji’s voice sounds out a sinew of words that make the remnants of heritage and home durable. In these poems each new generation seeks to reimagine for itself the elusive American Dream
[more]

logo for Harvard University Press
Knowing the Amorous Man
A History of Scholarship on Tales of Ise
Jamie L. Newhard
Harvard University Press, 2013

Tales of Ise (Ise monogatari) is traditionally identified as one of the most important Japanese literary texts of the Heian period (794–1185). Since its enshrinement in the classical literary canon as early as the eleventh century, the work has also been the object of intensive study and extensive commentary. Its idiosyncratic form—125 loosely connected episodes recounting the life and loves of an anonymous courtier—and mysterious authorship have provoked centuries of explication.

Jamie Newhard’s study skillfully combines primary-source research with a theoretically framed analysis, exploring commentaries from the medieval period into the early twentieth century, and situating the text’s critical reception within an evolving historical and social context. By giving a more comprehensive picture of the social networks and scholastic institutions within which literary scholarship developed and circulated, Newhard identifies the ideological, methodological, and literary issues that shaped the commentators’ agendas as the audience for classical literature expanded beyond aristocratic circles to include other social groups. Her approach illuminates how exegesis of Tales of Ise ultimately reflects shifting historical and social assessments that construct, transform, and transmit the literary and cultural value of the work over time.

[more]

front cover of Kontemporary Amerikan Poetry
Kontemporary Amerikan Poetry
John Murillo
Four Way Books, 2020
John Murillo’s second book is a reflective look at the legacy of institutional, accepted violence against Blacks and Latinos and the personal and societal wreckage wrought by long histories of subjugation. A sparrow trapped in a car window evokes a mother battered by a father’s fists; a workout at an iron gym recalls a long-ago mentor who pushed the speaker “to become something unbreakable.” The presence of these and poetic forbears—Gil Scott-Heron, Yusef Komunyakaa—provide a context for strength in the face of danger and anger. At the heart of the book is a sonnet crown triggered by the shooting deaths of three Brooklyn men that becomes an extended meditation on the history of racial injustice and the notion of payback as a form of justice.
[more]

front cover of Kujibizana
Kujibizana
Questions of Language and Power in Nineteenth- and Twentieth-Century Poetry in Kishwahili
Ann Biersteker
Michigan State University Press, 1996

The author argues that reading poetry in Kiswahili provides important insights into questions of language and power, as well as into discussions of socialist practice in East Africa and East African resistance to colonialism and neo-colonialism. Includes the text of numerous poems and footnotes.

[more]


Send via email Share on Facebook Share on Twitter