This book analyzes Holocaust poetry, war poetry, working-class poetry, and 9/11 poetry as forms of testimony. Rowland argues that testamentary poetry requires a different approach to traditional ways of dealing with poems due to the pressure of the metatext (the original, traumatic events), the poems’ demands for the hyper-attentiveness of the reader, and a paradox of identification that often draws the reader towards identifying with the poet’s experience, but then reminds them of its sublimity. He engages with the work of a diverse range of twentieth-century authors and across the literature of several countries, even uncovering new archival material. The study ends with an analysis of the poetry of 9/11, engaging with the idea that it typifies a new era of testimony where global, secondary witnesses react to a proliferation of media images. This book ranges across the literature of several countries, cultures, and historical events in order to stress the large variety of contexts in which poetry has functioned productively as a form of testimony, and to note the importance of the availability of translations to the formation of literary canons.

Winner of the Sillerman First Book Prize for African Poets, The Kitchen-Dweller’s Testimony asks: Whose testimony is valid? Whose testimony is worth recording? Osman’s speakers, who are almost always women, assert and reassert in an attempt to establish authority, often through persistent questioning. Specters of race, displacement, and colonialism are often present in her work, providing momentum for speakers to reach beyond their primary, apparent dimensions and better communicate. The Kitchen-Dweller’s Testimony is about love and longing, divorce, distilled desire, and all the ways we injure ourselves and one another.

A Nobel laureate reflects upon poetry's testimony to the events of our tumultuous time.

Witness, I Am is divided into three gripping sections of new poetry from one of Canada’s most recognized poets. The first part of the book, “Dangerous Sound,” contains contemporary themed poems about identity and belonging, undone and rendered into modern sound poetry. “Muskrat Woman,” the middle part of the book, is a breathtaking epic poem that considers the issue of missing and murdered indigenous women through the reimagining and retelling of a sacred Cree creation story. The final section of the book, “Ghost Dance,” raids the autobiographical so often found in Scofield’s poetry, weaving the personal and universal into a tapestry of sharp poetic luminosity. From “Killer,” Scofield eerily slices the dreadful in with the exquisite: “I could, this day of proficient blooms, / take your fingers, / tie them down one by one. This one for the runaway, / this one for the joker, / this one for the sass-talker, / this one for the judge, / this one for the jury. / Oh, I could kill you.”

Under the umbrella term ' Holocaust poetry', this book argues that distinctions need to be made between the writing of Holocaust survivors and those who were not involved in the events of 1933 to 1945. This study focuses on the post-Holocaust writers.

STARR-CROSSED LOVERS Taken word for word from the sworn testimony of Bill Clinton and Monica Lewinsky and arranged like free verse on the page, here is an unexpected collection of found poetry. Filled with the pleasures of language, surprising juxtapositions, and moments of truth, humor, tenderness and insight, Poetry Under Oath reveals the human side behind a history-making affair. A Partial Table of Contents WJC: "There Are No Curtains" "In the Context of Her Desire" "But" "I Get These Ties" "When We Were Alone" "No Recollection" MSL: "He Was Just Angry" "Mr. Ickes" "My Gifts" "With His Eyes Wide Open" "Little Tiny Spot" "Too Late"

In Holocaust poet Charles Reznikoff's subject is people's suffering at the hand of another. His source materials are the U.S. government's record of the trials of the Nazi criminals before the Nuremberg Military Tribunal and the transcripts of the Eichmann trial in Jerusalem. Except for the twelve part titles, none of the words here are Reznikoff's own: instead he has created, through selection, arrangement, and the rhythms of the testimony set as verse on the page, a poem of witness by the perpetrators and the survivors of the Holocaust. He lets the terrible history unfold--in history's own words.