Alex Dimitrov’s third book, Love and Other Poems, is full of praise for the world we live in. Taking time as an overarching structure—specifically, the twelve months of the year—Dimitrov elevates the everyday, and speaks directly to the reader as if the poem were a phone call or a text message. From the personal to the cosmos, the moon to New York City, the speaker is convinced that love is “our best invention.” Dimitrov doesn’t resist joy, even in despair. These poems are curious about who we are as people and shamelessly interested in hope.

The authors of oral literature in the Pashtun language create their work at a far remove from any books. Generally deprived of the support of schools and universities, their compositions are inseparable from song. Their poetry is never declaimed; rather, their rhyme and rhythm have melodic value. These popular improvisations do not exalt mystic love. In them there is no aspiration whatsoever to an unfathomable and incommunicable heaven, nor devotion to the lord, nor praise for an absolute master, nor any Adonis. To the contrary, they are songs of the earth. They celebrate nature, mountains, rivers, dawn and night’s magnetic space. They are songs of war and honor, shame and love, beauty and death. The repression of Afghan women has caused untold suffering, particularly through moral subjugation. Infant daughters and their mothers are received with scorn and shame, and lead lives of subordination and humiliation. Their rebellion against these tribal codes comes only through suicide and song. Translated from the Pashtun into French by the eminent Sayd Bahodine Majrouh, the greatest Afghan poet of the twentieth century, his text has been rendered into English in the expert hands of Marjolijn de Jager of the Translation Department at NYU.

Although many of Heine's poems are deceptively simple on the surface, the multiple allusions, word plays, and shifts and breaks in diction and tone make them almost untranslatable. Arndt not only renders the meaning of the originals, but preserves the poems' rhyme schemes as well as their moods and multiple cultural resonance.

"Nothing stands still in this poetry: the wind blows the trees, the lake water ripples and the ever-present road runs in and out of the hills."--American Poetry Review