A Matter of Geography: A New Perspective on Medieval Hebrew Poetry takes a ground-breaking approach to the relationships between centers of medieval Hebrew poetry and their implications regarding matters of poetics. It shows on the one hand how literary efforts by members of the Spanish school of secular poetry, from its zenith in the eleventh century to the thirteenth century, helped gradually shape its predominance. On the other hand, it presents thirteenth century Hebrew poets from Iraq, Egypt, Italy and Provence, and charts the different strategies of these “peripheral” authors, who had to cope with Iberian fame. The analysis, which draws on concepts from literary and cultural theories, provides close readings of many works in both the original Hebrew and, in most cases for the first time, an English translation. "Kfir’s book makes a strong case for the craft, vibrancy, and richness of Medieval Hebrew poetry as rooted in place. Highly recommended for scholars of medieval Hebrew poetry, poetry aficionados, and historians." - David B. Levy, Touro College, in: Association of Jewish LIbraries 8.4 (2018)

Variously described as a comedy of manners, a psychological romance, and a type of fabliau, the 13th-century narrative Flamenca is the best medieval romance written in Occitan. Its uniqueness springs from qualities that anticipate the preoccupations of modern-day narrative. Not content with being a love story fraught with risk and intrigue, the poem is layered with responses to the troubadour tradition of love and poetry, as well as the Bible and the classics. Though among the most bookish of romances, its tone is invariably ironic, comic, and satirical. This playfulness may be measured by the variety and vehemence of critical response to the poem. Is it a vindication of the troubadour ideal, a mockery of the Church, a satire on jealous husbands, or an undermining of the ideals that romance is said to inscribe? Or is it all of these elements held in suspense? The introduction confronts these questions. The most recent edition and translation of Flamenca , by Hubert and Porter, is now out of print; their translation was into octosyllabic couplets that match the original. Blodgett's translation is unrhymed and line-for-line, on pages facing the edition; it adhers as closely as possible to the literal meaning of the original. The edition follows the recent text prepared by Gschwind.