This study consists of two parts. The first part offers an overview of feminism's theory of differences. The second part deals with the textual analysis of poems about 'mothering' by women from India, the Caribbean and Africa. Literary criticism has dealt with the representation of 'mothering' in prose texts. The exploration of lyrical texts has not yet come. Since the late 1970s, the acknowledgement of and the commitment to difference has been foundational for feminist theory and activism. This investigation promotes a differentiated, 'locational' feminism (Friedman). The comprehensive theoretical discussion of feminism's different concepts of 'gender', 'race', 'ethnicity' and 'mothering' builds the foundation for the main part: the presentation and analysis of the poems. The issue of 'mothering' foregrounds the communicative aspect of women's experience and wants to bridge the gap between theory and practice. This study, however, does not intend to specify 'mothering' as a universal and unique feminine characteristic. It underlines a metaphorical use and discusses the concepts of 'nurturing', 'maternal practice' and 'social parenthood'. Regarding the extensive material, this study understands itself as an explorative not concluding investigation placed at the intersections of gender studies, postcolonial and classical literary studies. Most of all, it aims at initiating a dialogue and interchange between scholars and students in the Western and the 'Third World'.

“At the edge of the world, you’ll want to have this book. The final lines of Adam Clay’s poem, ‘Scientific Method,’ have been haunting me for weeks.” —Iowa Press-Citizen The distilled, haunting, and subtly complex poems in Adam Clay’s A Hotel Lobby at the Edge of the World often arrive at that moment when solitude slips into separation, when a person suddenly realizes he can barely see the place he set out from however long ago. He now sees he must find his connection back to the present, socially entangled world in which he lives. For Clay, reverie can be a siren’s song, luring him to that space in which prisoners will begin “to interrogate themselves.” Clay pays attention to the poet’s return to the world of his daily life, tracking the subtly shifting tenors of thought that occur as the landscape around him changes. Clay is fully aware of the difficulties of Thoreau’s “border life,” and his poems live somewhere between those of James Wright and John Ashbery: They seek wholeness, all the while acknowledging that “a fragment is as complete as thought can be.” In the end, what we encounter most in these poems is a generous gentleness—an attention to the world so careful it’s as if the mind is “washing each grain of sand.” “Poems that are in turn clear and strange, and always warmly memorable.” —Bob Hicok “These poems engage fully the natural world . . . even as they understand the individual’s exclusion from it.” —Publishers Weekly

Gold winner in Poetry and Special Honors Award winner for Best Anthology Nautilus Book Awards The Beautiful New Treasury of Poetry in Endangered Languages, in Association with the National Poetry Library Featuring award-winning poets from cultures as diverse as the Ainu people of Japan to the Zoque of Mexico, with languages that range from the indigenous Ahtna of Alaska to the Shetlandic dialect of Scots, this evocative collection gathers together 50 of the finest poems in endangered, or vulnerable, languages from across the continents. With poems by influential, award-winning poets such as US poet laureate Joy Harjo, Hawad, Valzhyna Mort, and Jackie Kay, this collection offers a unique insight into both languages and poetry, taking the reader on an emotional, life-affirming journey into the cultures of these beautiful languages, celebrating our linguistic diversity and highlighting our commonalities and the fundamental role verbal art plays in human life. Each poem appears in its original form, alongside an English translation, and is accompanied by a commentary about the language, the poet and the poem - in a vibrant celebration of life, diversity, language, and the enduring power of poetry. One language is falling silent every two weeks. Half of the 7,000 languages spoken in the world today will be lost by the end of this century. With the loss of these languages, we also lose the unique poetic traditions of their speakers and writers. This timely anthology is passionately edited by widely published poet and UK National Poetry Librarian, Chris McCabe, who is also the founder of the Endangered Poetry Project, a major project launched by London's Southbank Centre to collect poetry written in the world's disappearing languages, and introduced by Dr Mandana Seyfeddinipur, Director of the Endangered Languages Documentation Programme and the Endangered Languages Archive at SOAS University of London, and Dr Martin Orwin, Senior Lecturer in Somali and Amharic, SOAS University of London. Languages included in the book: Assyrian; Belarusian; Chimiini; Irish Gaelic; Maori; Navajo; Patua; Rotuman; Saami; Scottish Gaelic; Welsh; Yiddish; Zoque Poets included in the book: Joy Harjo; Hawad; Jackie Kay; Aurélia Lassaque; Nineb Lamassu; Gearóid Mac Lochlainn; Valzhyna Mort; Laura Tohe; Taniel Varoujan; Avrom Sutzkever

Every major airport has a three-letter code from the International Air Transport Association. In perhaps history's greatest-ever feat of armchair travel, Nasser Hussain has written a collection of poetry entirely from those codes. In a dazzling aeronautic feat of constraint-based writing, SKY WRI TEI NGS explores the relationship between language and place in a global context. Watch as words jet-set across the map, leaving a poetic flight path. See letters take flight (and leave their baggage behind).

“A remarkable creation, a baroque opera of grief, laced with lines of haunting beauty and profundity.” —The Washington Post Now in paperback, the bold, genre-defying book that asked: What if Mary Shelley had not invented Frankenstein's monster at all but had met him when she was a girl of eight, sitting by her mother's grave, and he came to her unbidden? In a riveting mix of fact and poetic license, Laurie Sheck gives us the "monster" in his own words: recalling how he was "made" and how Victor Frankenstein abandoned him; pondering the tragic tale of the Shelleys and the intertwining of his life with Mary's (whose fictionalized letters salt the narrative, along with those of her nineteenth-century intimates); taking notes on all aspects of human striving--from Gertrude Stein to robotics to the Northern explorers whose lonely quest mirrors his own--as he tries to understand the strange race that made yet shuns him, and to find his own freedom of mind.

Nya, an inner-city public high school teacher, is committed to her students but desperate to give her only son Omari opportunities they’ll never have. When a controversial incident at his upstate private school threatens to get him expelled, Nya must confront his rage and her own choices as a parent. But will she be able to reach him before a world beyond her control pulls him away? With profound compassion and lyricism, Pipeline brings an urgent conversation powerfully to the fore. Morisseau pens a deeply moving story of a mother’s fight to give her son a future — without turning her back on the community that made him who he is.

“The more I sit with these poems, the more they resonate with me and with universal patterns and themes—existential inquiries, loneliness, spiritual doubts.” —Green Mountains Review To Make Room for the Sea reckons with the notion that nothing in this world is permanent. Led by an introspective speaker, these poems examine a landscape that resists full focus, and conclude that “it’s easier to love what we don’t know.” “I hold this leaf I think / you should see, but I can’t quite / say why,” Adam Clay writes, as he navigates a variety of both personal and ecological fixations: disembodied bullfrog croaks, the growth of his child, a computer’s dreaded blue screen of death. The observations in To Make Room for the Sea convey both grief for the Anthropocene and hope for the future. The poems read like field notes from someone who knows the world and hopes to know it differently. On the precipice of great change and restructured perspective, Clay’s poems linger in “the second between taking in a vision and processing it,” in the moment when the world is less a familiar system and more a palette of colors and potential. To Make Room for the Sea delights as much as it mourns. It looks forward as much as it reflects. Deft and hopeful, the poems in this collection gently encourage us to take another look at a world “only some strange god might have thought up / in a drunken stumble.” “That’s the magic of this book—the way Adam Clay, line after line, enacts the mind on the page.” —Maggie Smith “Draws from an impressive repertoire of forms to tease out complex questions regarding time, epistemology, and memory.” —Publishers Weekly