Academic literature on the topic 'Protest poetry, Philippine (English)'

The creative genius of Kamala Das, one of the most prominent voices of protest in Indian English Literature is often compared to the American poet Sylvia Plath and Anne Sexton as both of them used the confessional mode of writing in their poetry. Kamala Das, born in 1934 in Thrissur district of kerela emerged as a distinctive poetic voice with the publication of the first volume of her poetry Summer in Calcutta. In her poems Kamala Das has always raised a voice against the conventionalized figure of a woman, seeking a more dignified and honourable position for woman as an entity. In fact her poetry addresses the most critical issue in the contemporary society-the need to awaken the women. Her poetry collections include- Summer in Calcutta (1965), The Descendents (1967), The Old Playhouse and Other poems (1973), Tonight, This Savage Rite (1979), The Collected Poems (1984). My Story published in 1976 is her autobiography

The creative genius of Kamala Das, one of the most prominent voices of protest in Indian English Literature is often compared to the American poet Sylvia Plath and Anne Sexton as both of them used the confessional mode of writing in their poetry. Kamala Das, born in 1934 in Thrissur district of kerela emerged as a distinctive poetic voice with the publication of the first volume of her poetry Summer in Calcutta. In her poems Kamala Das has always raised a voice against the conventionalized figure of a woman, seeking a more dignified and honourable position for woman as an entity. In fact her poetry addresses the most critical issue in the contemporary society-the need to awaken the women. Her poetry collections include- Summer in Calcutta (1965), The Descendents (1967), The Old Playhouse and Other poems (1973), Tonight, This Savage Rite (1979), The Collected Poems (1984). My Story published in 1976 is her autobiography.

The paper explores contemporary African American women’s protest poetry in the light of the liberation movements of the mid-20th century – Black Power, Black Arts Movement, Second Wave Feminism. The research focuses on political, social, cultural and aesthetic aspects of the Black women’s resistance poetry, its spirited dialogue with the feminist struggle, and undertakes its critical interpretation using the methodological tools of Cultural Studies. The poetics and style of protest poetry by Sonia Sanchez and Nikki Giovanni, whose literary works have received little scholarly attention literary studies in Ukraine, are analyzed. Protest poetry is defined as politically and socially engaged verse which is oppositional, contestatory and resistant in its subject matter, as well as in the form of (re)presentation. Focusing on political and societal issues, such as slavery, racism, segregation, gender inequality, African American protest poetry is characterized by discourse of resistance and confrontation, disruption of standard English grammar, as well as conventional spelling and syntax. It is argued that militant poems of Sonia Sanchez are marked by the imitations of black speech rhythms and musical patterns of jazz and blues. Similarly, Nikki Giovanni relies on the oral tradition of African American people while creating poetry which was oriented towards performance. The linguistic content of Sanchez and Giovanni’s verses is lowercase lettering for notions associated with “white america”, obscenities targeted at societal racist practices, and erratic capitalization, nonstandard spacing, onomatopoeic syllables, use of vernacular as markers of Black culture. The works of African American women writers, which are under analysis in the essay, constitute creative poetic responses to traumatic history of African American people. Protest poetry of Sonia Sanchez and Nikki Giovanni explicitly express the rhetoric of Black nationalism and comply with the aesthetic principles of the Black Arts movement. They are perceived as consciousness-raising texts by their creators and the audiences they are addressed to. It is argued that although protest and resistance poetry is time- and context-bound, it can transcend the boundaries of historical contexts and act as timeless texts.

Abstract There is a bold suggestion that Bei Dao's translatability is symptomatic of the fact that his poetry is a "World Poetry" and thus lacks grounding in China's history. Now that Bei Dao's reputation in the West has been on the rise and his works continue to be translated in many Western languages, it is time to treat the lingering questions regarding Bei Dao's translatability seriously and to conceptualize it in the context of modern Chinese poetry, which is , in a large sense, a history of rejuvenation through the translation of Western poetry. The immediate origin of the poet's translatability resides, the paper suggests, in a literary language called the "translation style" in the late 1960s, which served as a protest against the language of authority in Mao's China. Against this historical background, the paper problematizes the use of translatability as a way of reading and critiquing Bei Dao's poetry. The translation of poetry, after all, is a form of idealized interpretation, much limited by information available to the translator. When one says Bei Dao's poetry translates well into English, it is precisely because it has been translated with all its gaps, errors, and ambiguities, all of which are abundant in Bei Dao's English texts. Résumé Certains ont suggéré que la traductibilité de Bei Dao s'explique par le fait que sa poésie est une "poésie universelle" qui ne puise pas ses racines dans l'histoire de la Chine. Aujourd'hui, la réputation de Bei Dao se confirme dans le monde occidental et ses ouvrages y sont traduits dans plusieurs langues occidentales. Il est donc grand temps d'aborder avec sérieux les questions restées en suspens quant à sa traductibilité et de conceptualiser celle-ci dans le contexte de la poésie chinoise contemporaine, qui, à plusieurs égards, est l'histoire d'un rajeunissement opéré par le biais de la poésie occidentale traduite. Dans son article, l'auteur suggère que la traductibilité du poète réside en premier lieu dans le langage littéraire que l'on appellait vers la fin des années soixante "le style traduction", un style utilisé en guise de protestation contre le langage de l'autorité propre à la Chine de Mao. C'est sur cette toile de fond que l'auteur analyse l'utilisation de la traductibilité comme moyen d'aborder et de critiquer la poésie de Bei Dao. En somme, la traduction de la poésie est une forme d'interprétation idéalisée, très limitée par les informations accessibles au traducteur. Si la poésie de Bei Dao se traduit aisément en anglais, c'est précisément parce qu'elle a été traduite avec toutes les lacunes, erreurs et ambiguïtés qui abondent dans les textes du poète chinois.

In 1974 the Yiddish Poet Malka Heifetz Tussman, Born in Russia, Living in California, Published a Small Volume of Poems in Israel. This peripatetic author and text are paradigmatic of the cosmopolitan, multilingual nature of modern Jewish literature. The book, by a woman who was at various times a Yiddish teacher, an anarchist, and a writer of Russian poetry and English essays, was entitled ‘Under Your Sign.’ As the title indicates, the politics and poetics of sign systems are central concerns of this volume. I offer a few stanzas from one of its poems— ‘Widowhood’—to suggest the multiplicity of the signs of Jewish identity and literature. What we see in Tussman's poem, and more dramatically when we supplement it with two English translations, is that although it rails against the ways in which the sign (e.g., letter, word, trope) destroys, it also points to the sign's generative powers. And the poem offers a way of understanding the creative tensions that have dominated critical and creative expressions of modern Jewish literature. Under the signs of “Hebraism” and “Yiddishism,” we encounter two conflicting but equally productive views of Jewish literature, one that posits continuity and another that posits adaptation as the defining characteristic of Jewish culture. Tussman's poem, like these different paradigms of Jewish literary history, enables us to use the sign as a way of overcoming the divide between two languages and two views of the (Jewish and non-Jewish) world. My goal in what follows is not to protest against the reign of the sign on behalf of some notion of Jewish authenticity. To the contrary, I propose yet another sign—structured as a binary—to highlight the ambivalence of the sign “Jewish literature” and to stimulate debate about matters Jewish and what matters to Jews.

German-born American poet, novelist, journalist and editor George Sylvester Viereck (1884 –1962) during his almost 60-year literary career (his first poem was published in 1898) befriended, met and corresponded with hundreds of contemporaries, including world famous persons. His first biographer Elmer Gertz wrote in 1954, “One should go through Viereck’s correspondence with the great personalities of his time in order to learn the full extent of the admiration they expressed for him. Alas, that correspondence is scattered; but excerpts from it can be found in the catalogues of various autograph dealers and should be preserved”. Liberated from prison in 1947 Viereck was not able to restore his previous position in literary world, was in need of money and had to sell autographs from his personal archive. This publication includes letters of four writers addressed to Viereck and dealing with his literary and editorial work. All of them are preserved in the author’s private collection and are published in English for the first time. In Russian translation one letter is published for the first time, another one was previously published, two letters were quoted. Journalist, writer, and politician Brand Whitlock (1869 –1934) followed Viereck’s journalistic activities as well as his Decadent poetry. English author and poet Richard Le Gallienne (1866 –1947), being a living incarnation of the “naughty nineties” for Viereck, valued contributing to his magazine The International. Known as the Dean of American Biographers, famous writer Gamaliel Bradford (1863 –1932) refused to support Viereck’s protest against the prohibition of his novel My First 2000 Years in the Irish Free State. Poet, artist and filmmaker Ferdinand Earle (1878 –1951) remained faithful to his long friendship with Viereck even when the latter was emprisoned.

Poland's Teatr Osmego Dnia – the Theatre of the Eighth Day – has survived for 22 years, with essentially the same personnel since the early seventies, and with a constant commitment to social engagement. The group – which has never included trained actors, because, according to director Lech Raczak, any graduate of a Polish theatre school, ‘cannot act with his whole self’ – was a major voice of protest for the Polish student generation of 1968. Despite constant harassment and frequent arrests, it continues both to inspire and record the work of young oppositional theatres, although in 1985 it was forced to split when six members toured western Europe whilst four others, denied their passports, played in Polish churches. What follows is a collage of two interviews conducted that autumn – in London with Tadeusz Janiszewski, Adam Borowski, and Leszek Sczaniecki, and in Poznan with Lech Raczak and Marcin Keszycki. They discuss the importance of Grotowski for their generation: their working method, based on group improvisation; the function of poetry in physical theatre; their major productions; and the day-to-day survival strategies of a collective dedicated to exploring the expressive and political potential of the actor. The interviews were assembled by Tony Howard, a playwright who also teaches English in the University of Warwick, and who expresses his thanks to the many people who made this feature possible – especially Nick Gardiner, the ‘European’ group's manager, and the translators. Ewa Elandt and Ewa Kraskowska.

AbstractHenry Derozio, India's first modern poet, used the pseudonym ‘An East Indian’ for several poems he published in his lifetime, and he may have used it again in a heated controversy that played itself out in the correspondence columns of the India Gazette, Calcutta's leading newspaper, from May 26 to June 5, 1825. The occasion was an editorial comment upon a community of office-goers in the city—called, at the time, ‘sircars’—who had set up a literary association. This editorial was widely perceived to be reactionary, and civil society responded vigorously in protest at the injustice. The sequence of editorials and letters published on this issue, which seem to have been written by Englishmen, East Indians and Indians alike, demonstrate a remarkable liberalism of spirit and a free-thinking attitude to ethnicity that was soon to disappear in the stiffening boundaries of a racially divided society. 1825 was also the year that Derozio began to publish prolifically in the poetry columns of newspapers and periodicals in the city; by the time he died, in 1831, he had published two books of poems in 1827 and 1828 and had created a revolution of sorts among the radicalised youth of the Hindu College, from which he had been dismissed for his role in their alienation from tradition. In 1831, a few months before his death, Derozio addressed a mammoth meeting called to commemorate the return of John Ricketts, the East Indian representative, from his mission to the English houses of Parliament for a redressal of the community's grievances. Using these two lost occasions—the public correspondence and the meeting—both concerned with the politics of naming, this paper will attempt to present the early radical interventions of the mixed-race community in initiating a discourse of civic rights and human dignity which led, ultimately, to organised attempts at constitutional change and political reform in India, whose estimation is underrated in present-day contexts.

- Leonard Y. Andaya, H.A. Poeze, Excursies in Celebes; Een bundel bijdragen bij het afscheid van J. Noorduyn als directeur-secretaris van het Koninklijk Instituut voor Taal-, Land- en Volkenkunde. Leiden: KITLV Uitgeverij, 1991, 348 pp., P. Schoorl (eds.) - Anne Booth, Adrian Clemens, Changing economy in Indonesia Volume 12b; Regional patterns in foreign trade 1911-40. Amsterdam: Royal Tropical Institute, 1992., J.Thomas Lindblad, Jeroen Touwen (eds.) - A.P. Borsboom, James F. Weiner, The empty place; Poetry space, and being among the Foi of Papua New Guinea. Bloomington: Indiana University Press, 1991. - Martin van Bruinessen, Ozay Mehmet, Islamic identity and development; Studies of the Islamic periphery. London and New York: Routledge, 1990 (cheap paperback edition: Kula Lumpur: Forum, 1990), 259 pp. - H.J.M. Claessen, Timothy Earle, Chiefdoms: power, economy, and ideology. A school of American research book. Cambridge: Cambridge University Press, 1991. 341 pp., bibliography, maps, figs. - H.J.M. Claessen, Henk Schulte Nordholt, State, village, and ritual in Bali; A historical perspective. (Comparitive Asian studies 7.) Amsterdam: VU University press for the centre for Asian studies Amsterdam, 1991. 50 pp. - B. Dahm, Ruby R. Paredes, Philippine colonial democracy. (Monograph series 32/Yale University Southeast Asia studies.) New Haven: Yale Center for international and Asia studies, 1988, 166 pp. - Eve Danziger, Bambi B. Schieffelin, The give and take of everyday life; Language socialization of Kaluli children. (Studies in the social and cultural foundations of language 9.) Cambridge: Cambridge University Press, 1991. - Roy Ellen, David Hicks, Kinship and religion in Eastern Indonesia. (Gothenburg studies in social anthropology 12.) Gothenburg: Acta Universitatis Gothoburgensis, 1990, viii 132 pp., maps, figs, tbls. - Paul van der Grijp, Pierre Lemonnier, Guerres et festins; Paix, échanges et competition dans les highlands de Nouvelle-Guinée. (avant-propos par Maurice Godelier). Paris: Éditions de la Maison des Sciences de l’Homme, 1990, 189 pp. - F.G.P. Jaquet, Hans van Miert, Bevlogenheid en onvermogen; Mr. J.H. Abendanon en de Ethische Richting in het Nederlandse kolonialisme. Leiden: KITLV Uitgeverij, 1991. VI 178 pp. - Jan A. B. Jongeneel, Leendert Jan Joosse, ‘Scoone dingen sijn swaere dingen’; een onderzoek naar de motieven en activiteiten in de Nederlanden tot verbreiding van de gereformeerde religie gedurende de eerste helft van de zeventiende eeuw. Leiden: J.J. Groen en Zoon, 1992, 671 pp., - Barbara Luem, Robert W. Hefner, The political economy of Mountain Java; An interpretive history. Berkeley: University of California Press, 1990. - W. Manuhutu, Dieter Bartels, Moluccans in exile; A struggle for ethnic survival; Socialization, identity formation and emancipation among an East-Indonesian minority in The Netherlands. Leiden: Centre for the study of social conflicts and Moluccan advisory council, 1989, xiii 544 p. - J. Noorduyn, Taro Goh, Sumba bibliography, with a foreword by James J. Fox, Canberra: The Australian National University, 1991. (Occasional paper, Department of Anthropology, Research school of Pacific studies.) xi 96 pp., map, - J.G. Oosten, Veronika Gorog-Karady, D’un conte a l’autre; La variabilité dans la litterature orale/From one tale to the other; Variability in oral literature. Paris: Centre National de la Recherche Scientifique, 1990 - Gert Oostindie, J.H. Galloway, The sugar cane industry: An historical geography from its origins to 1914. Cambridge (etc.): Cambridge University Press, 1989. xiii 266 pp. - J.J. Ras, Peter Carey, The British in Java, 1811-1816; A Javanese account. Oriental documents X, published for the British academy by Oxford University Press, 1992, xxii 611 pp., ills., maps. Oxford: Alden press. - Ger P. Reesink, Karl G. Heider, Landscapes of emotion; Mapping three cultures of emotion in Indonesia. Cambridge: Cambridge University Press, Paris: Editions de la Maison des Sciences de l’Homme. 1991, xv 332 p. - Ger P. Reesink, H. Steinhauer, Papers on Austronesian linguistics No. 1. Canberra: Department of linguistics, Research school of Pacific studies, ANU. (Pacific linguistics series A- 81). 1991, vii 225 pp., - Janet Rodenburg, Peter J. Rimmer, The underside of Malaysian history; Pullers, prostitutes, plantation workers...Singapore: Singapore University Press, 1990, xiv 259 p., Lisa M. Allen (eds.) - A.E.D. Schmidgall-Tellings, John M. Echols, An Indonesian-English Dictionary. Third edition. Revised and edited by John U.Wolff and James T. Collins in in cooperation with Hasan Shadily. Ithaca and London: Cornell University Press, 1989. xix + 618 pp., Hasan Shadily (eds.) - Mary F. Somers Heidhues, Olaf H. Smedal, Order and difference: An ethnographic study of Orang Lom of Bangka, West Indonesia, Oslo: University of Oslo, Department of social anthropology, 1989. [Oslo Occasional Papers in Social Anthropology, Occasional Paper no. 19, 1989]. - E.Ch.L. van der Vliet, Henri J.M. Claessen, Early state economics. New Brunswick and London: Transaction Publishers, 1991 [Political and Anthropology Series volume 8]., Pieter van de Velde (eds.) - G.M. Vuyk, J. Goody, The oriental, the ancient and the primitive; Systems of marriage and the family in the pre-industrial societies of Eurasia. New York, Cambridge University Press, (Studies in literacy, family, culture and the state), 1990, 562 pp. - E.P. Wieringa, Dorothée Buur, Inventaris collectie G.P. Rouffaer. Leiden: Koninklijk Instituut voor Taal-, Land- en Volkenkunde, 1990, vi 105 pp., 6 foto´s.

This thesis will address the problem of literary exclusions in the later Romantic period by shifting the focus of literary study away from the Self towards a sequence of key political events. This allows examination of a variety of canonical and non-canonical verse by focusing on writing that attempts to 'intervene in' the public world. More particularly I will focus on writing engaged in a struggle for control of the representation of three key public events: the Peterloo Massacre of August 1819, the Cato Street conspiracy of April 1820 and the Queen Caroline affair (1820-21). In each case I have considered the inter-relation between 'popular' responses, as revealed in broad-sheets, pamphlets, etc. and 'literary' responses, and have gauged how far the two types of response converge. I also look at the emergence of a kind of writing that dissolves the difference between the 'high' and the 'low', the kind of writing produced by figures such as William Hone, and Shelley in his Mask of Anarchy. Each of these historical events is considered in a separate section. The first section deals with poetic responses to the Peterloo massacre. I begin by examining the poems of Samuel Bamford, the only known poet at the massacre, and his attempts to tone down the more inflammatory aspects of his first poems on Peterloo for his new Chartist audience of the 1840's. I then move on to William Hone and his battle to control the narratives of contemporary texts that have been produced by the literary elite and the ruling class, and in doing so to create his own public sphere. I end the section by examining Shelley's Peterloo poems and his assimilation of current radical discourse and poetic style. The second section is concerned with the Cato Street conspiracy, a conspiracy that was in fact manufactured by the government's spy system. This event did not attract the radical poets, instead it elicited responses from liberals such as Charles Lamb and Byron. In this section I argue that both Lamb and Byron are more concerned with contemporary British politics than has previously been acknowledged. The third section of the thesis looks at the Queen Caroline affair, an event that put many radical republicans in the dubious position of supporting a Queen. By examining the work of Charles Lamb, George Cruikshank, William Hone, Shelley, and a number of anonymous radical poets, I attempt to determine just how the public's imagination had been shaped to engender such support, and what radicals expected to gain by championing the unfortunate Queen Caroline. In conclusion this thesis is distinguished from other critical studies of the period by its refusal either to value literary texts for the light that they throw on the wider culture, or to value the wider culture for the light it throws on the literary texts. It starts from the assumption that literature and the culture out of which it is produced are interdependent.

This thesis argues that Claudia Rankine's two American lyrics destabilize the subject-object dialectic underwriting American lyricism. First, I consider Don’t Let Me Be Lonely’s rejection of spectatorship, insofar as spectatorship objectifies the suffering of the Other. Second, I analyze Citizen’s subversion of the lyric “I”, particularly as it vocalizes the “you”-position traditionally relegated to poetic object. I suggest that both works, by returning power to the object, manifest an aesthetic disruption to the racially-based power dialectic underpinning American lyric tradition. Eventually, I propose that Rankine mobilizes the poem as a future-space for the realization of an ideal politics.

A dissertation submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, in fulfilment of the criteria for the c[egree of Master of Arts
The literature produced by writers who align themselves with national liberation and resistance movements presents a serious challenge to dominant standards of literary . aesthetics. Resistance writing aims to break down the assumed division between art and politics. and in this view literature becomes an arena of conflict and struggle. This dissertation examines certain aspects of the poetry of Mongane Wally Serote in order to explore the relationship between aesthetics and resistance in his writing. Over the last two decades, Serote has made a significant contribution to the development of South African literature, and his work has important implications for literary criticism in South Africa. Chapter 1 looks at some of these implications by discussing the concept of resistance literature and the main issues arising from the debates and polemics surrounding the work of Serote and other black political writers. Perhaps the most important here is the need to construct a critical approach to South African resistance literature that can come to terms with both its aesthetic qualities and political effects. This kind of approach would in some way attempt to integrate the seemingly incompatible critical practices of idealism and materialism. Accordingly, Chapter 2 is a materialist approach to aspects of Serote's early poetry. The critical model used is a simplified version of the interpretive schema set out by Fredric Jameson in The Political Unconscious. This model enables a discussion of the poetry in relation to ideology, and also suggests ways of examining the discursive strategies and symbolic processes in this particular phase of Serote's development. Serote's later work is 'characterised by the attempt to create a unifying mythology of resistance. Chapter 3 thus looks at Serote's long poems from an idealist perspective that is based on the principles of myth-criticism, As this is a complex area, this chapter merely sketches the main features of Serote' s use of myth as a form of resistance, and then suggests further avenues of exploration along these lines. The dissertation concludes by pointing towards some of the implications of recent political developments in South Africa for Serote and other resistance writers.
Andrew Chakane 2018

A thesis submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg in fulfilment of the requirements for the degree of Master of Arts
This dissertation shows how both poets and their audiences have played a central role in the emergence of Durban Worker poetry. A review of critical responses to worker poetry concludes that insufficient attention has been paid to questions of audience. Performances of worker poetry are analysed, highlighting the conventions used by the audience when participating in and evaluating the poetry, Social, political and literary factors which have influenced the audience of worker poetry are explored, as are the factors which led to the emergence of worker poetry. In discussing the influence of the Zulu izibongo (praise poetry) on worker poetry, particular attention is paid to formal and performative qualities. The waye in Which worker poetry has been utilised by both poets and audience as a powerful intellectual resource are debated. Finally, the implications of publishing worker poetry via the media of print, audio-cassettes and video-Cassettes are discussed.
Andrew Chakane 2019

M.A.
This dissertation investigates the work of black women poets in South Africa during the period 1970 - 1991, within the context of race and gender politics. The period 1970 - 1991 represents the approximately two decades in which black poetry became recognised as an important development in South African literary studies. Although several studies of the work of black male poets have been written, hitherto no substantial study of the writings of black women poets, in particular, has been undertaken. Although relatively few black women poets published their work during this era, when compared to their male counterparts, this critical survey will attempt to give a broad overview of the poetry black women produced. Focusing on poetry written in English, this dissertation will argue that the majority of black women poets writing during this period harnessed their writing to the anti-Apartheid or liberation struggle in South Africa. Many of these poets regarded their writing as a 'cultural weapon' which could contribute to political transformation, and although few regarded themselves as 'feminist' poets, their poetry reveals a deep concern with gender oppression as well as racial and class oppression. Chapter one, the introduction, focuses on the way in which black South African women poets have been largely ignored, neglected and 'silenced' by the majority of critics. This chapter will also consider some of the factors that may have prevented more black women from producing and publishing poetry: social factors such as education, literacy and access to publication will be explored. The second chapter explores the emergence of South African 'protest poetry', and focuses on the poetry of Jennifer Davids and Gladys Thomas in relation to the 'protest' tradition. It will be argued that while poet Gladys Thomas defined her writing in terms of 'protest' literature, Jennifer Davids produced a more introspective, personal poetry that was primarily concerned with the difficulties of 'finding an individual voice' in the South African environment. The third chapter focuses on the more intensified phase of 'protest poetry' which was produced after 1976 by the growing culture of literary activism in the black townships, and will show how women poets write of the suffering specific to township women. This chapter will also focus on an analysis of gender oppression within the poets' own homes and communities, as well as celebrations of political activities by women. In particular, this chapter concentrates on women's poetry published in the literary magazine, Staffrider, established to promote the work of black writers. The Trade Union Movement was a major influence on literary production during this time, as we shall see from the 'worker poetry' produced by many women in the 1980s. Chapter four will concentrate on the poetry produced by black South African women in exile, most of whom were active in the ANC. It will be argued that rather than producing introspective poetry about the condition of exile, these women harnessed their writing to `the struggle'. This poetry can broadly be defined as 'resistance' or 'liberation' poetry. Some of these poets also explore the issue of gender in relation to liberation politics.

HENRYK GRYNBERG was born in Warsaw in 1936 into an Orthodox Jewish family, and raised in the village of Radoszyna near Mińsk Mazowiecki in central Poland. He survived the Holocaust in hiding with his mother. He left for the United States in 1967 in protest at the Polish government’s antisemitic practices and the censorship of his writing. He is the author of some thirty books of prose, poetry, drama, and essays, and his work has been translated from Polish into many languages. Titles. translated into English include ...